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6 June 2014




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Daytime: the battle for Cast away: Bear Grylls’ breakfast and beyond crew on survival skills

Am I really a closet TV racist?

TV ‘grossly unfair’ to runners Bectu research finds entry-level freelancers are treated poorly and work long hours for low pay ALEXANDRA CHAPMAN

Behind the scenes: Bectu surveyed 125 runners for their views on working conditions in the industry

I have had some jobs where I have been treated as if I were a slave Survey respondent

earning a London living wage of £8.80 an hour, the research found. Some 31% of participants take home the minimum wage of £6.31 an hour, while nearly 15% admitted to receiving no pay at all. Many respondents said pay was the worst thing about being a runner and they despaired at the short-term nature of television contracts. Several also noted being passed over for promotion, complaining about a lack of job

opportunities and observing nepotism in recruiting decisions. Bectu assistant general secretary Martin Spence said that aspiring TV producers would be unable to fulfil their potential because the conditions are “bad for the industry and grossly unfair”. He said due to its importance to the UK economy, TV should be a “model of good practice”. The findings “require swift attention”, he added. Spence also suggested low pay as a reason why the survey painted a bleak picture of diversity in the lower rungs of the industry. Only 2.5% of respondents identified themselves as “black British” and 2.5% as “Asian British”. Some 80% described themselves as “white British”, while 9% said they were “white other”.

Runners made several suggestions for improvement, including industry agreed pay rates and more transparent publication of job opportunities. More training and greater respect were also requested. “Runners are people too,” one respondent noted. Their experiences weren’t entirely negative, however, with runners telling Bectu about rewarding elements of the job. Many valued meeting new people and making contacts, while others said they revel in the opportunity to be part of a TV production. Travel and variety were also listed as positive aspects of the role.


Runners in the TV industry face low pay and long hours, are poorly treated and lack career progression, according to new research. Broadcasting union Bectu said that its first-ever survey of the role painted a picture of “grossly unfair” conditions for entrylevel freelancers. Many of the 125 runners surveyed complained of poor treatment from on-screen talent and executives. They also highlighted pay levels that are below the London living wage and a lack of travel and accommodation expenses as common frustrations. One respondent spoke of being “shouted at and humiliated” by colleagues, while many complained that senior production crew looked down on them, demanding they carry out “demeaning” tasks and blaming them for mistakes they hadn’t made. “I have had some jobs where I have been treated as if I were a slave,” one confessed when asked about the worst aspects of being a runner. Another added: “You’re a modern slave.” Several contributors also complained about sexism in the workplace. “As a young female in this profession, I have experienced some incidents and remarks that have made me feel very uncomfortable,” one runner told Bectu, which will set out the findings of the survey in detail at its Freelancers’ Fair 2014 this week. While the majority of the TV industry is based in the capital, only 5% of runners are currently

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Top News

It’s time for targets with teeth Industry must come together to make genuine change on diversity


he automatic rejection letter that Eno Alfred received 15 times from the BBC is a crystallisation of TV’s off-screen diversity crisis. Simon Albury (below left), the former RTS chief executive and now Campaign for Broadcasting Equality chair, took the BBC to task at Creative Week’s Diversify event – and rightly so. The theoretical debate about quotas is a hot topic – but only through practical examples do statistics become meaningful.

‘Peter Salmon hinted that the BBC’s commitment will be significant, and it needs to be – it is now or never’ Barnet-born Eno Alfred, a graduate of both LSE and Columbia School of Journalism, would seem a prime candidate for a job at the BBC. But after 15 applications, she wasn’t invited for a single interview. It is unlikely that the individuals who took those 15 decisions were making a conscious decision based on Alfred’s ethnicity. But it’s also hard to escape the conclusion that somewhere along the line the BBC failed her, and many like her. The corporation’s response, less to Alfred specifically and more to the glaring problem that Albury’s persistence uncovered, will be vital – and we can expect it soon. BBC director of England Peter Salmon (right) had the unenviable task of responding to Albury’s polemic without advance briefing, and handled the basting with typical even-handedness. 2 | Broadcast | 6 June 2014

He was clear that a major announcement on diversity can be expected from director general Tony Hall in four to six weeks. It genuinely feels like there is momentum. Endemol, for example, is understood to be close to making a statement on diversity, and Salmon, while accepting the BBC should lead, called on “other big players to stand up and be counted”. The panel at the Diversify event ditched the term ‘quotas’ for ‘targets with teeth’ (see News, page 3). The emphasis, Krishnan Guru Murthy and Trevor Phillips said, should be on correcting a market failure by the threat of potential penalties, likely financial. Salmon hinted that the BBC’s commitment will be significant, and it needs to be. I am convinced that it really is now or never on this issue, not just for the BBC but for the wider industry. If I hadn’t been previously, I definitely would have been after attending the RTS Futures summer party that followed the Diversify event. The room was full of enthusiastic youngsters, and I met two happy to share their own experiences. Simmering with frustration, they told me tales of being undervalued. Both were from BAME backgrounds, but were less concerned with a theoretical debate about ethnicity and more about a chance to prove themselves. That is all anyone wants. The experience of runners, detailed in our front-page story, and of a generation of BAME TV workers, has been shameful. The industry must come together and make some genuine changes.

è ITV’s breakfast show ratings have fallen more than 13% year-on-year during Good Morning Britain’s first month on air, according to figures compiled by Broadcast.

è Sam Bickley (below), BBC3’s head of documentaries and features commissioning, will step up to run the channel in an acting capacity later this month.

è BBC documentaries commissioner Samantha Anstiss is to set up a creative label within the corporation’s in-house production arm.

Ratings Top Five 1 A Very British Airline (below) transported 2.8m viewers for BBC2 on its maiden voyage on Monday. 2 Joey Barton and Piers Morgan’s Question Time appearance drew a crowd of 2.7m on Thursday. 3 The second episode of BBC1 crime drama Quirke uncovered 3.7m viewers, 500,000 down on the opener.

Carl Froch’s knockout of George Groves helped Sky Box Office to a peak of more than 300,000 viewers on Saturday. 4

5 BBC1’s six-part Happy Valley concluded with its second-highest audience after pulling in an average of 5.8m over the run.

Team Tweets è We need targets. We need rules with teeth. @krishgm coming down hard in favour of quotas. #diversify #creativeweeklondon @ConorDignam

News & Analysis

Crozier hints at Encore strategy There is a window for our best drama in between ITV’s main channel and ITV3

BY Matthew Campelli

Adam Crozier has hinted that ITV Encore’s original commissioning strategy will put an emphasis on high-quality dramas that might be too niche for the main channel. Pay channel Encore will launch on Monday 9 June and will air repeats of hits such as Broadchurch and Downton Abbey, before original commissions begin to make their mark early next year. At the Media Summit, part of MBI’s Creative Week, the ITV chief executive explained that the creation of Encore would allow ITV to make original drama without the same pressure of delivering audiences in excess of 5 million. He highlighted the critical acclaim of “particular niches” such as Mad Men or Game Of Thrones, which don’t get “huge audiences” but are “terrifically high quality”, as the type of shows he’d like to “add to the ITV offering”. Crozier added: “We also think there is a window for our best drama in between ITV’s main channel and ITV3. Newer repeats on ITV3 do not tend to rate that well.”

Adam Crozier, ITV Encore

Game Of Thrones: cited as a high-quality niche show with a cult following

Drama is one of three genres on which ITV is focusing its production efforts, with plans to sell shows around the world. The others are factual entertainment and entertainment. Crozier cited Netflix’s £100m project The Crown to highlight the importance of drama inter­ nationally, and as an example of

“growing convergence” between the TV and digital sectors. “We’ve seen big new dramas coming through [ITV], and without giving any names away, when we look to sell rights to various countries, some of the biggest bidders will be companies you wouldn’t associate with broadcast,” he said.

Crozier said telephony and broadband companies are increasingly using TV content as a means of dif­ferentiation. He suggested that strategy was behind BT’s successful £897m bid for rights to the Uefa Champions League BT’s bid may have “looked barmy” through the prism of ITV’s advertising-based business model, he added, but the numbers might add up if the football enables the telecoms firm to “keep broadband customers and sell them into other services”. Additionally, Crozier labelled reports stating that ITV was unhappy with the performance of Good Morning Britain as “unadulterated, fabricated cobblers”, adding that the company was backing the programme for a oneto two-year period.

Pressure grows for fresh TV diversity targets Initiatives have not delivered and we need to have the quota argument

BY Alexandra Chapman

Broadcasters and indies should be hit with financial penalties for failing to hit targets introduced to boost diversity, according to four leading figures. The “targets with teeth” objective was laid out by Channel 4 newsreader Krishnan GuruMurthy at a Diversify event, which kicked off MBI’s Creative Week in London this week. It was supported by Trevor Phillips, Bectu’s Janice Turner and Maroon Production founder Paul Blake. “Past initiatives have not delivered and we now need to have the quota argument,” C4’s Krishnan Guru-Murthy said. He added that broadcasters must take owner­ ship of targets, which should be

Krishnan Guru-Murthy, Channel 4

Guru-Murthy: ‘targets with teeth’

attached to Ofcom-enforced financial penalties. Indies should also be accountable, he argued. Guru-Murthy also suggested that plans to boost diversity in TV have the support of prime minister David Cameron, which could be crucial if legislation is required.

Bectu diversity officer Turner said creative industry unions have written to Arts Council England and the BFI to call for enforceable targets, alongside transparency and accountability. Ofcom will also be sent the letter. “We are demanding equality monitoring and the publishing of the data from companies that are being awarded funding and commissions,” she said. Phillips, ex-chair of the Equality and Human Rights Commission,

said TV does not take the “same risks” on black, Asian and minority ethnic people as it does on others. He suggested a version of the Rooney rule, which could require a woman or BAME candidate to appear on every major job shortlist. Of the 62 board members at the BBC Trust, ITV, C4, BSkyB and Ofcom, only the BBC’s Sonita Alleyne is non-white, he added. BBC director of England Peter Salmon admitted that the UK does “not see enough black faces at the most senior levels in television”, but said there were “a lot of good things going on at the BBC”. Salmon said Tony Hall would make an announcement on diversity at the BBC in the next four to six weeks, following the DG’s discussions with comedian Lenny Henry. 6 June 2014 | Broadcast | 3

News & Analysis

Tom Hardy: TV trumps film Hollywood actor Tom Hardy has claimed that TV productions are increasingly offering film talent the chance to develop more immersive shows and retain greater creative control over productions. The Dark Night Rises actor was speaking to Broadcast after striking a first-look deal with NBC Universal for his fledgling indie Hardy Son and Baker, established with production partner Dean Baker. He said TV had lost its “stigma” for film talent. “Quality shows are being produced because of the ability to invest in characters for many seasons. As a creative, you get to spend more time with these characters and can push the envelope with scenes that may be left out of a film,” he said. Hardy argued that while blockbusters are performing well, the independent film sector is taking a “kick in the balls” due to its narrow appeal and lack of marketing budget. The result is a more controlling industry, which is tightening its grip on the level of creative control it hands producers.

I would rather take that £18m [film] budget and produce a TV series where an idea can flourish

Greg Williams

BY Alex Farber

Tom Hardy

Hardy and Baker: duo’s indie has struck a first-look deal with NBCU

“I would rather take that £18m budget and produce a TV series where an idea can fully flourish, rather than see it have to tick certain boxes and get cut into something it was never meant to be,” he said. Hardy is developing the idea of a long-running drama featuring revolving lead characters, enabling high-calibre talent to sign up for a shorter, more flexible period. “You get a higher level of talent who don’t want to commit to a longterm deal,” he said.

The strategy also applies to offscreen talent, with Hardy, who does not expect to appear in most Hardy Son and Baker productions, planning to approach directors he has previously worked with, including Paddy Considine, Doug Liman, John Hillcoat and Steve Knight. The indie also plans to produce more factual projects related to its scripted output, building on ITV’s Poaching Wars documentary, which will help feed into Hardy’s two upcoming anti-poaching films for Warner Bros.

“If I am going to illustrate something, I’ll take a camera with me rather than waste the research that leads up to a piece of work,” he said. “Docs can also help to underpin the integrity of the scripted project you are creating, as well as generate new ideas.” The indie, which is currently coproducing BBC1 period drama Taboo, will also be able to tap into NBCU’s development infrastructure and expects to take advantage of its financial resources to get projects under way ahead of a broadcaster coming on board. NBCU president Michael Edelstein said that together with executive vice-president of scripted programming Joann Alfano, he planned to be “hands on” with the indie.

Remarkable hones focus with gameshow arm launch If we develop a good gameshow format, it will be taken on by Remarkable Games

BY Matthew Campelli

Remarkable Television will increase its focus on entertainment, factual and reality shows after launching a division dedicated to gameshows. The Endemol-owned indie this week unveiled Remarkable Games, a new arm that will develop formats and oversee productions including Pointless and The Million Pound Drop Live. It will be led by Remarkable head of entertainment James Fox. Remarkable Television will now renew its focus on “getting more factual and reality shows out there” and is in talks with broadcasters over a number of programmes. Managing director Nick Mather said. “First and foremost, I 4 | Broadcast | 6 June 2014

Nick Mather, Remarkable Television

Pointless: Remarkable success

wouldn’t describe this as a break-off. We’re all still working together and James collaborates with Remarkable Tele­vision’s creative team. It just means that if we develop a good gameshow

format, it will be taken on by Remarkable Games.” He added that it was the “right time to carve out a vision” for gameshows as the indie bids to create the next generation of hit formats. Remark­able Games will be looking at potential new recruits to support Fox and executive producer Dom Waugh as entertainment development processes can be “very time-consuming”.

Mather said that although the launch of Remarkable Games had not been in response to a spike in broadcaster interest in the genre, demand for hits was “always high”, and commissioners like Peter Fincham are hunting for daytime hits to graduate to primetime. Remarkable Games will also work with Endemol’s commercial and digital teams to create and develop multiplatform content, following the success of Endemol Games. Spin-off projects have included a Pointless app, currently number one in the iPhone store, and C4’s most successful show app The Million Pound Drop, which has notched up more than 2.7 million downloads and has been adapted for more than 50 countries. It is a freemium app.

