Broadcast 6thDec lr

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6 December 2013

MASTERCLASS

INTERVIEW

BEHIND THE SCENES

Page 26

Page 24

Page 28

Getting the best from Ruby Wax on dispelling the ‘face’ of the show mental health myths

Lucan: revisiting a 1970s murder mystery

C4 suffers 2013 ratings blues Broadcaster experiences 11.4% decline as rivals ITV and Sky 1 improve on 2012 performance There are ways to maximise share, but C4 has a remit to take creative risks

BY JAKE KANTER

Channel 4’s all hours share of viewing has tumbled to 5.8% as it endured by far the toughest year in ratings terms of all the UK’s major channels.

Its 11.4% decline (see box) contrasted with improved performances by ITV and Sky 1, which grew their share across all hours and primetime, while BBC2 enjoyed gains across its peak schedule. BBC1 also experienced a difficult 2013, suffering due to year-on-year comparisons with the London 2012 Olympics.

But figures run by Broadcast show C4 endured the most pronounced decline in consolidated share between 1 January and 22 November 2013. It pulled in an average share of 6.1% during the primetime hours of 7pm-10.30pm, a fall of 8.7%. The drop was even more significant using C4’s definition of peak (5.30pm-12am).

Significant factors that had an impact on C4’s performance include last year’s bumper Paralympic audiences and the removal of children’s content from BBC1 in late afternoons, which helped the latter add viewers. C4 also pointed to continued creative renewal, highlighting that 28 of its top 50 shows were new titles.

But a number of C4’s established brands, such as One Born Every Minute, were weaker this year, while some new formats struggled, including Bedtime Live and Hollywood Me. Deeper analysis (see page 8) also shows that C4 had problems in 2013 either side of the period during

Channel 4 spokesman

C4: Compare Your Life; First Dates; Was It Something I Said?; Bedtime Live

CONSOLIDATED VIEWING BROADCASTER SHARE 2013 All hours share (6am-2am) 2013

Performance vs 2012

Peak hours share (7pm-10.30pm) 2013

Performance vs 2012

Peak hours share (channels’ own definition) 2013

Performance vs 2012

21.1%

-2.1%

21.3%

-6.9%

22.2%

-5.5%

BBC1 BBC2

5.8%

-5.4%

7.6%

+5.7%

7.4%

+1.4%

ITV

16.5%

+3.1%

22%

+4.6%

22%

+4.6%

C4

5.8%

-11.4%

6.1%

-8.7%

6.2%

-9.2%

C5

4.5%

-0.4%

4.6%

-1.1%

4.3%

-2.3%

Sky 1

1.0%

+4.3%

1.3%

+4.8%

1.3%

Flat

Barb/Attentional

which it was measured against 2012’s Paralympics.

A C4 spokesman said: “There are easier ways to maximise audience share, but C4 has a remit to take creative risks, champion alternative voices and stimulate debate.

We have done this across 2013 with programming that has also achieved audience success – from

The King In The Car Park, Utopia and Murder Trial to Southcliffe, The Mill and Educating Yorkshire.”

When C4 sells airtime to advertisers, it bundles in 4Seven with the main channel. Doing so gives it an improved all hours share of 6.1%, which is 8% down on 2012.

BBC1, like C4, faced a tough comparison with summer 2012 because

of the Olympics. Its all-hours share stood at 21.1% in the first 11 months of 2013, more than 2.1% down on last year. The gap was more marked in primetime, where BBC1’s share fell by 6.9% year on year, to 21.3%.

The 5.4% all-hours decline at BBC2 was almost entirely the result of it giving up daytime originations due to Delivering Quality First cuts. It performed much better in peak, where its audience share rose from 7.2% to 7.6%.

Sky 1, after declines of 10% in 2012, bounced back strongly. Its share was up 4.3% to just under 1% in all hours this year, while its peak viewing grew by 4.8% to 1.3%. Highlights included Karl Pilkington: Moaning Of Life, Stella series two and acquisitions Revolution and Arrow, and it launched a +1 channel at the end of last year.