News & Analysis

Rare targets UK factual indies The strategy is to build a leading midmarket business in factual

BY Peter White

Rare Television, the nascent production group set up by former Ingenious exec Antony Fraser and Red Arrow chief Joel Denton, is seeking to acquire three factual indies with turnovers of around £2m by 2016. The company, which is backed by Forward Private Equity and media investment firm Bob & Co, struck its first deal this week, acquiring 360 Production, the indie behind Channel 5’s Rome: The World’s First Superpower and YouTube’s James May’s Things You Need To Know. Rare is the latest group keen to snap up UK indies, with other recent entrants to the market understood to include David Frank’s Dial Square 86 and Avalon Entertainment, which owns factual brands such as Liberty Bell. Rare chief executive Fraser said the new wave of consolidation had been driven by economic confidence and the availability of investment capital. “Our strategy is to build a factual group out of smaller parts. We felt there was a great opportu-

Antony Fraser, Rare Television

Things You Need To Know: Rare bought producer 360 Production this week

nity in the UK,” he said. “Ideally, we’d look to buy businesses that have been around at least a year and have had a couple of commissions. It means that we are looking at companies with turnovers of £2m upwards.” Factual indies of around that size include Jews On Bikes pro-

ducer Back2Back, The Hungry Sailors indie Denhams and Spring Films, which made The Act Of Killing. “We were aware that a lot of the big corporations, such as Warner Bros and Lionsgate, were looking for production acquisitions in the UK, but there aren’t many compa-

nies left of the kind of scale that justify them giving it serious consideration,” Fraser added. “The strategy for us is to build a leading mid-market business in factual. We know that if we do that, there will likely be people that want to buy us down the line.” However, Rare does not expect to move into genres such as drama, which Fraser called a “white-knuckle ride”. He added: “It’s a much lowerrisk proposition to start building a small production group in factual.” Fraser also ruled out plans to move for any of the bigger groups such as Firecracker Films owner Tinopolis, which has been quietly put up for sale by private equity owner Vitruvian Partners. “That’s out of our focus – we’re going to stick to our knitting,” he said.

C5 takes on UKTV in UK storage format battle This takes the best experiences of storage shows from the US and gives it a UK feel

BY Peter White

Channel 5 is going head-to-head with UKTV in the storage space after the broadcasters commissioned similar series. C5 has ordered Storage: Locked & Loaded from RDF Television and GroupM Entertainment, while UKTV snapped up a local version of Dave’s hit US format Storage Hunters from North One Tele­ vision last week. C5, which was recently acquired by US media giant Viacom, is launching 6 x 60-minute Storage: Locked & Loaded later this year. The show is set in a warehouse, which provides the backdrop for a group of dealers to battle it out to secure the contents of storage lots in real-life auctions. After the auction,

Guy Davies, Channel 5

Storage Hunters: Sean Kelly (right)

the dealers will then have to attempt to sell their items at a profit. The series was ordered by C5 factual commissioner Guy Davies,

who had asked a number of indies to pitch storage ideas before greenlighting RDF’s show. He said he was trying to move the storage genre to the next level after a slew of similar series, such as History’s Storage Wars. “We don’t have the same storage units as they do in the US, but RDF came up with this idea, which takes the best experiences of the storage shows from the

States and gives it a UK feel,” said Davies. Dave commissioned a 10 x 30-minute British version of Storage Hunters last week after licencing the format from US indie T Group, which originally made the show for truTV. The series will air in a primetime slot and Dave is in talks with US host Sean Kelly to appear in the North One version. It is one of the first commissions for an All3Media-owned indie since it was acquired by Discovery last month. “It’s a hugely addictive series, that’s why we have no intention of interfering too much with its winning formula. Our aim is simply to make it feel thoroughly at home as a UK-based format,” said North One’s John Quinn. 6 June 2014 | Broadcast | 5

News & Analysis

BBC3 to breathe new life into zombie genre By Jake Kanter

BBC3 may be on the chopping block but it plans to innovate ahead of its move online with a Release The Hounds-style crossgenre zombie gameshow. The youth channel is working with Bad Education indie Tiger Aspect Productions to build on inhouse zombie drama In The Flesh with what sources have described as an ambitious structured realitycum-horror entertainment show. I Survived A Zombie Apocalypse is a 7 x 60-minute series that will thrust eight contestants into a zombie-infested shopping mall, where they must survive several dangerous tasks that will put them in close contact with the undead. Cameras will follow their mission, and the participants must use teamwork to make difficult decisions and do everything in their power to avoid being bitten, which would result in them leaving the gameshow. Tiger Aspect recorded a taster tape last year, hosted by comedian Jared Christmas, who has recently landed the lead role on CBBC show The Joke Machine. The BBC

In The Flesh: BBC3 is to build on its zombie drama with a gameshow

was unable to confirm whether the stand-up will take part in the full series. Outgoing BBC3 controller Zai Bennett said I Survived A Zombie Apocalypse is a “reality event on a huge scale” for the channel, providing a “deadly twist on the genre”. He ordered the series alongside entertainment commissioner Ruby Kuraishe, who pointed to its “tongue-in-cheek” tone. Andrew Brereton, who will executive produce it for Tiger Aspect alongside Sebastian Grant, added: “It’s nice to finally have a gameshow where if you fail a challenge,

you get your arms ripped off and your brains eaten out.” ITV2 has tested the horror gameshow waters recently with Release The Hounds from Sony Pictures Television’s Gogglebox Entertainment. The show was successfully piloted in 2013 and will return for a full 6 x 60-minute series later this year. Separately, Sam Bickley, BBC3’s head of documentaries and features commissioning, will step up to run the channel in an acting capacity later this month. Bennett leaves to join Sky Atlantic in July.

BBC Trust resumes Comux payments despite concerns The BBC Trust has restarted payments to Comux, the organisation responsible for building the infrastructure for local TV, following concerns over its handling of £25m of licence fee money. The Trust confirmed that the funding – which is used to roll out local television services across the UK – has resumed despite having not yet concluded its investigation into Comux’s financial affairs. The precise details of the allegations are unclear, but they are understood to stem from a dispute between Comux chief executive Ed Hall and Alan Judd, the owner of Canis Media Group, which manages Comux’s transmission network. Hall stepped down as the boss of Canis earlier this year. Hall has defended Comux’s handling of licence fee money, arguing that he personally signed off on all use of BBC funding. “We’re delighted the BBC Trust has resumed payments,” he said. “We will work to reassure the Trust that the financial systems at Comux are robust and fit for purpose.” A BBC Trust spokeswoman said: “We have made a payment to Comux, subject to appropriate controls, pending completion of our audit.”

ITV to mix comedy and reality for hen night series By Matthew Campelli

Upcoming female comedians are to gatecrash hen parties around the country for a new genre-bending format for ITV2. Fresh One Productions has been commissioned to make Bad Bridesmaids, billed as a comedy and reality hybrid, in which six brides-to-be allow undercover actresses to attend their hen night. If the comedians manage to convince the other members of the party that the ‘bad bridesmaid’ is a genuine friend, they will win a luxury holiday. However, the undercover guests will test the bride’s nerves over the course of four days 6 | Broadcast | 6 June 2014

Bad Bridesmaids showcases some of the best new comedy talent in the UK Claire Zolkwer, ITV

Viral Tap: captain Carly Smallman

as they meddle with wedding proceedings by suggesting changes to speeches, first dances, vows and the order of service. Fresh One is co-producing the 6 x 60-minute format with GroupM

Entertainment (GME) and it is due to air on ITV2 later this year. The series is executive produced by Fresh One director of programmes Claudia Rosencrantz and Mark Sammon, while Tony Moulsdale and Melanie Darlaston will oversee the show for GME. Fresh One’s Bernadette Morley is the series producer.

It was ordered by comedy entertainment commissioning editor Claire Zolkwer and Angela Jain, ITV director of digital channels and acquisitions. “Bad Bridesmaid showcases some of the best new comedy talent in the country and it is amazing to see the comedians act their parts over four solid days with hilarious results – but always with female friendship right at the heart,” Zolkwer said. ITV2 is also offering female comedy talent opportunities in other parts of its schedule, with stand-up Carly Smallman featuring as a team captain on topical comedy show Viral Tap.

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News & Analysis In Brief Kakkar joins Big Talk BBC head of in-house comedy development Saurabh Kakkar is to leave after two years at the corporation to join Big Talk Productions. Kakkar will become the ITV Studios-owned indie’s head of comedy development, reporting to chief executive Kenton Allen. Allen said the appointment was the “icing on the cake” of a “remarkable” six months for Big Talk.

Turner Laing to leave Sky Sophie Turner Laing, managing director of content at Sky, is to leave the pay-TV broadcaster after 11 years. She is considering moving into production after leading Sky’s £600m original programming push and launching a raft of entertainment channels, including Sky Arts, Sky Atlantic and Sky Living. Sky has begun a “thorough” recruitment process for a replacement.

Younge: end BBC quotas Pat Younge, BBC in-house’s former chief creative officer, has argued that the corporation’s TV production guarantees are “irretrievably broken” and should be abolished during charter renewal. Younge said BBC Productions should be transformed into a wholly owned subsidiary of BBC Worldwide, freeing it up to compete with the independent sector on an open playing field.

C4 chief lifts lid on Core4 David Abraham has lifted the lid on Channel 4’s 10,000-strong Core4 online panel, which is being used to test programme ideas and titles. Speaking during MBI’s Creative Week, the chief executive said the “soft guidance” tool allowed commissioners to receive rapid feedback and help test social attitudes about issues. He added that C4 is now analysing billions of pieces of data and is planning to target specific groups with particular thematic passions.

For the latest breaking news 8 | Broadcast | 6 June 2014

Ofcom answers calls to clarify placement rules By Matthew Campelli

Ofcom has clarified rules governing how broadcasters can use product placement following industry calls for greater guidance. The media regulator said it had received “lots of requests” from broadcasters to provide more information about the “boundaries” of the advertising mechanism. Ofcom’s Broadcast Bulletin this week carried five pages of guidance, which made particular reference to lifestyle shows. It revealed that goods promoted through product placement should not be used editorially as a catalyst for a “positive transformation” during makeover, cookery or DIY series. However, established shows going “behind the scenes” or featuring “the making of ” something do fall within the guidelines as the product can be “woven into the programme’s narrative”. Ofcom added: “A reference during a programme to the brand or supplier of a placed product that is not readily identifiable is likely to be justifiable only if it can be accommodated plausibly into the programme’s narrative.”

The X Factor: the show has a £500,000 agreement with Samsung

Furthermore, Ofcom drew attention to section nine of its broadcasting code, which states that product placement must not influence content and scheduling in a way that affects editorial independence. It added that product placement and trademarks must not be promotional or “unduly prominent”. UK broadcasters have been able to sell product placement since 2011. Ofcom said there had been a “slowly growing number” of deals, but added that “the market for such arrangements is still nascent”.

An Ofcom spokesman said: “We acknowledge that we do get requests for information, but the guidance is more about Ofcom being pro­active. We’re conscious that broadcasters and advertisers may be unsure about where the boundaries lie for product placement.” High-profile product placement deals have included ITV, Fremantle Media and Syco Entertainment brokering a £500,000 agreement for Samsung phones and tablets to appear on The X Factor. Dancing On Ice featured Highland Spring bottled water in a similar deal.

BBC to dramatise life in the Bloomsbury Set By Peter White

BBC2 will explore the world of London’s controversial literary set in the early 20th century in a period drama from two indie rivals. The broadcaster has commissioned 3 x 60-minute drama Life In Squares from Douglas Rae’s Ecosse Films, which produced Sky Atlantic’s Fleming, and Ripper Street indie Tiger Aspect. The series is written by Amanda Coe, who most recently penned BBC4’s Bafta-winning two-parter Room At The Top, and directed by Don’t Ever Wipe Their Tears Without Gloves director Simon Kaijser.

Fleming: produced by Ecosse Films

Life In Squares will follow the lives of three of the most controversial members of the Bloomsbury Set – sisters Virginia Woolf and Vanessa Bell, and gay artist Duncan Grant.

The group were considered freethinking and hugely talented, but incredibly unhappy, with stories of suicide and love triangles. The drama, which will begin filming in London in August, was ordered by Ben Stephenson, controller of BBC drama commissioning, and BBC2’s former controller Janice Hadlow. Life In Squares will be executive produced by the BBC’s Lucy Richer, Tiger Aspect’s Lucy Bedford and Ecosse’s Rae, who said: “It’s the story of the bohemian set that scandalised British society at the start of last century – they had a number of same-sex relationships and were very naughty.”

Commissioning News

BBC1 to promote a tidy Britain We’ll be filming it in the summer, which is the most littery time of year


BBC1 will hope to clean up with its latest daytime commission: a series celebrating the 60th anniversary of the Keep Britain Tidy campaign. The broadcaster has ordered 5 x 45-minute series Don’t Mess With Me from How To Cook Like Heston indie Alchemy TV. The series will be stripped across a week this autumn. Don’t Mess With Me will investigate why Britons drop 30 million tonnes of litter each year, then spend more than £1bn on cleaning it up. Alchemy chief executive Nicola Gooch, who is executive producing the series, said she devised the show after discovering it was 60 years since the British Women’s Institute set up the antilitter campaign. “Litter is such a huge problem at the moment,” she said. “We’ll be filming the series across the summer, which is the most littery time of year, with people leaving picnics in parks and rubbish on the beaches.”

Nicola Gooch, Alchemy

The Incredible Spice Men: producer Alchemy is known for its food formats

Don’t Mess With Me will feature psychological experiments to discover why people litter and a number of yet-to-be-announced celebrities completing tasks aimed at encouraging the public to pick up after themselves. The series was ordered by BBC daytime commissioning

editor Gerard Melling, who has ordered series including Scaling Britain from ITN Productions and Paul Hollywood’s Pies And Puds from Spun Gold TV. It will be series produced by Paul Bader, who has worked on shows including BBC2’s Local Heroes and Science Shack.

Ben Boyer to replace Saskia Schuster at Sky comedy

Sky extinguishes The Smoke after one series

Sky’s Ben Boyer has been promoted to commissioning editor of comedy to replace the ITV-bound Saskia Schuster. Boyer (below) joined the commercial broadcaster in July 2012 and will step up from his current role as head of comedy development. He will be tasked with commissioning comedy across Sky’s entire portfolio of entertainment channels. Boyer will report to head of comedy Lucy Lumsden and will oversee Sky’s development deal with FX Networks. Under the two-year deal, the two parties will co-fund and codevelop new half-hour scripted comedies, with the aim of getting them commissioned for Sky 1, Sky Atlantic and FX Networks.

Sky 1 has cancelled Kudos-produced fire-fighter drama The Smoke after a single series. The pay-TV broadcaster has decided against ordering a second series of the 8 x 60-minute drama, which aired between February and April. The series drew a consolidated average of 629,000 (2.5%) viewers, well above the channel’s slot average of 280,000 (1.4%) for the previous 12 months. The Smoke was distributed globally by Shine International.

series produced by Argononowned Windfall Films. The 4 x 60-minute series will be named Born In The Wild in the UK and Sex In The Wild in the US. It will follow elephants, kangaroos, dolphins and orangutans as they mate. Due to air in the US and the UK next month, the series will be fronted by veterinary scientist Mark Evans and anatomist Dr Joy Reidenberg. Born In The Wild was commissioned by C4 specialist factual commissioner Sara Ramsden and PBS chief programming executive Beth Hoppe. The series was exec produced by David Dugan and Jamie Lochhead, and directed and produced by Roeland Doust, Peter Fison, Charlotte Hunt-Grubbe and Kelly Neaves.