It was a similar story at ITV, where gains of 3.1% in all hours and 4.6% in primetime came against the backdrop of it haemorrhaging viewers last year to the Olympics. A record first week for I’m A Celebrity…, plus Broadchurch’s massive numbers, were major bonuses, although it was still down on 2011.

Finally, Channel 5 was stable, with its audience share down a marginal 0.4% in all hours and 1.1% in primetime. The channel is hopeful it will end the year flat.

Editor’s Choice

Broadcast, 101 Finsbury Pavement, London EC2A 1RS or email lisa.campbell@broadcastnow.co.uk

Online this week www.broadcastnow.co.uk

Lisa Campbell, Editor

Top News

Ratings slide puts C4 in spotlight Decline in audience share has major commercial implications

H

owever you cut the numbers, it’s hard to escape the conclusion that Channel 4 has had a very tough year when it comes to ratings.

The all-hours decline of 11.4% for the main channel is worrying for management, advertisers, programme-makers and even Ofcom, which flagged concerns about audience share back in June.

“The main Channel 4 service represents the majority of C4’s investment in

The main channel’s decline comes despite a record investment in UK originations of £434m original content and has specific licence obligations; viewing of the service remains important to their delivery and public value,” read the letter sent to C4.

With C4’s licence renewal on Ofcom’s agenda, there may be alarm bells ringing at the regulator.

It’s slightly perverse that it is volume of eyeballs rather than issues with C4’s editorial remit that is the problem. Educating Yorkshire, Gogglebox, Richard III: The King In The Car Park and Utopia are among the year’s most celebrated shows, while a glance at the Best Documentary Programme shortlist for the Broadcast Awards 2014 demonstrates that C4 remains committed to challenging subjects: five of the six single films were ordered by the channel.

It now seems ironic that when chief creative officer Jay Hunt was appointed three years ago, the question was whether her background 2 | Broadcast | 6 December 2013

è Channel 4 has promoted David Glover and Nick Mirsky to the newly created positions of head of specialist factual and head of documentaries respectively.

è Company Pictures has optioned TV was too mainstream for C4. The expectation was that she would deliver numbers, but might struggle finding innovative, provocative and distinctive shows. The awards line-up shows they are there; the ratings show they are not there in volume.

The problem is that there are likely to be commercial implications. The main channel’s decline comes despite a record investment in UK originations of £434m and a 3% year-on-year increase in the content budget to £608m, something that has tipped C4 into the red – a planned loss, according to its annual report for 2012.

The main channel’s struggles have been in the spotlight since January, when the broadcaster struck an 11th-hour deal with GroupM after weeks of stand-off. At the time, GroupM wrote to clients stating that “Channel 4 has continued to lose audience at a faster rate than its competitors”, something it was later forced to correct.

But at the end of 2013, C4 is on less solid ground, with its commercial competitors’ shares all up, bar Channel 5’s relatively minor 0.4% decline. The difficulties aren’t being camouflaged by the portfolio of channels either – while E4, Film 4, More 4 and 4Seven are performing well, their gains are not enough to offset main channel declines.

Last year it was Sky 1 that tumbled in the ratings, but it has since had an impressive turnaround. C4 has talented and experienced commissioners and if it can more clearly define its identity and nail what makes it distinctive, there is no reason why it too can’t be back on top in 2014.

rights to Sarah Lotz’s The Three, with the intention of turning the novel and its sequel into an international mini-series.

è BBC1 will go behind the scenes at fast-food giant KFC as part of Charlotte Moore’s ambition to reinvigorate the channel’s factual output. Wild Pictures will produce the three-part doc.

Ratings Top Five 1 Channel 5 drama The Bible opened up with 1.3m on Saturday, seeing off competition from BBC2 and Channel 4.