10 | Broadcast | 6 June 2014

C4 orders graphic look at animal reproduction Channel 4 and US network PBS are to study animal reproduction in graphic detail in a four-part

The order is one of Alchemy’s first non-food formats, with its previous shows including 6 x 60-minute Spice Trip for Channel 4 and BBC2’s 5 x 30-minute The Incredible Spice Men. The indie was set up in 2011 by former BBC and C4 commissioner Gooch and Planet 24 founder and Survivor creator Charlie Parsons. The BBC has previously tackled litter with documentaries including Maya Vision’s Notes On A Dirty Island, fronted by Bill Bryson, and Leopard Films’ Fly Catchers.

For details of all commissions, see

Linda Barker to revamp homes for Channel 5 Former Changing Rooms presenter Linda Barker (below) is to overhaul dated homes in a new Channel 5 format. The broadcaster has ordered Brand New Home For £5k from GroupM Entertainment and Zodiak Media’s Red House, which produces Channel 4’s Help! Down. In the My House Is Falling Down 3 x 60-minute series, which will air later this year, the I’m A Celebrity… star will work with a team of experts to transform people’s homes for a relatively small amount of money. The series was commissioned by factual commissioning editor Emma Westcott and is exec produced by Red House’s John Silver and Kurt Seywald, and GME’s Abigail Adams.

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International News

All3 cuts deals for The Missing The screenplay makes the show unique and is packed with suspense


French commercial broadcaster TF1 is among the first tranche of international broadcasters to acquire BBC1 drama The Missing – the first series produced by Charlie Pattinson’s indie New Pictures. In addition to TF1, several international broadcasters have picked up the drama, including New Zealand’s TVNZ, Denmark’s DR, Sweden’s TV4, Norway’s TV2 and BBC Global in Australia. The deals were struck by All3Media International, which is distributing the 8 x 60-minute drama as part of its first-look deal with New Pictures, run by Company Pictures founder Pattinson. The series stars James Nesbitt as a father who will stop at nothing to find his son after he goes missing while on holiday in France. The disappearance sets off a manhunt that spans several years. The series also stars Mr Selfridge actress Frances O’Connor as a grieving mother, scared of Nesbitt’s character.

DSP set for lift-off with Mars mission documentary Darlow Smithson Productions has gained exclusive access to film the Mars One space mission, which aims to send astronauts on a one-way trip to the Red Planet (pictured). The Endemol-backed indie will film the selection process and training program for the future inhabitants of Mars after striking an international partnership with Mars One and its Dutch billionaire founder Bas Lansdorp. DSP is set to launch the series – for which the run and length are still to be confirmed – around the world and is expected to unveil broadcast deals shortly. The series is expected to launch at the start of 2015. DSP has previously produced series including Nova 12 | Broadcast | 6 June 2014

Sophie Leveaux, TF1

James Nesbitt: takes the lead role in New Pictures’ drama The Missing

The Missing is currently being filmed in France and Belgium and is directed by Ripper Street director Tom Shankland. The show was commissioned by BBC1 and will be co-produced with US network Starz. It is made in association with Pattinson’s former firm Company, Two

Brothers Pictures – the indie created by Honest writers Harry and Jack Williams – and US production company Playground Entertainment, which is run by former HBO Films boss Colin Callender. The Missing will air in the autumn with All3Media Inter-

and Discovery Canada’s Earth From Space and Richard III: The King In The Car Park.

Meek O’Connor and Matthew Hay, director of Latimer Group and producer of Going To The Dogs, DRG will distribute all of Latimer Films’ television output.

DRG seals first-look deal with Latimer Films DRG has struck a first-look deal with Latimer Films, the indie behind Penny Woolcock’s forthcoming dogfighting doc Going To The Dogs. DRG, which is backed by Modern Times Group, will distribute the one-off film, which was commissioned by Channel 4 and directed by One Mile Away director Woolcock. The film, which is set to air this month, looks at the criminal subculture of dog-fighting and follows former gang member Dylan Duffus as he engages with those involved. Under the first-look deal, struck by DRG acquisitions manager Caitlin

UTV plans indie briefing prior to channel launch UTV is preparing to host a briefing session for indies in Dublin ahead of the launch of its Irish channel. The broadcaster has scheduled the session for 19 June, with the UTV Ireland channel expected to launch on 1 January 2015. UTV managing director Michael Wilson and head of channel Mary Curtis will outline their programme requirements and the commissioning process. In November, the Northern Irish broadcaster revealed it had grabbed the Irish rights to Coronation Street from TV3, paving the way for it to launch its Dublin-based channel.

national officially launching the series at Mipcom in October. “The quality of the screenplay makes the show unique, packed with suspense and thrills but also emotion. The burning desire to know the end only gets stronger as the story unfolds,” said Sophie Leveaux, acquisitions director and head of international drama development at TF1. The deal was brokered by Peter Grant, senior vice-president of sales at All3Media International and TF1 acquisitions executive Cristelle Girbes. Pattinson founded New Pictures in March last year and The Missing is its first major production. The indie poached Sky Atlantic controller Elaine Pyke in September 2013.

TCB hires Mem Bakar to head up sales team International distributor TCB Media Rights, the firm set up by former Cineflix Rights boss Paul Heaney, has hired Mem Bakar (below) as its head of sales. Bakar is the latest appointment to be made by Heaney’s nascent firm after Beyond Distribution’s Karen Connell and former Mediaset exec Daniela Bagliani joined last year. Bakar has been hired from World Wide Entertainment, the factual distribution division of Turkish producer and distributor Global Agency. She will be responsible for TCB sales across Asia, Africa, Spain, Portugal, Latin America and the Middle East. TCB’s catalogue spans more than 50 titles from 40 indies across the UK, US and Australia.




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Multiplatform News

World Cup comes to second screen BY Alex Farber

The BBC and ITV are gearing up for “the first social World Cup” as they look to take advantage of the rapid growth in internet-connected mobile devices since 2010. The broadcasters, which together hold the rights to all of the Brazil 2014 World Cup games, have focused on delivering ‘responsive’ multiplatform resources, which automatically reformat content according to whether users are visiting from a desktop, mobile or tablet. The technology has gained extra significance as increasing numbers of consumers access online sports content from a variety of devices. BBC Sport executive product manager Neil Hall said 70% of traffic to the BBC football site during live games comes via mobile and tablet devices. “We have tailored our live event plat-

We are thinking of this as the first social World Cup Ollie Irish, ITV

Brazil 2014: responsive coverage

form, which was launched for the Winter Olympics, to allow the editorial team to post content once and offer a consistent cross-platform experience,” he added. The BBC will live-stream the games to which it has rights, with users being given the option to listen to alternative Radio 5 Live commentary and view highlights videos.

Following a deal with secondscreen platform Tectonic Interactive, any polls set by the TV production team will simultaneously go live online. A player-cam will allow visitors to choose a particular view and follow a player from either team. The site will also be updated with goal alerts, red cards and other talking points within 60 seconds of the incidents occurring. “The landscape has changed,” said Hall. “Many viewers now sit on their sofa with a tablet, so the barrier to making use of these services is much lower.”

Speed is also key for ITV, which is close to agreeing a deal with clipsharing platform Grabyo to distribute short video highlights across its social media within 60 seconds of an incident occurring. The videos, which will include mini pre-roll ads, will be sent after goals, red cards and other notable incidents. “We are thinking of this as the first social World Cup and are looking to create social mediafriendly content accordingly,” said ITV executive producer Ollie Irish. ITV will also offer live streaming, text commentary, polls and quizzes via a dedicated site that uses the platform introduced by Irish said there was an opportunity for ITV and the BBC to attract an online audience – even when they don’t own the TV rights to a game. “When it comes to the second screen, we want to innovate and really engage with fans,” he added.


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Technology & Facilities Creative review

The Ones To Watch Post Molinare Client Fresh One Productions Brief Provide picture and audio post-production services on the 4 x 60-minute celebrity mentoring series in which Idris Elba, Paloma Faith, Gizzi Erskine and Rankin each attempt to tutor a protégé. How it was done Colourist Andrew Daniel’s brief for the grade was to keep it saturated and stylised with the sensibilities of a music promo rather than a talent show. The overall aim was to evoke a look that would appeal to a younger demographic, while not alienating other viewers. In the audio mix, the production team used a variety of high-end, multi-track recordings, director-shot and amateur footage. For re-recording mixer George Foulgham, clarity was key, and with careful fidelity manipulation, the dialogue was mixed with music of all types and combined with subtle graphic sound design. Watch it Sundays, 7pm, Sky 1

Lineker in Brazil: The Beautiful Game Post Dock 10 Client BBC Sport Brief Manage the end-to-end post-production for the 60-minute World Cup documentary hosted by the former England striker, which examines the global fascination with Brazilian football. How it was done Dock 10 used an Avid Interplay-managed workflow with Baselight for the grade and Pro Tools for the mix. A final interview will be recorded on location in Brazil on the day of TX, which will require a fast-turn­ around online edit. The main body of the programme has already been graded and dubbed but, because of time constraints, the online will utilise the Baselight Avid plug-in, allowing the editor to copy the grade attributes onto his timeline. The edit will also use audio stems from the dub to help smooth any awkward transitions. Watch it Tuesday 10 June, 10.35pm, BBC1

Trauma Doctors Post Prime Focus Client Cineflix Brief Picture and audio post for the series about an elite team of doctors as they diagnose and treat patients at one of the UK’s leading trauma centres. How it was done Colourist Alex Gascoigne used lots of contrast and saturation to make the images punchy, taking care not to take away from the realism of the programme. He corrected the mixed lighting of the hospital wards to give them a more clinical feel and created a desaturated look for ‘flashback’ shots. Dubbing mixer Enzo Cannatella ensured that the sound mix complemented the show’s stylised look. He used a bespoke restoration service to enhance the audio and improve clarity. The online edit was completed by Scott Hinchcliffe and Ronnie Newman. Watch it Thursdays, 9pm, Channel 5

You can view clips at To include your work email

Envy adds Avid S6 console for a smoother workflow Envy has taken delivery of the first Avid S6 control surface in central London. The system has been installed in a suite at Envy’s Rathbone Place premises. The postproduction firm opted for an eightfader M10 S6 with Pro Tools HDX and version 11 software, supplied by Scrub, a division of HHB Communications. Envy dubbing mixer Rich Martin (pictured) described the S6 as “an extremely powerful console with a very smooth workflow”.

FujiFilm and IBM set new data density record FujiFilm and IBM have set a new record in data density equivalent to a 154TB LTO cartridge, which is 16 | Broadcast | 6 June 2014

62 times greater than current LTO6 cartridge capacity. Fuji used its proprietary Nanocubic and Barium Ferrite particle technologies to achieve 85.9 billion bits per square inch on linear magnetic particulate tape. “This data density achievement is significant as corporate data is growing at an incredible rate, and secure and reliable storage remain critical considerations in today’s market,” said FujiFilm Recording media managing director Wolfgang May.

Holmgren leaves Clear Cut Clear Cut Pictures managing director Scott Holmgren has resigned from the post-production company. Holmgren, who joined the facility less than two years ago, is leaving

at the end of the month to work with his wife on her e-commerce business. However, he did not rule out a return to the post-production sector. Chief executive Horacio Queiro said: “With our recently acquired third premises [the managing director role] is an exciting challenge and I look forward to someone joining us to help take Clear Cut to the next stage.”

Space hires former Pie Factory studio manager Former Pie Factory studio manager Dean Sinacola has joined new Manchester facility The Space Project. In his role as stage manager at the recently opened drama and TV production hub in Gorton, south east of the city centre, Sinacola (left, above) will be responsible for man­ aging 55,000 sq ft of production space across five sound stages. John Mariner (right, above), client liaison manager and head of pro-

duction, said: “We share the same ambition: to bring quality production to the North.”

DPP workshop on file delivery goes on the road The Digital Production Partnership’s (DPP) File Delivery Made Simple workshops will visit Glasgow, Bristol and Salford next week. Primarily aimed at producers and production managers, the sessions will allow delegates to ask a group of experts about file-based workflows from creation to playout. The first session will take place at BBC Scotland, Pacific Quay, in

For the latest technology and facilities news, updated daily, visit

BBC to trial 4K OB at world Cup in doing this work, we are starting to piece together 4k distribution for uk audiences


The BBC is to broadcast the World Cup final and two other matches in Ultra HD (4K) to several closed environments, as part of its ongoing experiments with the high-resolution format. The trial, organised with BT and Arqiva, will be the BBC’s first live 4K outside broadcast and is believed to be the first time anywhere that 4K will be distributed simultaneously over IP and digital terrestrial television (DTT) infrastructure. The 4K content will be viewed in several locations, including at the BBC R&D’s Shepherd’s Bush and Salford sites. The BBC said logistical issues had prevented public 4K screenings of the Brazil football tournament. “We believe in increasing definition, which we think offers a tangible, real benefit for audiences and our ability to tell stories,” said BBC research and development controller Matthew Postgate. “We have lots of questions regarding which genres work best and how any ultimate UHD

Glasgow on Monday 9 June. It will be followed by events at BBC Broadcasting House in Bristol on Tuesday 10 June and at MediaCityUK in Salford on Wednesday 11 June.

Law firm wiggin to advise UK Screen Association Facilities trade body UK Screen Association has formed a partnership with media law firm Wiggin. Partners from Wiggin will advise UK Screen and attend member meetings and working groups to provide insight into industry issues. Wiggin Film and TV partner Charles Moore said: “UK Screen members provide creativity and essential services into the film and television production sectors. We look forward to working closely with the Association and its members.”

Matthew Postgate, BBC

Maracanã: 4K tests were carried out at the Confederations Cup in 2013

service can be provided by the BBC. In doing this development work, we are starting to piece together 4K distribution for UK audiences, and how a strategy might manifest itself over the next 12 to 18 months.” Core to the trial is the twin approach of distribution over IP and DTT, which the BBC has been

developing for several years. “By experimenting with both routes, we can bring to life our vision of a hybrid distribution infrastructure,” explained Postgate. “The strength of DTT is that it is able to reach many users concurrently. Equally, an IP route might be more suited to ondemand delivery.”

Sony adds PXw-X160 to XDCam camcorder range

and editors to review, purchase and download location-specific weather clips. Alongside forecasts and weather news for major European cities and countries, ClipStore will offer match-bymatch forecasts for the football fixtures in Brazil during June and July. MetraWeather’s clients include the BBC and Nine Network in Australia.

Sony has launched the PXW-X160 (below), the latest addition to the manufacturer’s XDCam range of camcorders. Billed as the followup to the HXR-NX5E and PMW150, the PXW-X160 features three 1/3-inch HD Exmor CMOS sensors and a newly developed 25x optical zoom G-Lens. The PXW-X160 is able to record in XAVC Intra and Long GOP, as well as MPEG HD422 at 50Mbps.

Metraweather launches location-specific ClipStore MetraWeather has launched a new weather graphics portal for broadcasters, kicking off with forecasts for the upcoming World Cup matches in Brazil. The ClipStore portal enables news producers

IABM opens 2014 Design and Innovation Awards The International Association of Broadcasting Manufacturers (IABM) is inviting entries for its 2014 Design and Innovation Awards, which recognise new products and services that offer “significant benefits or new opportunities” to the broadcast industry. This year, applications are invited for nine industry segments. IABM director of business development and technology and chair of the

The Fifa-supplied 4K 60p feed of the final, one quarter-final and one last-16 game will be linked via satellite from the Maracanã stadium in Rio de Janeiro to London data centre Telehouse and on to BBC R&D in Shepherd’s Bush for encoding to the HEVC (H.265) compression standard. Arqiva will then take the feed through its fibre network, Arqnet, for DTT transmission, while BT will handle IP routing through its content delivery network. Depending on the trial’s results, the BBC could decide to adopt a similar approach to the experiments it conducted with 3D, when it broadcast a handful of one-off programmes via the red button.

panel of judges John Ive said: “These newly structured awards reflect the changes the industry is going through.” The deadline for entry is Friday 4 July.

Grass valley updates Edius Pro and Elite editing tools Grass Valley has unveiled version 7.3 of its Edius Pro and Elite editing system. The updated software includes I/O support for the Matrox MXO2 LE, MXO2 Rack, Mojito MAX and MXO2 Mini editing devices. Among the raft of new features included in the update are multi-channel audio monitoring for clip preview and Sony XAVC format export. Matrox video product manager Wayne Andrews said: “Now with support for Matrox hardware from Grass Valley, Edius users have the perfect cost-effective ingest, monitoring and delivery devices for their SD and HD workflows.” 6 June 2014 | Broadcast | 17



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Having a pipe inserted up my arse by a malnourished doctor was eye-watering both for me and for viewers Dan Etheridge, Behind the Scenes, page 28

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How Twitter can deliver for TV Hashtags alone won’t boost viewing figures, writes Kate Bulkley


witter is a phenomenon, but it’s still unclear whether tweets can drive television ratings. Twitter may claim to be “the pulse of the planet”, but it is not at the heart of every TV show. Around 40% of all primetime tweets from the UK’s 15 million monthly active Twitter users are about TV. And there are some examples where the social network can boost audiences like crazy. The Twitter effect on MTV’s Hottest from summer 2013 stunned executives – 166 million votes came in via Twitter for the show’s poll. The MTV Music channel audience was up by 55% during transmission and there was a network-wide hike in viewers of 22% over a five-week period. But not every TV show boasts Justin Bieber (52 million followers) or One Direction (19 million followers). So what about evidence from less Twitterfriendly programmes? Channel 4 panel show Was It Something I Said? was often packed with Twitter-friendly stars, yet Dan Jones, creative director at Maverick TV, says the Twitterati didn’t engaged because while viewers typed tweets, jokes were being missed. He told the RTS TV Re-Tweeted event last week: “We are still experimenting [with Twitter] and we get it wrong as many times as we get it right.” In his opinion, Twitter engagement only drives ratings when a show’s talent has a collective following in excess of 10 million. With YouTube shows, the Twitter effect can be more visible. This is because programmes can tap into Twitter’s 255 million global users and brands are happy to pay talent to tweet about YouTube shows. Talent is clearly key to making Twitter work for TV. Ricky Gervais did a live Twitter Q&A in the hour

leading up to C4’s Derek going on air, which Twitter head of partnerships Dan Biddle described as a sort of “social EPG” for the programme. In-show hashtags have also pointed viewers to character tweets. But for docs or dramas, Twitter’s contribution can be less clear. C4’s Benefits Street caused a Twitterstorm, including death threats, but it was the wider media coverage that drove the channel’s highest audience figures for any show since 2012. When Made In Chelsea social snob Mark-Francis thought chicken restaurant Nando’s was a posh wine bar, Nando’s was ready with its own tweets to fire into the social media world – including vouchers. When one of the stars of C4’s Dogging Tales said Lynx deodorant was the perfect scent for ‘dogging’. Lynx tweeted a picture of an “emergency” meeting with its executives wearing ‘dogging masks’ (pictured), saying: “Crisis, what crisis?” “Lynx made light of it, which was right on brand,” says C4 head of advertising and research Martin Greenback. He believes viewing is driving tweets rather than tweets driving viewing. TV’s ad community doesn’t seem to be convinced that adding a hashtag will necessarily bring more sales. Instead, it’s this kind of playful linking with advertisers that commercial departments want to encourage with Twitter – which could deliver real returns for the industry. ➤ Kate Bulkley is a print and TV journalist and awards secretary of the Broadcasting Press Guild. Follow her on Twitter @katecomments

‘The Twitter effect on MTV’s Hottest from summer 2013 stunned execs’

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Ignore the critics: 2014 is the year 4K comes of age

Broadcasters must act to halt exodus of minorities

We’ve seen the future. The question is how fast we can adapt, writes Austin Freshwater

The Talent Network Forum is revitalising the drive for diversity, says Michelle Matherson


West Ham v Stoke: Premiership clash was a 4K hit for Sky Sports and Sony


cience fiction author William Gibson once remarked: “The future’s already here, it’s just not very evenly distributed.” That’s very much the case with 4K at present. But with the World Cup as a test-bed, 2014 should be a breakthrough year for 4K. Sceptics say the push on the tech­ nology is premature. They cite a dearth of content, nascent stand­ ards and inadequate infrastructure. While 4K offers four times the res­ olution of HD, there’s a debate as to whether pixel count alone offers a better viewing experience. These issues are to be addressed by the Forum for Advanced Media in Europe at its upcoming meeting in Italy. Co-chaired by Europe’s Digital Interoperability Forum and the European Broadcasting Union, the forum aims to draw up a 4K roadmap for broadcasters and TV manufacturers. Sky Deutschland head of innova­ tions and standards Stephan Heim­ becher, who has a leading role in the talks, says Ultra HD TV must mark “a step change in the viewing experience” to be successful. Europe’s more ambitious broad­ casters have been forging ahead. Satellite operator SES has carried out tests for Sky Deutschland, Sky

‘Change is never easy. But when it comes to technology, the only way is forward’ UK and Canal Plus in France and Spain, and forecasts multiple 4K/ UHD channels as soon as autumn 2016. The BBC’s Natural History Unit is unlikely to return to HD after shooting Survival in 4K, while Sky Sports found “real potential” after conducting the UK’s first live 4K broadcast of a Premier League football game. The momentum behind 4K TV underscores just how much TV has evolved since HD was rolled out. Netflix chief exec Reed Hastings says we have reached an inflection point where linear TV is giving way to a new world of applications across a raft of devices. US market research firm Park Associates pre­ dicts 4K TVs will reach mass-mar­ ket pricing in the next three years. Change is never easy. But when it comes to technology, the only way is forward. The only question is how quickly we adapt. ➤ Austin Freshwater is director of professional imaging at Canon Ireland For a longer version of this article, visit

e are a shrink­ ing industry and yet one that has fragmented into hundreds of pro­ duction companies. The talent workforce is fluid, flexible and, in my opinion, pretty courageous – but it’s still not diverse enough. Over the years, most broad­ casters and large production com­ panies have come up with their own diversity schemes. They’ve had varying degrees of success but, unfortunately, few have sustained in the long term. Coupled with the demise of black and Asian-specific program­ ming, which grew a lot of talent, the worrying trend has been that diverse talent has left the industry because they can’t sustain them­ selves financially or creatively. So, I think we are in need of a reboot. We have to act collectively by being fluid and flexible in our own thinking, actions and expectations. As a talent executive, I am part of The Talent Network Forum, a pan-industry group that works to ensure we do get the best, and that we enable those who want to work in TV to get opportunities to make careers for themselves. We now have 80 members and are tracking, developing and

sharing diverse talent around our varied production companies. At Shiver, part of ITV Studios, the pan-industry drive has been supported. This has, in turn, inspired real momentum at ITV through its chairing of the Creative Diversity Network (CDN). Bringing senior people to the table via the CDN’s industry working groups in commission­ ing, production and news has helped to drive diversity. Alongside the BBC Academy, The Stephen Lawrence Appren­

‘We need to develop the next generation of creatively diverse leaders’ ticeship, The TV Collective, Crea­ tive Access, Mama Youth and others, we want to make our talent pools more diverse and reflect the audiences that we serve. To make this joint effort suc­ cessful and sustainable, we need to track progression and support people’s careers so that we develop the next generation of creatively diverse leaders. ➤ Michelle Matherson is talent executive at Shiver For a longer version of this article, visit

Behind the camera: TV industry is failing to retain black and Asian talent 6 June 2014 | Broadcast | 21

Comment How to get ahead in TV Lesson 38

Why I’m learning to love Europe Jingoistic notions of British ‘quality’ TV hide some uncomfortable truths, says Steven D Wright


ven though I would much rather be pon­ tificating about hard news stories – such as One Direction smoking ‘jazz’ ciga­ rettes or Kim & Kanye’s trashy wedding – in the light of UKIP’s election success, I feel I have a journal­ istic duty to write about something more con­ fessional and shocking than the Kardashians dash around the fleshpots of Europe. Namely: am I, somehow, a British telly racist? Am I really the cool hipster I purport to be, or just another Farage-like figure espousing British jingoism and maintaining that our British TV is still ‘the best in the world’? Although ‘racist’ sounds shocking, it’s almost heretical for me to question British TV. We veterans were weaned on I, Claudius, Play For Today and The World At War. And, despite resembling a list show line that everyone parrots, it is true that during the ’70s and ’80s our screens were full of award-winning acting, hard-hitting docs and brilliant entertainment shows all proudly ‘made in Britain’. I grew up thinking we Brits were the best at making telly – and even worse, believed the rest of the world envied our cultural superiority when it came to TV. And even though we now ignore 22 | Broadcast | 6 June 2014

the racism in sitcoms like Love Thy Neighbour and It Ain’t Half Hot Mum, I wasn’t the only snob who sniggered at those daft Europeans making fools of themselves on Jeux Sans Frontières. Back then, the entire nation joined in with Terry Wogan to mock the Eurovision Song Contest – a BBC tradition that continues to this day, even if Conchita Wurst seems in on the joke.

‘I grew up thinking Brits were the best at making telly – and the world envied our superiority’ Indeed, as a teenager in the ’70s I completely ignored European telly (though I always made time for the odd foreign art house movie on BBC2, to study the… er... lighting). Yes, I was obviously a bit of a wanker back then. But this insidious Euroscepticism was the accepted wisdom in the UK TV industry. I never really questioned it until I suddenly realised that all the cool TV formats are now coming out of Scandinavia, Germany, the Netherlands, France and, shockingly, even those small countries I had sneeringly thought only made glitzy gameshows starring women

in bikinis. Even that well-known Middle Eastern (yet somehow still eligible for Euro­ vision) country Israel dominates our schedules with its exports. In a shockingly Daily Mail moment, I noticed that all my favourite series – The Killing, The Returned, Braquo and The Bridge – were immi­ grants and had taken over my Sky+ hard drive. Maybe, I thought, getting all frothed up, this explains why Britain’s Got Talent features Canadian magicians, Spanish dancers and numerous other non-British acts (although, it might be more truthful to admit that Britain has simply run out of talent). But, like Simon Cowell forcing his frozen face to smile at yet another Teutonic turn, do I need to change my worldview? Should I jump on the Eurostar to start pitch­ ing the European channels direct – and finally join all those internationalists drinking cham­ pers on super-yachts in Cannes? Whatever happens in Europe, and whatever UKIP politicians think about ‘bloody foreign­ ers’, I have to stop being an insular islander. After all, abroad is where the big money is – and while I might be an old fuddy duddy, I’m certainly not sceptic of euros. Zut alors! ➤ Steven D Wright is an entertainment producer





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Ratings Analysis Breakfast and daytime

Broadcasters’ battle for daytime Daytime programming can make or break a broadcaster’s overall performance, so it’s no surprise that networks put up a strong fight for this fertile ground. Stephen Price reports


he daytime schedule up to 6pm is fertile ground for fisticuffs among broadcasters. A strong performance in daytime – which usually means Monday to Friday, since that’s where the bulk of money is spent – can make the difference between a good overall performance and a bad one. These are high stakes, as demonstrated by Channel 4’s recent assertion that its general decline in 2013 was in part attributable to the “seismic” change of CBBC coming off BBC1. In recent years, there has been a lot of to-ing and fro-ing and massive tinkering with daytime – some changes to do with events and others with broadcasters fiddling about searching for the magic, winning combination.