2 Channel 4’s Liberty Of London (below) opened its doors to a solid 2m viewers on Monday night.

Cold War thriller Legacy performed effectively for BBC2 on Thursday, tracking down 1.6m viewers.

3

4 Doctor Who’s 50th anniversary special has become the most-watched TV drama of the year after adding 2.6m in the week after broadcast.

Last Tango in Halifax fell to a series low of 4.5m as it struggled against I’m A Celebrity…..

5

Team Tweets è Danny Dyer is going up against Downton Abbey on Christmas Day; good luck with that Fellowes. @peterzwhite

www.broadcastnow.co.uk

News & Analysis

Ad firms plan to rival GME Ad-funded platforms will continue to innovate and diversify to secure revenue

BY Peter White and Alex Farber

Major advertising agencies including Publicis Omnicom are planning to become rivals to GroupM Entertainment by funding TV content, Broadcast understands.

It is thought that Publicis Omnicom and at least one other of the top five advertising firms – which include Interpublic Group, Dentsu and Havas – are preparing to set up content-funding divisions, which would work with UK broadcasters and indie producers to pay for programming.

The plans are thought to be at an early stage, but an intermediary firm is known to be approaching indies to gauge interest on behalf of a new player.

One former advertising executive said the media-buying sector was having a tough time. “Agencies are taking on new accounts at a loss so it is all about looking for value-added service – and this is one,” he said.

Another source agreed that margins within the advertising industry are reducing rapidly, prompting the companies to look to ancillary activities.

Richard Foster, GME

Lucan: the ITV drama was co-produced by GroupM Entertainment and ITVS

casters’ budgets continue to come under threat. “This was inevitable – and anything that helps secure funding for original UK content is a good thing – but the reason it was inevitable isn’t because of GME. It was inevitable because there are more opportunities available than ever before for advertisers to reach target consumers,” he said.

“Ad-funded platforms will continue to innovate and diversify to

The interest from rival firms comes as GroupM Entertainment ramps up the number of shows it co-produces. It has received more than 30 commissions this year alone, taking its total number of co-pros close to 100 since it launched in 2009.

GME managing director Richard Foster said it was no surprise that other advertising firms were looking to fund content, as broad-

attract and secure revenue into their businesses – whether that be new production and distri­ bution models and ventures, content financing structures or adrevenue models.”

He added that producers need to continue to diversify and be open to new commercial relationships and funding models.

“There is a lot of discussion about what media agencies are doing in the content space, but most producers – quite rightly – already have some form of advertiser-related business,” he said.

GME has recently started working with new broadcasters such as Channel 4 on projects including Zig Zag magic format Troy and October Films’ Walking The Nile, as well as with Sky on a number of factual projects.

C5 commissioning focuses on love and death Channel 5 has unveiled a wideranging raft of commissions including two series about death and a romance strand.

The Northern & Shell-owned broadcaster has commissioned seven new programmes including Autopsy: The Last Hours Of… and Body Donors.

In Autopsy: The Last Hours Of…, a forensic pathologist will perform hypothetical autopsies on deceased celebrities Michael Jackson, Whitney Houston and Anna Nicole Smith. The 3 x 60-minute series is produced by ITV Studios’ Potato and commissioned by factual commissioner Guy Davies.

Body Donors is in a similar vein.

The series will follow what www.broadcastnow.co.uk

Paul Hampartsoumian

BY Peter White

TV is going ob-doc crazy; there won’t be a shop on the high street that hasn’t had a show made about it Ben Frow, Channel 5

Frow: fed up of fishing in same pond

happens when people die and their bodies are donated to science. It will cover everything that happens from before the subjects die to when their bodies are returned to their families a year later. The programme is made by Daisybeck

Productions and GME, and the run is yet to be confirmed. It was ordered by Simon Raikes.