Sporting boost In 2010, there was the World Cup and in the autumn ITV launched breakfast show Daybreak. In 2012, the London Olympics and Paralympics worked wonders for the BBC and C4, and mucked up yearon-year analyses. In 2013, CBBC moved off BBC1 and was replaced with programming for grownups, while BBC2 lost its originated daytime schedule budget. So far in 2014, there’s already been the Winter Olympics and Paralympics for BBC2 and C4 respectively, and the launch of ITV’s latest attempt to re-crack breakfast. It’s all go. In 2013 from 6am to 6pm, ITV had a decent performance in the teeth of BBC1’s afternoon schedule move, showing a 3% increase in share to 1.1 million/ 17%. Indeed, between 3pm and 5pm, where CBBC mostly was, ITV’s share increased by 15%, while BBC1 enjoyed crazy increases of 90%. Overall, BBC1, not unsurprisingly, had a strong 10% increase. 24 | Broadcast | 6 June 2014

‘Viewing was down by 7%, affecting the volume of audiences and making share the important metric’ C4 fell by 22% to 368,000/5% and Channel 5 by 2% to 322,000/5%. BBC2, denuded of its daytime budget, fell dramatically, by 28% to 264,000/4%. The winter of 2014 was milder than 2013 – and despite the Winter Olympics and Paralympics, total viewing was down by Good Morning Britain The average number 7%, affecting the of viewers for Good volume of audiences Morning Britain, 4% and making share the up on Daybreak important metric. So far in 2014, BBC1’s 6am to 6pm share is up 6%, though its audience is down 2% to 1.7 million/24%, while C4 is seeing a drop of 9% to 345,000/ 5% and ITV a 7% share fall to 1.1 million/16%. C5’s share has fallen by a relatively titchy 1% to 314,000/5%. BBC2 has benefited hugely from the Winter Olympics this year, growing by 39% in share to 352,000/5%. In the latest battle for breakfast, ITV launched Good Morning Britain – old name, new show – on 28 April. In its first two weeks BBC Breakfast of consolidated ratings, its performance mirrored that of its prededaybreak v good morning britain Mon-Fri, 0600-0830 cessor, Daybreak. Daybreak GMB Up to 25 April this year, from Channel Volume Share (%) Volume Share (%) 6am to 8.30am Monday to Friday, (000s) (000s) Daybreak averaged 576,400/15%; Individuals 576.40 15.24 624.80 15.86 that’s 8% down in share behind Housewives with children 107.40 21.17 106.60 20.82 the same period in 2013 (679,000/ Daybreak: 1 Jan 2014 to 25 Apr 2014; Good Morning Britain: 28 Apr 2014 to 13 May 2014 17%). So far (from 28 April to 13 daybreak & Lorraine v bbc breakfast Mon to Fri (year to 13 May) May), Good Morning Britain is averaging 625,000/16% – that’s Volume YTD Share YTD Change y-o-y Change y-o-y 4% up in share on Daybreak’s 2014 Programme 2014 (000s) 2014 (%) (000s) Share (%) average. At 21%, its share of the Daybreak/GMTV 582.50 15.32 -14.30 -7.54 commercially important ‘houseLorraine 899.80 16.94 -13.63 -7.53 wives with children audience’ is BBC Breakfast 1,489.00 35.91 -2.58 4.97 on par with Daybreak’s. Daybreak/GMTV hours 06.00-08.30; Lorrraine hours 08.30-09.25; BBC Breakfast hours 06.00-09.15


Data supplied by attentional

Source. BARB

In 2014 to date (13 May, the latest consolidated figures at the time of writing) between 6am and 9.15am, BBC1’s Breakfast is averaging 1.5 million/36%, a number unmoved by GMB’s arrival. So in its very early days, it’s as you were for ITV, with BBC1’s ratings unperturbed and still out in front. The mornings are generally a straight shoot-out between ITV and BBC1. In 2014 to date, BBC1’s share has grown by 3%, averaging 1.4 million/26% between 9.15am and 1pm, with perpetual hit Bargain Hunt averaging 1.9 million/31% to 13 May 2014, up more than 5% in share terms versus the same period in 2013. Between 9.15am and 1pm, ITV’s share has fallen by 8% to 1 million/18%, with This Morning’s 1 million/18% behind 2013 by 9% in share terms. The afternoons open up to a three-way argy-bargy as C4 enters the fray. From 3pm to 5.15pm, when Pointless begins, BBC1 is seeing further growth in share on 2013’s massive increase. In 2014 so far, it has grown by 12% to 1.5 million/16%. The 4.30pm to 5.15pm slot, occupied in 2013 by Antiques Road Trip, quiz Put Your Money Where Your Mouth Is and Flog It!, is up 12% in share.

ITV slips back After a good 2013, ITV has slipped back a little so far in 2014, down by 2% between 3pm and 5pm. At 3pm, The Alan Titchmarsh Show’s share is showing declines of 15% with a 2014 average of 800,000/11%, while Dickinson’s Real Deal’s ’s share is down 6%, averaging 900,000/13%. The story is better between 4pm and 5pm, with share up 4%. Here, quiz Tipping Point remains strong, up 17% in share to 2 million/20%. However, new arrival Ejector Seat, which launched on 28 April, has so far failed to lift off: its 1 million/ 12% average to 13 May 2014 is nearly half that of Tipping Point.

ToP 30 Mon-FrI, 0600-1800 (year To 13 May 2014) Programme 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30

Pointless One O'Clock News Winter Olympics The Chase Antiques Road Trip Put Your Money Where Your Mouth Is Bargain Hunt Winter Olympics – Opening Ceremony Tipping Point Doctors Father Brown The Paul O’Grady Show Flog It! Escape To The Country The Sheriffs Are Coming WPC 56 Coach Trip Breakfast Operation Hospital Food With James Martin Eggheads Britain’s Best Bakery The Jeremy Kyle Show Wanted Down Under Saints And Scroungers Come Dine With Me Wanted Down Under Revisited James Martin: Home Comforts Heir Hunters Helicopter Heroes Down Under Rip-Off Britain: Holidays




Viewers (m)

Share (%)


24 Jan 12 Feb 14 Feb 28 Feb 24 Jan 5 Feb 5 Feb 7 Feb 3 Apr 12 Feb 7 Jan 28 Apr 7 May 24 Jan 29 Jan 10 Feb 28 Jan 24 Mar 24 Feb 22 Jan 14 Feb 28 Apr 23 Jan 3 Feb 6 Jan 6 Feb 6 Mar 14 Mar 29 Jan 7 Jan

Fri Wed Fri Fri Fri Wed Wed Fri Thu Wed Tue Mon Wed Fri Wed Mon Tue Mon Mon Wed Fri Mon Thu Mon Mon Thu Thu Fri Wed Tue

17.15 13.00 16.30. 17.00. 16.30 16.30 12.15 15.30 16.00 13.45 14.15 17.00 16.30 15.45 11.00 14.15 17.30 06.00 09.15 18.00 16.00 09.25 09.15 11.45 17.00 09.15 15.45 09.15 11.45 11.00

4.33 3.92 3.88 3.70 2.90 2.63 2.48 2.38 2.34 2.08 2.03 1.96 1.94 1.87 1.84 1.84 1.79 1.67 1.66 1.63 1.61 1.59 1.57 1.55 1.54 1.50 1.49 1.44 1.41 1.35

26.11 44.03 23.51 24.83 22.46 20.22 34.30 15.20 24.08 23.04 24.82 15.92 19.80 18.02 31.51 23.10 10.05 37.55 29.90 8.59 11.75 30.66 28.19 27.68 9.39 28.05 16.21 26.62 23.93 25.36


Figures exclude bank holidays

‘New arrival Ejector Seat, launched on 28 April, has so far failed to lift off’ C4, which suffered 30%+ losses between 3pm and 5pm in 2013, has clawed some of that back, but so far in 2014 it is still seeing 10% share declines, averaging 673,000/8%. New 4.30pm shows such as the rebooted Fifteen To One (500,000/ 5% weekday average) It!, which and Draw It! launched on 5 May (500,000/6% average up to 13 May) are not strong performers, but they are at least slightly better than 2013’s new arrivals, such as Face The Clock (400,000/4.5%) or The Common

Ejector Seat

Fifteen To One

➤ 6 June 2014 | Broadcast | 25

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Ratings Analysis

Data supplied by Attentional


The Paul O’Grady Show

‘At 5pm, the battle remains a hotly contested one, dominated by BBC1 and ITV’ Denominator (400,000/5%), which played at 3.30pm. Even Deal Or No Deal, a staple of the afternoon schedule, is down 15% in share so far in 2014, averaging 800,000/9%.

Afternoon sweet spot At 5pm, where ratings can contribute significantly to audience share, and to the tally of impacts for commercial channels – as well as offering a nice lead-in to postwork evening viewing – the battle remains a hotly contested one, dominated by BBC1 and ITV. From 5.15pm, BBC1’s ever-present Pointless is averaging 3.6 million/24% so far this year, up 10% in share compared with the same period last year.

Come Dine With Me

For ITV, the 5pm to 6pm slot’s 2014 average so far is 3.1 million/ 21%, down 6% in share. The Chase ran in this slot until 25 April, averaging 3.3 million/23%, level with last year’s share. Returning on 28 April, The Paul O’Grady Show, which may be suffering from lead-in Ejector Seat’s anaemic numbers at 4pm, is behind its 2013 autumn average of 2.5 million/16%. Its 1.7 million/ 14% so far this year is roughly half of The Chase, impacting the slot share. C4’s share in this slot is down 17% to 1 million/7%. In one form or another, Come Dine With Me still plays between 5pm and 6pm in hours or half hours. With roughly the same number of episodes this year so far, the old regular’s share is down 22%. Superstar Dogs, part of the Crufts 2014 programming, averaged just 700,000/4% Monday to Friday at 5.30pm from 17 February. There’s work to do – and C4 knows it.


DAYTIME 0600-1800 (YEAR TO 13 MAY) Programme BBC1 BBC2 ITV C4 C5 Total viewing

Volume YTD 2014 (000s) 1,663.00 351.80 1,111.00 344.90 313.60 6,791.00

Share YTD 2014 (%) 24.48 5.18 16.35 5.08 4.62

Volume change y-o-y (000s) -1.96 28.72 -13.63 -15.88 -7.76 -7.18

Share change y-o-y (%) 5.61 38.5 -6.94 -9.29 -0.65

Volume change y-o-y (000s) 4.15 25.72 -8.74 -16.04 -18.89 -7.15

Share change y-o-y (%) 12.11 35.32 -1.71 -9.60 -12.69

Volume change y-o-y (000s) 2.86 21.70 -11.77 -22.38 -12.69 -6.55

Share change y-o-y (%) 9.98 30.17 -5.55 -16.95 -6.55

DAYTIME 1500-1700 (YEAR TO 13 MAY) Programme BBC1* BBC2 ITV C4 C5 Total viewing

Volume YTD 2014 (000s) 1,462.00 589.50 1,286.00 672.90 455.00 8,939.00

Share YTD 2014 (%) 15.65 6.59 14.39 7.53 5.09

*BBC1 15.00-17.15

DAYTIME 1700-1800 (YEAR TO 13 MAY) Programme BBC1* BBC2 ITV C4 C5 Total viewing

Volume YTD 2014 (000s) 3.591.00 891.80 3,076.00 991.80 700.80 14,460.00

Share YTD 2014 (%) 23.80 6.17 21.28 6.86 4.85

*BBC1 17.15-18.00

audience data system

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Behind the Scenes The Island With Bear Grylls

‘We were part of the story’ The crew on The Island With Bear Grylls were used to filming survivalists’ extraordinary experiences, but how did they feel about having to live it for themselves – and on camera? The Island With Bear Grylls

Production company Shine TV/Bear Grylls Ventures Commissioner Liam Humphreys, Channel 4 Executive producers Tim Whitwell and Ben Mitchell for Shine TV; Bear Grylls and Delbert Shoopman for BGV Series producer Tom Sheahan TX Available on 4oD

Dan Etheridge Photography/director There’s been much debate about the crew on The Island With Bear Grylls, around how much experience we’d had professionally, and of survival challenges specifically. So why did we choose this unique opportunity and how did we juggle living on the island – fighting to survive – and filming the day-to-day challenges? Matt and I were two of the crew dumped into that stinking, dangerous mangrove swamp alongside nine other men, and together we faced the challenge of finding food, water and a safe shelter for 28 days. Matt Bennett Series director/camera If this series had been filmed con­ ventionally, the crew would have stayed in a hotel away from the island, or offshore on a yacht. But instead, we were embedded in the challenge, documen­ ting what was going on for the viewer while being part of the experience. We were as much a part of the story as the others, recording and living through events that at times were frightening, challenging, sometimes rewarding, and often life-inspiring. DE Having a pipe inserted up my arse by a malnourished doctor to aid my extremely painful constipation was

From left: Dan Etheridge; Matt Bennett 28 | Broadcast | 6 June 2014

eye-watering both for me and for viewers. There was no script or director guiding us through some romantic Robinson Crusoe story to entertain and amuse. This was reality TV filming in every possible sense. MB From the moment I heard about the project, I was hooked. Personally, I was eager to grab a glimpse of life as a castaway. Plus, I saw this series as a new, raw and exciting challenge. It offered up a rare opportunity to docu-

‘I was ravaged by sand flies, whose bites itched with such intensity that I scratched my skin raw’ Matt Bennett

ment whether a bunch of modern men were able to survive in incredibly difficult circumstances. DE I was excited about the simplicity of the premise. Like many good songs and stories, the genius of a good TV programme is often its glaringly obvious simplicity, and as an idea, it didn’t get much simpler. But that’s where the simplicity ended.

MB I’ve made a living producing and directing documentaries in difficult, remote and hostile locations, but I’ve never had to endure the physical and mental challenges presented to me during my four weeks on the island. I’ve not done anything like this before and I’m not sure I will ever do it again. During the first two weeks, I lost a kilo in weight every day. My body was so dehydrated and malnourished that just walking along the beach was an immense task. On land I was ravaged by sand flies, whose bites itched with such intensity that I scratched my skin raw. In the sea, jellyfish with piercing stings found their target and there were the additional risks of a shark attack, being skewered by a stingray or standing on a poisonous stonefish. At night, when we should have been sleeping, we were kept awake by the chilling on-shore wind; during the day, we roasted under the tropical sun. Through it all, we had to keep filming. As we both came to know the other men, we were reassured that they had been chosen for the skills they had to offer. Sam was our doctor, Mike had experience with fishing. Joe was a carpenter and farmer, Chris a group motivator. Tony was probably there in case there was a riot. I, on the hand, felt I had nothing to offer. Operating a camera doesn’t appear on a list of survival skills. But I can swim, and that’s what I did. I swam for my food, helping to cast and bring in the nets each day. Of all the abilities I possess, of all the experiences I’ve had filming previous projects, swimming was the only one that helped me contribute to the survival of the group – a skill I learned as a child. Excuse the pun, but on the island I was a fish out of water. My TV colleagues Dan, Rupert and Kiff found themselves in a similar situation. Dan had filmed Bear’s exploits, but filming is not the same as doing. Rupert worked on a show with Bear over a decade ago about the French Foreign Legion, but that is not a survival qualification. Kiff, our sound

For all the latest breaking news, updated daily, visit

Clockwise from top: the castaways and production team; Bear Grylls; filming on the island with the other castaways

recordist, arrived sporting a hook for a hand, and though he’s undoubtedly the toughest of us all, he, like the rest of us, is no survivalist. DE I’ve worked in some extreme conditions – hot to cold, wet to dry, high to low. I’ve also worked with SWAT teams (but never carried a gun), magicians (but can’t perform any magic) and survivalists (but never had to survive). I love to film in these places with these amazing people, but that’s where it ends. I could never pose as an expert in anything I’ve ever filmed. The four of us have never had to face extreme survival challenges – 30°C heat battling exhaustion, dehydration and hunger. This is one of the fundamental reasons that the integrity of this experiment holds up. My role as a cameraman became the same as anyone else’s, no more or less important or relevant. We had to work as a group and support each other in a multitude of ways, each of us learning new things about ourselves and the challenges of surviving on this remote island. We all had to forage for food, collect the water, hunt and build a camp. We didn’t sit back and just observe and record; we were actively involved and part of the survival experience team. This was a unique experience: I was filming and being filmed. The cameras turned on me when I was sick, frustrated, furious or ecstatic. Being a part of this series really was an entirely different experience.

‘We didn’t sit back and just observe and record; we were actively involved and part of the survival experience team’ Dan Etheridge

It was such an intense experience. There was an overwhelming sense of responsibility towards one another and everything that we did was intensified. Our actions and intentions seemed more significant, the results having a direct bearing on our successes or failures as a community. Relationships were fractious and then calm, depending on each of our physical or emotional needs. MB We all shared the elation of a catch and the feast that followed – as well as the frustrations of eating yet another sea snail stew or catching yet another poo fish. DE Our focus was on survival and the cameras were part of that experience. They documented the dehydration, the group’s divisions, arguments and achievements – the jubilation of finding honey and the unique and lifeaffirming moment of witnessing a rare

sea turtle lay its eggs on the beach in the moonlight. MB There was no fakery involved in surviving this series. Instead, it is a ground-breaking way of documenting an incredible, thought-provoking and rewarding challenge that offers the viewer a rich, entertaining, honest and informative watch. DE I’m incredibly proud to have been one of the 13 men on the island and to have been involved in the making of this series. Despite the hardships all of us have had to face, this has been without doubt a positive, enriching experience. We landed on the island as strangers and left as friends. It is this, and the incredible resilience of the human spirit, that should be celebrated. Plus the fact that we will never have to smell the pungent stench of poo fish or eat sea snail stew again. 6 June 2014 | Broadcast | 29

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EXECUTIVE PRODUCER LONDON FIXED TERM CONTR ACT – 12 MONTHS COMPETITIVE SAL ARY Job Introduction BBC Comedy is the most prolific and established comedy producer in the World. We are seeking to recruit an Executive Producer where you will have the opportunity to work alongside a newly appointed Controller. If you are looking for an exciting opportunity to work for a cutting edge department then we would love to hear from you! Role Responsibility Focusing your creative energies and industry expertise on developing the next big thing in situational and narrative comedy, you’ll work with both on-screen talent and the behind-the-scenes team to deliver great TV content.

“I want to let you know how delighted we have been with the response to the recruitment advertisements we have recently been running in Broadcast. As you know we do not typically need to advertise, but we had to fill numerous roles pretty quickly. These roles were varied and outside our normal area of expertise and knowledge. The responses came in thick and fast and the vast majority were of a very high quality. We have now filled most of the roles with people who applied to the advertisements in Broadcast”. Nicky Sargent; CEO

The Ideal Candidate You’ll bring us a background in programme development, so you’ll know all about generating and pitching original, editorially ambitious ideas. When it comes to editorial judgement, you’ll have a fine-tuned understanding of what’s appropriate and what pushes boundaries. Closing date: 15th June 2014. Visit and search using ref: BBC/TP/139984/8240 to find out more and apply.

CALLING ALL FOOTBALL FANS IMG PRODUCTIONS ARE RECRUITING FOR THE NEXT PREMIER LEAGUE SEASON! IMG is offering you a fantastic opportunity to join the exciting and hugely successful Premier League Production team. Looking after live international match productions, Premier League Productions produces a whole series of Premier League content including live studio shows, daily news programmes and high quality magazine programming distributed around the world.

We are recruiting for various prestigious roles working with the Premier League and many of their international partners. Production Executive – will take responsibility for operational management of programming from development to delivery. To work alongside the Producers to ensure the programmes are produced efficiently, and adhere to all compliance issues. Strong budgeting skills and previous experience of dealing with large budgets, cost tracking and reporting are essential.

Production Managers – several positions available that will be responsible for all aspects of production management. Previous experience as a Production Manager working across different genres including live sports OBs and live studio programming is essential, as is experience of creating and managing comprehensive production budgets and line managing a team. Experience of dealing with high-profile clients in both the UK and international television industry is advantageous.

Assistant Producers – will assist on the editorial productions for the Premier League, delivering creative packages on a daily basis. Experience of self-editing with Avid and/or Final Cut Pro, directing single-camera shoots, sourcing and interviewing contributors is essential as is experience of logging rushes and feeds in a tapeless environment, clipping up material and supervising edits. Knowledge of the Premier League is vital. Broadcast Journalists – will work on our daily news programmes and assist the news producer by taking responsibility for elements of the output, from packages and lives to graphics and set-piece ideas. Must have experience of working in a busy newsroom along with excellent writing ability, creative thinking and a strong broadcast voice.

Production Coordinator – to assist the Production Manager in the management of production operations by ensuring all production paperwork is completed to deadline as well as booking crew, contributors, equipment, broadcast signals and travel. Experience of booking post facilities and of completing post-production paperwork for UK broadcasters is essential.

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Media Manager – will be responsible for safeguarding all formats of PLP’s library holdings and will

key members of the team to ensure all production/programming requirements are met. Must have previous experience as a Scheduler in a sports production environment. Previous editorial experience is advantageous.

supervise all aspects of the day-to-day running of media content requests/storage. Experience of managing and running both physical and digital library systems - and knowledge of tapeless workflow and EVS - is essential, as is experience of liaising with clients. Direct line management of a team is also vital.

Media Coordinators – several positions that will be responsible for the general management of all media content including ingesting footage into Avid and ensuring they’re in the correct formats (audio/visual). They will also be responsible for clearing used clips, organising and labelling footage and managing flash cards and hard drives. Knowledge of tapeless workflow and EVS is advantageous.

should have a proven editorial background and will have worked in a news or sports news environment. A strong contacts book and a solid, working knowledge of Premier League football are essential.

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Makeup Artists – to provide hair and make-up for a range of studio presenters. Essential attributes include experience of working in a live HD studio environment, an understanding of production techniques and knowledge of camera and lighting techniques.

Apply now if you have very strong experience in production, are willing to work at the weekend and want to be part of a dynamic and hugely successful team then send your CV and covering letter (stating the role you are applying for, salary expectations and notice period) to: by Friday 13th June 2014, 5pm. PLEASE NOTE: These roles will be on a fixed term contract from July/August 2014 until May 2015. All roles will be based at IMG’s new production facility based at Stockley Park.

6 June 2014 | Broadcast | 31

Ratings Mon 26 May – Sun 1 June

ITV claims half-term victory ITV sweeps the board with half-term fest of BGT and Corrie, as Countryfile provides a rare win for BBC1 BY Stephen Price

The World Cup looms, promising fame like a faintly sinister hawker; all the fun of the Fifa fair is to be had if you’re rich. But the best bits are the unlikely pairings: how else would Nigeria meet Bosnia Herzegovina? Appropriately this week, Question Time gave us Joey Barton and Piers Morgan to get us in the mood. Meanwhile, ITV’s annual halfterm talent-and-soaps blast swept the board, although 4% behind last year. On Bank Holiday Monday, ITV’s Britain’s Got Talent achieved 9.1 million/39% (450,000 +1) from 7.30pm. At 9pm, ITV’s Coronation Street (8.7 million/36%; 350,000 +1) was followed by Britain’s Got Talent Results (7.8 million/34%; 288,000 +1). After EastEnders’ lowest of the week (5.1 million/22%), BBC1’s movie Pirates Of The Caribbean: On Stranger Tides averaged 3.1 million/13% from 8pm. On Tuesday, BGT dipped to 7.8 million/35% (420,000 +1) from 7.30pm, followed at 9pm by Coronation Street’s 7.8 million/32% (860,000 +1). The BGT Results show achieved 6.3 million/27% (546,000 +1) at 9.30pm. After Holby City (3.6 million/16%) at 8pm, BBC1’s drama series Happy Valley achieved 5.3 million/22% at 9pm; only 400,000 behind last week, which, given the opposition’s oomph, demonstrates its strength. Wednesday’s BGT hit 8.2 million/37% (300,000 +1) from 7.30pm, followed by Coronation Street’s 8.6 million/36% (495,000 +1) at 9pm. At 9.30pm, BGT 32 | Broadcast | 6 June 2014

Broadcast/Barb Top 100 network programmes 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 16 18 19 20 21 21 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50




Viewers (m) (all homes)

Share %

Broadcaster/ Producer*

Britain’s Got Talent Coronation Street Coronation Street Coronation Street Coronation Street Britain’s Got Talent Britain’s Got Talent Britain’s Got Talent Britain’s Got Talent Results Britain’s Got Talent Britain’s Got Talent Results Coronation Street Britain’s Got Talent Results Britain’s Got Talent Results International Football: England V Peru Emmerdale Emmerdale Emmerdale Emmerdale Britain’s Got Talent Results Countryfile BBC News At Six EastEnders EastEnders Happy Valley Emmerdale EastEnders EastEnders Antiques Roadshow BBC News BBC News At Six BBC News At Six BBC News At Six Casualty BBC News At Six Catchphrase: Celebrity Special BBC News At Ten BBC News At Ten Pointless BBC News At Ten BBC News At Ten Have I Got News For You The One Show DIY SOS: The Big Build The One Show Quirke World Cup Epic Fails Michael Flatley: A Night To Remember ITV News At Ten & Weather Pointless

Mon Thu Wed Mon Tue Wed Thu Tue Mon Sat Thu Sun Wed Tue Fri Mon Thu Tue Wed Sat Sun Mon Fri Tue Tue Fri Thu Mon Sun Sun Wed Tue Thu Sat Fri Sun Tue Fri Mon Thu Wed Fri Tue Fri Mon Sun Sat Sun Mon Wed

19.30 21.00 21.00 21.00 21.00 19.30 19.30 19.30 21.30 19.00 21.30 21.00 21.30 21.30 19.30 19.00 19.00 19.00 19.00 21.30 19.00 18.15 19.30 19.30 21.00 19.00 19.30 19.30 20.00 18.30 18.00 18.00 18.00 20.40 18.00 19.00 22.00 22.00 17.30 22.00 22.00 21.00 19.00 20.00 19.00 21.00 20.30 20.00 22.00 17.15

9.58 9.19 9.11 9.07 8.67 8.48 8.45 8.24 8.08 7.75 7.63 7.20 6.95 6.84 6.33 6.14 6.14 6.13 5.97 5.88 5.54 5.54 5.46 5.38 5.34 5.30 5.28 5.10 5.03 4.80 4.72 4.42 4.38 4.27 4.26 4.25 4.22 4.14 4.08 4.03 3.93 3.91 3.81 3.79 3.77 3.69 3.67 3.65 3.63 3.60

41.01 39.61 37.95 38.07 35.07 38.24 38.55 36.80 35.00 41.11 34.67 30.42 30.73 29.36 30.34 30.87 33.75 33.26 31.95 28.82 29.29 30.92 28.74 24.67 22.22 30.62 24.80 22.34 23.18 30.22 29.09 27.93 28.52 21.95 29.81 22.47 23.39 22.48 26.24 22.10 21.50 17.56 20.71 17.88 18.97 17.46 18.95 16.83 18.96 27.19

ITV/Syco/Thames ITV ITV ITV ITV ITV/Syco/Thames ITV/Syco/Thames ITV/Syco/Thames ITV/Syco/Thames ITV/Syco/Thames ITV/Syco/Thames ITV ITV/Syco/Thames ITV/Syco/Thames ITV ITV ITV ITV ITV ITV/Syco/Thames BBC1 BBC1 BBC1 BBC1 BBC1/Red Production Company ITV BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 ITV/DRG/STV BBC1 BBC1 BBC1/Remarkable Television BBC1 BBC1 BBC1/Hat Trick Productions BBC1 BBC1 BBC1 BBC1/BBC Drama/Element/Tyrone ITV ITV/Shiver ITV BBC1/Remarkable Television

Figures include HD and +1 where applicable

Coronation Street

Catchphrase: Celebrity Special

All BARB ratings supplied by: Attentional

Source: BARB

51 51 53 53 53 56 57 58 59 60 61 62 63 63 65 66 67 68 69 70 71 72 73 74 75 75 77 78 79 80 81 81 83 84 85 86 86 88 89 90 91 91 93 94 95 95 97 98 98 98




Viewers (m) (all homes)

Share %

Broadcaster/ Producer*

BBC News At Ten The Graham Norton Show Holby City The One Show BBC News Pointless The One Show Pointless Watchdog ITV News & Weather The One Show BBC News Pointless Celebrities Pointless ITV News & Weather Mrs Brown’s Boys ITV News & Weather Pirates Of The Caribbean: On Stranger… ITV News At Ten & Weather Room 101 Del Boys And Dealers The National Lottery: In It To Win It ITV News At Ten & Weather ITV News & Weather Pointless Celebrities ITV News At Ten & Weather Question Time ITV News & Weather BBC News ITV News & Weather BBC News At One BBC News At One You’ve Been Framed! BBC News At One BBC News At One A Question Of Sport From There To Here Springwatch 2014 You’ve Been Framed! Springwatch 2014 Antiques Road Trip Food Inspectors ITV News & Weather Springwatch 2014 Springwatch 2014 BBC News At One Antiques Road Trip Antiques Road Trip Great British Menu Quantum Of Solace

Mon Fri Tue Wed Sat Thu Thu Tue Wed Tue Fri Sun Sat Fri Wed Sat Thu Mon Thu Fri Wed Sat Wed Sat Sun Tue Thu Fri Sat Mon Wed Tue Mon Thu Mon Wed Thu Wed Sat Tue Mon Thu Sun Thu Mon Fri Thu Wed Fri Sun

22.05 22.35 20.00 19.00 22.00 17.15 19.00 17.15 20.00 18.30 19.00 22.30 19.00 17.15 18.30 21.30 18.30 20.00 22.00 21.30 21.00 19.50 22.00 22.00 17.45 22.00 22.35 18.30 18.40 18.15 13.00 13.00 18.30 13.00 13.00 22.35 21.00 20.00 18.30 20.00 16.45 20.00 18.45 20.00 20.00 13.00 16.30 16.30 19.30 21.30

3.57 3.57 3.56 3.56 3.56 3.49 3.46 3.45 3.41 3.35 3.34 3.31 3.17 3.17 3.16 3.13 3.11 3.07 3.02 3.00 2.96 2.95 2.87 2.82 2.81 2.81 2.79 2.78 2.72 2.67 2.60 2.60 2.55 2.45 2.44 2.42 2.42 2.38 2.33 2.31 2.29 2.29 2.27 2.26 2.20 2.20 2.06 2.04 2.04 2.04

19.47 25.11 15.70 17.96 19.33 27.81 19.01 26.54 14.96 19.72 19.29 21.16 17.51 26.81 18.16 15.32 18.67 13.14 16.97 13.89 12.70 15.02 16.07 15.32 20.42 16.05 22.91 17.79 18.68 15.08 35.25 34.11 13.92 33.05 27.34 18.01 10.70 10.34 15.94 10.17 17.88 10.30 13.75 10.17 9.32 32.61 21.25 19.89 10.72 12.74

BBC1 BBC1/So Television BBC1 BBC1 BBC1 BBC1/Remarkable Television BBC1 BBC1/Remarkable Television BBC1 ITV BBC1 BBC1 BBC1/Remarkable Television BBC1/Remarkable Television ITV BBC1/BocPix/RTÉ ITV BBC1 ITV BBC1/Hat Trick Productions BBC1/RDF Television BBC1/12 Yard Productions ITV ITV BBC1/Remarkable Television ITV BBC1/Mentorn ITV BBC1 ITV BBC1 BBC1 ITV BBC1 BBC1 BBC1 BBC1/Kudos Film & TV BBC2 ITV BBC2 BBC1 BBC1 ITV BBC2 BBC2 BBC1 BBC1 BBC1 BBC2/Optomen ITV

*To include producer credits email by noon on Tuesday. Tables exclude programmes timed under 5 minutes long and omnibus editions, eg soaps.