Several one-off docs form the romance strand, including: teen wedding film Baby Face Brides, produced by Crackit Productions and GroupM Entertainment (GME); Holiday Love Rats, from Nine Lives Media and GME; She’s

78, He’s 39: Age Gap Love from Nine Lives Media; and Celebrity Wedding Planner from Renegade Pictures and GME. The shows were commissioned by Davies and Emma Westcott.

The strand also features 2 x 60-minute Henry And Anne: The Lovers Who Changed History. The Lion TV show was also commissioned by Raikes.

The commissions come after director of programmes Ben Frow hit out at the volume of ob docs on British TV at Broadcast’s Hot 100 launch this week, comparing the trend to the days of the docusoap.

“TV is going ob-doc crazy; there won’t be a shop on the high street that hasn’t had a show made about it. I find it demoralising that we’re all fishing in the same pond,” he said.

6 December 2013 | Broadcast | 3

News & Analysis

Woodward Gentle sets up drama indie

BY Alex Farber

Former Carnival Films creative director Sally Woodward Gentle has established a drama indie and secured two developments from the BBC. Woodward Gentle has founded Sid Gentle Films and hired Carnival head of development Henrietta Colvin to take on the same role at the new firm. Bafta-winning producer Lee Morris, responsible for The Damned United, Enid and Any Human Heart, will join in January as its managing director.

The new indie has been set up with financial backing from global investment firm The Yucaipa Companies. Its founder, Ron Burkle, has a long history of investing in retail, manufacturing, distribution and hospitality industries.

Woodward Gentle is targeting both UK and international broadcasters with returning series, oneoffs and feature film projects.

As well as initial discussions with Swedish and US broadcasters, two developments are under way with the BBC. One project is being penned by Neal Purvis and Robert Wade, who have written for five James Bond films including Skyfall.

Striking out: Woodward Gentle exec produced Bafta winner Any Human Heart

The company is also developing a supernatural thriller from May Day and Whitechapel screenwriters Ben Court and Caroline Ip. Woodward Gentle, who has worked across series including Carnival’s forthcoming The 7.39, Downton Abbey and Any Human Heart, said UK drama was in high demand globally.

“So much drama these days is being produced without any sense of domestic borders – we are seeing big shows doing good business, such as Sherlock, which don’t feel

British. Ours can feel more international, ambitious and tell the stories we want to tell,” she said. “It’s a cyclical business and broadcasters are looking to the UK to provide a bit of class. British talent, both acting and writing, has become the vogue. We have also seen the big US studios buy companies here.”

She added that the UK tax break would benefit indies, although she warned UK broadcasters could look to reduce commissioning budgets, and staffing costs could rise as a result of the savings.

C4 orders two more runs of Amazing Spaces Channel 4 has ordered series three and four of George Clarke’s Amazing Spaces as the hit second series nears its conclusion.

Plum Pictures will go into production on series three immediately and make series four in 2014.

The former will be 7 x 60 minutes while the latter will be 8 x 60 minutes, plus a Christmas special.

Managing director Will Daws, who execs the show, said having two series commissioned at once would allow the show to feature people undertaking longer and more complex small-space builds.

“We’ll be able to really show what’s pos­sible with a small budget but a big imagination,” he said.

The show was reordered by C4 commissioning editor for features Kate Teckman, who said the next two series would “show pioneers of innovative design pushing the boundaries across an even more inspiring range of projects and budgets”.

George Clarke’s Amazing Spaces has been a ratings success for C4.

It is midway through its second, nine-part series and is averaging a consolidated 2.5 million (10%) on Thursday nights at 8pm, well ahead of slot average. That is a slight improvement on the first series’ seven episodes, which averaged 2.4 million (9.2%).

Channel 4 trims comedy budget and cuts back on pilots It is thought that C4 will reduce the number of pilots from six to four next year

BY Peter White

Channel 4 is trimming its comedy budget and shaking up the way it develops series in a bid to order fewer pilots and go straight to series more often.