Springwatch 2014

Results pulled in 6.6 million/30% (350,000 +1). Opposite at 8pm, BBC1’s Watchdog was 300,000 behind last week with 3.4 million/15%, while at 9pm, the new Del Boys And Dealers felt the heat on 3 million/13%. On Thursday at 7.30pm, BGT drew 8 million/37% (430,000 +1), with Coronation Street keeping up the share with 8.5 million/37% (681,000 +1). At 9.30pm, BGT Results achieved 7.3 million/33% (350,000 +1). After BBC1’s Food Inspectors’ 2.3 million/10% at 8pm, Coronation Street hit the second episode of BBC1’s drama From There To Here at 9pm hard,

‘Corrie hit the second episode of BBC1’s drama From There To Here at 9pm hard’ almost halving its audience to 2.4 million/11% – could catch-up be its friend? At 10.35pm, BBC1’s Question Time achieved 2.8 million/ 23%, about 200,000 ahead of 2014’s average so far. ITV’s coverage of the England V Peru friendly averaged 6.3 million/30% (incl +1) from 7.30pm on Friday, well ahead of BBC1’s DIY SOS: The Big Build (3.8 million/18%) at 8pm, Have I Got News For You (3.9 million/18%) at 9pm and a repeat of Room 101 (3 million/14%) at 9.30pm. On Saturday at 7pm, BGT averaged 7.2 million/38% (560,000 +1). The 9.30pm BGT Results achieved 5.6 million/27% (300,000 +1). BBC1’s best offering was Casualty’s 4.3 million/22% from 8.45pm, opposite ITV’s World Cup Epic Fails’ 3.4 million/18% (219,000 +1). On a lacklustre night outside of Coronation Street at 9pm (6.9 million/29%; 350,000 +1), ITV’s best Sunday show was Catchphrase’s 4.1 million/22% (180,000 +1) at 7pm, followed by Michael Flatley: A Night To Remember’s 3.4 million/16% (190,000 +1). Opposite, BBC1’s Countryfile (5.5 million/29%) and Antiques Roadshow (5 million/23%) gave BBC1 rare wins this week. At 9pm, Quirke’s 3.7 million/17% was 500,000 down from launch against ITV’s Bond film Quantum Of Solace (1.9 million/12%; 150,000 +1) at 9.30pm.

See over for digital focus, plus channel and genre overviews 6 June 2014 | Broadcast | 33

Ratings Mon 26 May – Sun 1 June Channel Overview

BBC2’s joy of Springwatch BY Stephen Price

Every year as I settle into my ‘it may be raining persistently but summer’s here because it’s the cricket season’ mode, I am beseeched by BBC2 to watch spring. Nature has to prove it knows best. Meanwhile, on a more remote island, every day is summer, only more so. Channel 4’s penultimate The Island With Bear Grylls achieved 1.7 million/7% (300,000 +1) on Monday at 9pm, the lowest of the run but standing up well to ITV’s bank holiday talent fest. It was ahead of BBC2’s comedy double bill of The Fast Show Special (1.5 million/6%) and a repeat of the more recent Inside No. 9 (900,000/4%), plus Channel 5’s What The Dambusters Did Next (1 million/5%; 110,000 +1). The best of BBC2’s Springwatch was Wednesday’s 2.4 million/10% at 8pm, defeating C4’s The Supervet (1 million/4%; 145,000 +1) and C5’s Marchioness: Party Boat Disaster (400,000/2%; 40,000 +1). In a close-fought scrap at 9pm, C4’s 24 Hours In A&E squeaked past with the help of +1, achieving 1.5 million/6% (400,000 +1) against BBC2’s Coast Australia: 1.8 million/8% from 9.10pm. The best of the penultimate week of BBC2’s Great British Menu was Friday’s outing, which achieved 2 million/11% at 7.30pm.

Source: BARB

WEEK 22 Average hours per viewer Daytime Share (%) Peaktime Share (%) w/c 26.05.14 Peaktime share (%) w/c 27.05.13 Year to date Average hours per viewer Audience share (%) Audience share (%) 2013

BBC1 4.76 18.80 19.58 19.62 BBC1 5.73 21.73 21.18

BBC2 1.29 3.82 6.66 7.42 BBC2 1.69 6.40 5.60

ITV1 4.32 9.48 27.62 28.56 ITV1 4.09 15.49 16.45

C4 1.27 5.37 5.18 5.31 C4 1.52 5.76 5.92


Viewers (m) (all homes)

Share %

34 | Broadcast | 6 June 2014

Total 24.49 100.00 100.00 100.00 Total 26.39 100.00 100.00

Top 30 bbc2, channel 4 and channel 5 Title



Springwatch 2014







Springwatch 2014








Springwatch 2014







Springwatch 2014







Great British Menu







The Island With Bear Grylls







24 Hours In A&E







Great British Menu







Gardeners’ World







Coast Australia







Great British Menu







Great British Menu







Great British Menu







For The Love Of Cars







Welcome To Rio







I Bought A Rainforest







Extraordinary Story Of Captain Winkle Brown







The Fast Show Special – Part Two







Goodness Gracious Me: Reunion Special







Peter Kay Live At The Manchester Arena







Top Of The Pops: Xmas 1978







My Granny The Escort







Springwatch Unsprung



































The Minster







Alan Carr: Chatty Man







Celebrity Antiques Road Trip






Figures include HD and +1 where applicable

Multichannel 37.81

Audience for Channel 4’s oneoff doc My Granny The Escort (Thursday, 10pm)

Others 11.97 58.23 37.81 35.88 Others 12.32 46.70 46.85

Daytime is 09.30-18.00. Peaktime is 18.00-22.30. Figures include HD and +1 where applicable

daytime share (%) w/c 26.05.14

peaktime share (%) w/c 26.05.14


C5 0.89 4.30 3.15 3.21 C5 1.03 3.92 4.00

BBC1 19.58

ITV 27.62 C5 3.15 C4 5.18

BBC2 6.66

Multichannel 58.23

1.6m The first episode of BBC2’s three-part Welcome To Rio hit slot average (Tuesday, 9pm)

BBC1 18.80

ITV 9.48

C5 4.30

BBC2 3.82

C4 5.37

All BARB ratings supplied by: Attentional

Genre Overview

Source: BARB

Top 10 children’s programmes Title

1 2 3 4 5 6 7 8 9 10

I Can Cook Something Special: We’re All… Mister Maker Comes To Town CBeebies Panto The Numtums Melody Big Barn Farm Alphablocks Show Me Show Me I Can Cook

Top 10 Factual programmes



Viewers (Age 4-15)

Share (%)


Wed Wed Wed Mon Mon Fri Wed Wed Fri Tue

15.05 13.45 14.45 11.05 10.50 09.20 13.30 13.40 10.05 11.05

166,000 160,700 159,800 156,300 152,700 152,400 150,400 149,800 148,700 148,500

18.79 15.88 18.17 17.66 16.29 16.49 15.04 14.81 14.21 14.11

CBeebies CBeebies CBeebies CBeebies CBeebies CBeebies CBeebies CBeebies CBeebies CBeebies



Happy Valley Casualty Quirke Holby City From There To Here NCIS Fargo Marvel’s Agents Of S.H.I.E.L.D. NCIS The Mentalist

UP Countryfile gains 740,000

Countryfile Antiques Roadshow The One Show DIY SOS: The Big Build The One Show The One Show The One Show Watchdog The One Show Del Boys And Dealers


Internat’l Football: England V Peru Women’s Fa Cup Final Triathlon: World Series – GB The Football League Show Channel 4 Racing Cricket: Pepsi Indian Premier L’gue TT 2014 Cricket On 5 TT 2014 Live ODI Cricket


Viewers (millions)

Share (%)


Tue Sat Sun Tue Thu Fri Sun Fri Wed Tue

21.00 20.40 21.00 20.00 21.00 21.00 21.00 20.00 21.00 21.00

5.34 4.27 3.69 3.56 2.42 1.30 1.30 1.09 1.08 1.04

22.22 21.95 17.46 15.70 10.70 5.94 5.82 5.14 4.63 4.32


DOWN Quirke sheds 490,000

UP Casualty adds 450,000


Viewers (millions)

Share (%)


Sun Sun Tue Fri Mon Wed Thu Wed Fri Wed

19.00 20.00 19.00 20.00 19.00 19.00 19.00 20.00 19.00 21.00

5.54 5.03 3.81 3.79 3.77 3.56 3.46 3.41 3.34 2.96

29.29 23.18 20.71 17.88 18.97 17.96 19.01 14.96 19.29 12.70


Question Time


1 2 3 4 5 6 7 8 9 10

Britain’s Got Talent Britain’s Got Talent Britain’s Got Talent Britain’s Got Talent Britain’s Got Talent Results Britain’s Got Talent Britain’s Got Talent Results Britain’s Got Talent Results Britain’s Got Talent Results Britain’s Got Talent Results

DOWN Tuesday’s BGT loses 1m from Monday

UP Thursday’s BGT Results up 680,000 from Wednesday



Viewers (millions)

Share (%)


Mon Wed Thu Tue Mon Sat Thu Wed Tue Sat

19.30 19.30 19.30 19.30 21.30 19.00 21.30 21.30 21.30 21.30

9.58 8.48 8.45 8.24 8.08 7.75 7.63 6.95 6.84 5.88

41.01 38.24 38.55 36.80 35.00 41.11 34.67 30.73 29.36 28.82


DOWN Happy Valley drops 450,000

UP Antiques Roadshow gains 210,000

Top 10 Current affairs programmes Day


Fri Sun Sat Mon Sat Sun Sun Sat Sat Sat

19.30 16.15 14.00 23.25 13.40 15.00 21.00 19.00 21.00 13.00

next week Comedy and Music & Arts


Top 10 Entertainment programmes


Top 10 Sport programmes 1 2 3 4 5 6 7 8 9 10

1 2 3 4 5 6 7 8 9 10

Britain’s Got Talent

Top 10 Drama programmes 1 2 3 4 5 6 7 8 9 10


Viewers (millions)

Share (%)

6.33 30.34 0.96 7.69 0.78 9.84 0.66 8.91 0.55 7.35 0.51 4.00 0.50 2.24 0.46 2.50 0.45 2.25 0.43 4.67


ITV BBC2 BBC1 BBC1 C4 ITV4 ITV4 C5 ITV4 Sky Sp’ts 2


1 2 3 4 5 6 7 8 9 10

Question Time The Andrew Marr Show On Assignment Newsnight Newsnight Newsnight Newsnight Unreported World Vote 2014 – Europe The Papers



Viewers (millions)

Share (%)


Thu Sun Wed Tue Mon Wed Fri Fri Mon Sat

22.35 09.00 22.35 22.30 22.30 22.30 22.30 19.35 09.00 23.30

2.79 1.35 1.33 0.83 0.78 0.67 0.60 0.53 0.35 0.34

22.91 21.69 10.16 6.73 5.46 5.23 3.98 2.75 4.78 3.49


See over for demographic and digital focus 6 June 2014 | Broadcast | 35

Ratings Mon 26 May – Sun 1 June Demographic Focus Channels

Individuals Share (%)

Adults ABC1 Share (%)1















Source: BARB

Adults ABC1 Profile (%)2

Adults 16-34 Share (%)1

Adults 16-34 Profile (%)2

Male Share (%)1

Male Profile (%)2

Female Share (%)1

Female Profile (%)2














































64.20 60.58






























Film 4






























More 4






























Sky 1









































Channel 4’s acclaimed doc Meet The Police Commissioner drew just 605,000 but grew the 9pm Thursday slot’s share of males (54% against a 41% average), ABC1s (61% v 53%) and young viewers (21% were 25-34, up from 18% average).

Share covers all hours. Figures include HD and +1 where applicable 1: Each channel’s share of total demographic. 2: Demographic as a percentage of the channel’s total viewers.

Digital focus

ITV3’s sleuths secure results BY Stephen Price

With pay drama channel ITV Encore heaving in to view, ITV3 was determined to show its sibling upstart how it’s done, with its detective greatest hits. Meanwhile, BBC4 pulled on its white stetson and set off for Dodge City. The week’s best non-terrestrial performer was again E4’s The Big Bang Theory with 1.6 million/7% at 8pm on Thursday. At 8.30pm, E4’s other US sitcom How I Met Your Mother achieved 1 million/4.3%. ITV3’s best was Midsomer Murders at 8pm on Friday (1 million/4.5%). The best non-Midsomer was Foyle’s War on Saturday at 9pm (900,000/5%). BBC4’s How The Wild West Was Won nudged up on last week’s launch by 50,000 to deliver 907,000/4% at 9pm on Thursday, with 82,000 for the late-night repeat. A further 259,000/2% watched the following Monday’s repeat. ITV2’s best Britain’s Got More Talent on Thursday at 10pm was also the channel’s best overall performer with 800,000/5%. 36 | Broadcast | 6 June 2014

Source: BARB

digital homes

Top 30 multichannel programmes Title

1 2 3 4 5 5 7 8 8 10 10 12 13 14 15 15 17 17 17 17 21 21 23 23 23 23 27 28 29 29

The Big Bang Theory Midsomer Murders How I Met Your Mother Midsomer Murders Foyle’s War How The Wild West Was… Midsomer Murders Hollyoaks Hollyoaks World Cup’s 50 Greatest… Britain’s Got More Talent Britain’s Got More Talent Hollyoaks Doc Martin Lewis Made In Chelsea Britain’s Got More Talent Hollyoaks Britain’s Got Talent Results Only Connect The Big Bang Theory Wallander Star Wars: Episode VI Hollyoaks Family Guy Foyle’s War Lewis Family Guy Family Guy Family Guy

Figures include HD and +1 where applicable


Thu Fri Thu Mon Sat Thu Tue Tue Wed Sun Thu Mon Mon Sat Sun Mon Sat Fri Sun Mon Wed Sat Sun Thu Fri Thu Wed Tue Sat Wed


20.00 20.00 20.30 20.00 21.00 21.00 20.00 19.00 19.00 20.00 22.00 22.00 19.00 20.00 20.00 22.00 22.00 19.00 17.25 20.30 18.30 21.00 19.25 19.00 23.25 20.00 20.00 23.25 24.05 23.10

Viewers (millions)

Share (%)


1.57 1.02 0.96 0.94 0.91 0.91 0.90 0.85 0.85 0.80 0.80 0.79 0.78 0.76 0.74 0.74 0.73 0.73 0.73 0.73 0.70 0.70 0.69 0.69 0.69 0.69 0.68 0.67 0.65 0.65

7.16 4.72 4.26 4.00 5.01 4.02 3.86 4.64 4.52 3.64 4.87 4.76 3.90 3.92 3.33 4.42 4.55 4.22 5.96 3.00 4.04 3.64 3.20 3.79 7.12 3.06 2.94 8.90 10.06 6.94



Share (%)

BBC 1 ITV BBC 2 C4 C5 Total multichannel ITV3 ITV2 ITV4 E4 Film 4 CBeebies BBC3 Dave More 4 BBC News BBC4 5 USA

19.68 17.88 5.27 5.07 3.87 48.24 2.63 2.59 2.00 1.84 1.50 1.37 1.30 1.29 1.22 1.20 0.94 0.94

Figures include HD and +1 where applicable

800k Audience for BBC3’s twohour special World Cup’s 50 Greatest Moments

All BARB ratings supplied by: Attentional

Non-PSB top 50 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 25 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50




Viewers (all homes)

Share %

24: Live Another Day Live ODI Cricket Criminal Minds Hawaii Five-0 The Simpsons Mock The Week The Simpsons Room 101 NCIS The Simpsons New Tricks Storage Hunters Grimm Ex On The Beach The Simpsons Modern Family Mock The Week The Simpsons Open All Hours The Simpsons The Simpsons The Simpsons Futurama Live Football League Storage Hunters The Simpsons QI XL The Simpsons Lizard Lick Towing The Simpsons Elementary The Simpsons The Simpsons Storage Hunters Storage Hunters Penny Dreadful The Simpsons Live Odi Cricket QI XL Bones The Simpsons The Day After Tomorrow The Simpsons The Simpsons Storage Hunters The Simpsons Sky News At Ten Open All Hours The Simpsons England’s Top 53 Footy Goals

Wed Sat Mon Sun Sun Sun Sun Wed Fri Mon Thu Sun Wed Tue Thu Mon Thu Tue Fri Wed Wed Fri Sun Mon Sat Sun Sat Fri Wed Tue Tue Mon Sun Tue Tue Tue Wed Sat Thu Wed Thu Tue Tue Fri Sat Mon Sun Sat Wed Tue

21.00 13.00 21.00 21.00 18.30 21.40 20.00 22.00 21.00 19.00 21.00 20.30 21.00 22.00 19.00 20.30 22.00 19.00 21.40 19.00 19.30 18.30 20.30 14.00 19.00 17.30 21.00 19.00 20.30 18.30 21.00 18.30 17.00 19.30 19.00 21.00 18.30 10.00 21.00 21.00 18.30 21.00 19.30 19.30 19.30 19.30 22.00 20.20 20.00 21.00

553,800 430,100 393,700 389,800 368,300 367,100 360,700 345,600 345,100 331,900 323,300 315,700 314,300 310,600 307,600 306,100 303,900 303,800 301,700 300,800 298,400 295,700 295,200 293,600 292,100 292,100 290,700 288,600 285,300 284,700 283,200 282,000 279,100 278,700 275,900 274,200 274,100 271,000 269,900 265,700 262,400 259,500 257,100 254,600 252,900 250,300 250,000 248,200 245,900 243,900

2.38 4.67 1.68 1.73 2.28 1.83 1.72 1.97 1.57 1.67 1.50 1.41 1.35 1.97 1.69 1.26 1.74 1.65 1.50 1.61 1.43 1.89 1.32 2.74 1.64 2.32 1.45 1.67 1.22 1.68 1.18 1.54 2.49 1.28 1.50 1.16 1.58 4.52 1.19 1.14 1.57 1.40 1.18 1.34 1.34 1.10 1.37 1.28 1.11 1.02

Figures include HD and +1 where applicable

Criminal Minds

Ex On The Beach

Broadcaster/ Producer* Sky 1 Sky Sports 2 Sky Living Sky 1 Sky 1 Dave/Angst Productions Sky 1 Dave/Hat Trick Productions Fox Sky 1 Drama/Wall To Wall Dave/T Group Watch MTV/Whizz Kid Sky 1 Sky 1 Dave/Angst Productions Sky 1 Yesterday Sky 1 Sky 1 Sky 1 Sky 1 Sky Sports 1 Dave/T Group Sky 1 Dave/Talkback Sky 1 Dave Sky 1 Sky Living Sky 1 Sky 1 Dave/T Group Dave/T Group Sky Atlantic/Neal Street Sky 1 Sky Sports 2 Dave/Talkback Sky Living Sky 1 Sky 1 Sky 1 Sky 1 Dave/T Group Sky 1 Sky News Yesterday Sky 1 Dave

302k Peak audience in the closing minutes of Carl Froch v George Groves on Sky Box Office

Sky shows slip slightly BY Stephen Price

I worry about Jack Bauer. It must be exhausting being that clenched all the time, and then there’s all that running and waving his pistol while perpetually pointing out that he’s trying to save the world here, people. Elsewhere, MTV found its beach landing fruitful, though it might make Bear Grylls blush. Sky 1’s 24: Live Another Day topped the table with 554,000/2% on Wednesday at 9pm, just 50,000 behind last week’s 603,000/3%, the previous lowest 9pm performance. A further 46,000 watched the Saturday 10pm repeat. On Tuesday at 9pm, the second of Sky Atlantic’s Penny Dreadful slipped to 274,000/1% from 353,000/2%. So far, three repeats have added another 146,000. Sky Living’s Criminal Minds was the third-best offering this week with 394,000/2% on Monday at 9pm. MTV’s Ex On The Beach achieved its second-best live Tuesday 10pm rating of 311,000/2%; 40,000 more than last week and second only to the launch episode’s 360,000/2% on 22 April. In a quiet week, the biggest sport audience was Sky Sports 2’s coverage of England’s One Day International match against Sri Lanka on Saturday, which averaged 430,000/5% from 1pm, peaking with 851,000/6% as England nearly pulled off a remarkable win. 6 June 2014 | Broadcast | 37

Ratings Mon 19 May – Sun 25 May

All BARB ratings supplied by: Attentional

Consolidated Ratings

Gong goes to Gogglebox BY Stephen Price

Larry David, co-creator of Seinfeld and writer/star of Curb Your Enthusiasm, once said he carried his Emmy with him wherever he went, but was very casual about it. Conversely, the Bafta-winning Gogglebox-ers were delightfully uncasual about watching themselves win. Elsewhere, Sky Atlantic entertained Mr Sloane as well as gothic horror, while BBC1’s Sundays went a bit Quirke-y.

Channel 4: Gogglebox Channel 4’s Gogglebox launched on 7 March 2013 in a low-key midweek 10pm slot, beginning modestly with 1.1 million/5%. This four-episode series was followed by a 13-part run. Together, the two series averaged 2 million/10%.

Source: BARB

The third series stepped bravely into the 9pm spotlight on Friday 7 March with 3.5 million/14%; the final and highest episode on 23 May achieved 4.4 million/19% after more than 900,000 recorded. The series averaged 3.8 million/15% and the commercially handy 16-34s averaged 1.2 million/26% (best audience of this group: 18 April’s 1.5 million/ 29%; best share: the finale’s 1.3 million/31%).

Sky Atlantic: Penny Dreadful/ Mr Sloane Sky Atlantic launched two rather different series and both premiered on-demand. Gothic horror series Penny Dreadful began on TV on 20 May at 9pm with a live rating of 369,000/1.7%. After 279,000 recorded and watched, it finished on 648,000/2.5%. So far, seven repeats have consolidated, adding a further 881,000 to total 1.5 million. Mr Sloane, the new comedy drama starring Nick Frost, began on 23 May at 9pm with just 103,000/ 0.5%. It more than doubled this

after 160,000 recorded to deliver a final rating of 266,000/1%. The four repeats consolidated so far added another 270,000 to deliver a total of 535,000.

Channel 5: The Mentalist Channel 5’s stalwart US drama The Mentalist moved back an hour to 10pm on Tuesday 29 April, making way for home-grown documentary series GPs: Behind Closed Doors (1.3 million/5% after four consolidated episodes). This week, The Mentalist achieved 1.98 million/11% after 902,000 recorded and watched. The 10pm average is currently 1.9 million/10%. At 9pm over nine weeks from 25 February, it averaged 2 million/8%.

BBC1 drama From Here To There added 1 million via PVR.

UP Happy Valley up 500,000

BBC1: Quirke BBC1’s new Sunday night drama series Quirke launched on 25 May at 9pm for 90 minutes to 4.2 million/20%; after more than 750,000 recorded and watched, it ended on 4.9 million/21%, with 2.7 million/25% ABC1 adults.

Top 30 Consolidated Ratings: ranked by gain

1 2 3 4 5 6 7 8 9 10 11 11 13 14 15 15 17 17 19 20 20 20 23 24 24 26 27 28 28 30

5.5m DOWN BGT down 700,000

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Viewers (m) (all homes)

Share %

Gain (m)

Gain %

Happy Valley Britain’s Got Talent From There To Here Casualty Gogglebox The Mentalist Coronation Street EastEnders Quirke EastEnders Coronation Street Game Of Thrones The Island With Bear Grylls EastEnders Elementary Person Of Interest The Big Bang Theory Derek Have I Got News For You Coronation Street Person Of Interest The Graham Norton Show 24: Live Another Day The Fast Show Special Made In Chelsea Criminal Minds Coronation Street Fargo Marvel’s Agents Of S.H.I.E.L.D. Hawaii Five-0

Tue Sun Thu Sat Fri Tue Fri Tue Sun Mon Fri Mon Mon Thu Tue Thu Thu Wed Fri Mon Thu Fri Wed Fri Mon Mon Wed Sun Fri Sun

21.00 19.00 21.00 20.40 21.00 22.00 20.30 20.00 21.00 20.00 19.30 21.00 21.00 19.30 21.00 23.00 20.00 22.00 21.00 20.30 22.00 22.40 21.00 22.00 22.00 21.00 19.00 21.00 20.00 21.00

7.33 9.92 5.51 4.80 4.39 1.98 8.04 8.80 4.94 7.83 8.55 1.73 3.29 7.50 0.99 1.15 2.38 1.70 4.65 8.97 1.38 3.79 1.23 2.05 1.36 0.96 7.02 1.72 1.86 0.91

28.51 44.79 22.67 20.38 19.07 10.50 33.35 37.70 21.04 35.07 40.45 7.05 13.53 35.61 3.83 10.35 10.14 8.64 19.63 37.32 7.32 26.11 5.04 10.90 7.80 3.89 38.56 7.05 8.14 3.71

1.55 1.03 0.98 0.96 0.91 0.90 0.87 0.78 0.76 0.74 0.71 0.71 0.69 0.67 0.65 0.65 0.64 0.64 0.62 0.60 0.60 0.60 0.59 0.58 0.58 0.57 0.56 0.55 0.55 0.52

26.90 11.50 21.70 25.10 26.20 83.90 12.10 9.70 18.10 10.50 9.00 68.90 26.30 9.80 186.40 128.70 36.90 60.50 15.40 7.20 76.70 18.60 90.60 39.20 73.00 146.00 8.60 46.70 42.00 132.30

Broadcaster BBC1 ITV BBC1 BBC1 C4 C5 ITV BBC1 BBC1 BBC1 ITV Sky Atlantic C4 BBC1 Sky Living C5 E4 C4 BBC1 ITV C5 BBC1 Sky 1 BBC2 E4 Sky Living ITV C4 C4 Sky 1

Figures include HD and +1 where applicable

38 | Broadcast | 6 June 2014

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Off Cuts

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is displaying TVC’s wares ahead of the big auction. Inevitably, the lot is dominated by sound mixers, computers and servers of variable modernity (cassette players, anyone?). But there are also trophies, clocks, sofas, dishwashers and a fridge. We’ve not spotted it yet, but we’re sure there’s a kitchen sink in there if you look hard enough.

And, as Marcus Garvey prophesied, as surely as night follows day, Bob Marley And The Wailers will appear on this BBC4 Whistle Test thing. @StuartMaconie (Stuart Maconie) Broadcaster

Meet The Police Commissioner is a work of comedy genius. A perfectly made programme. @C_T_S (Claire Travers Smith) Producer

Jason Bent: played by Simon Brodkin

Gallows humour at BBC3 Good to see BBC3 is having a giggle at its own apparent demise. Barely 30 seconds into World Cup’s Best Ever Goals, Ever!, Simon Brodkin’s charmless footballer Jason Bent is approached by a film crew to make the list show. “BBC3? That doesn’t even exist, does it?” Bent screams at his agent.

TV history up for grabs Roll up, roll up, just three weeks until the Great TV Centre Kit SellOff. Auction house Peaker Pattinson

TVC auction: BBC sell-off

Who the f**k goes to a Heathrow Terminal when not travelling, to watch a racist, and Labour non-entity and conservative dead weight #bbcqt @andrewzein (Andrew Zein) Senior vice-president, creative, format development and sales, Warner Bros

Loving #Springwatch with Strachan & Packham. Only a flickering blue Force Ghost of Terry Nutkins could improve it further. @barryhutchison (Barry Hutchison) Screenwriter

40 | Broadcast | 6 June 2014

Now we’ve seen it, we can’t unsee it: Off Cuts is indebted to screenwriter Roland Moore for pointing out that Peter Dinklage appears to have based his X-Men character Bolivar Trask (left) on Cardinal Burns’ take on Banksy.

AND FINALLY ... Richard LindsayDavies Chief executive officer, Digital TV Group

What’s the biggest lie you’ve ever told? “Of course your set-top box can be upgraded.” What’s the cruellest thing you’ve ever done? Getting my Weimaraner Hendrick’s nuts chopped off. Tell us one of your most hilarious faux pas Telling Shirley Bassey’s vocal coach how “real” I found the performance because she was slightly out of time and tune throughout. Oops. What TV channel would you most like to launch? Dogging (for dog owners). Which TV or radio programme would you resuscitate? Eldorado. Who would you least like to share a taxi with? Shirley Bassey’s vocal coach. Who would you be on Stars In Their Eyes? Brian from Family Guy (below). What law would you most like to break? The law of physics, so I could time travel to see the future of digital TV. Where would you put a webcam? In Brian Cox’s head. Where’s the best place to do some ‘meeja’ networking? Burning Man.

Broadcast 6th June 2014