C4 comedy, led by Phil Clarke, is keen to reduce the amount it spends on pilots and free up more time and money for development.

It is thought that C4 will reduce the number of pilots from six to four next year.

A C4 spokesman said that all genre budgets are flexible and the comedy budget for 2014 is “broadly in line” with this year.

4 | Broadcast | 6 December 2013

Toast Of London: creative hit for C4

Earlier this year, C4 ordered pilots for comedy series including Two Brothers Pictures’ The Revengers!, about Croydon resi-

dents donning superhero costumes and fighting crime, and Clerkenwell Films’ Scrotal Recall, about a twenty-something man who visits all his ex-girlfriends to tell them he has contracted a sexually trans­mitted disease.

Greg Davies’ Man Down was Channel 4’s biggest comedy hit

this year, averaging 1.4 million (5.5%) viewers across its sixepisode run.

Other C4 comedies launched this year include Toast Of London, which was widely considered a creative hit despite only averaging 385,000 (2.2%) across its six-episode run, and London Irish, which delivered 704,000 (3.7%) against a 1.4 million (6.4%) slot average.

Clarke was among the C4 commissioners who attended a Pact indie briefing event last week.

Execs from genres including entertainment, drama and features outlined their programming shopping lists for next year. www.broadcastnow.co.uk

News & Analysis

BBC books its seat with BA The BBC will build on its growing portfolio of observational documentaries after BBC2 secured hardwon access to British Airways.

Broadcast has discovered that Lion Television has persuaded the iconic 40-year-old airline to open its doors to cameras, in a series that the channel will hope can build on ob-doc successes Inside Claridge’s and Iceland Foods: Life In The Freezer Cabinet.

The 3 x 60-minute British Airways doc will be made by the same freelance production team that produced Films of Record’s Iceland series: producer/director Max Shapira and series director James Rogan.

They have been given access to all areas of the company, including cabin crew, engineers and the boardroom, and will aim to reflect its global footprint.

The BBC has been chasing access to British Airways for years.

Former documentaries boss, now BBC1 controller, Charlotte Moore told Sheffield Doc/Fest in 2010 that the broadcaster had been knocked back by the airline.

Juergen Lehle

BY Jake Kanter

There’s a real appetite for letting people in. If you are closing the doors, that can have an adverse effect Charlotte Moore

Inside British Airways: the BBC has finally gained access to the airline

Lion established a relationship with British Airways after dissecting one of its jumbo jets for BBC2’s Engineering Giants last year. The indie won a tender process to make the series and took it straight to the BBC. The project is being led by Emma Willis, head of documentaries for BBC1, BBC2 and BBC4, while Nick Catliff is the executive producer. Called Inside British Airways, it is set to air next year.

The commission follows Moore’s announcement this week that BBC1 had secured access to fast-food chain KFC. Wild Pictures’ 3 x

60-minute series, titled Inside KFC, will offer a “top-to-bottom” portrait of the fried-chicken empire, meeting staff from both its restaurants and its boardroom.

Moore stressed the show would provide a “warts-and-all” account of working conditions at the com­ pany, amid concerns the series might work as a marketing tool.

It is the second access piece Moore has ordered for BBC1 following a 6 x 60-minute series on the Metropolitan Police in October.

“The Met has been very brave to realise you can’t continue to be

a closed institution. There’s a real appetite in this country for letting people in. If you are closing the doors, that can have an adverse effect,” Moore told a Bafta breakfast in London this week.

She added that viewers have an appetite for “real and authentic” factual shows, as demonstrated by the success of Iceland, which averaged 2.4 million (9%) earlier this year, while Inside Claridge’s drew 3.9 million (14.8%) to BBC2 in December 2012. The latter was produced by The Garden Productions.

The BBC1 controller has also ordered 3 x 60-minute Grey Mates, a comedy about three retired couples. It is produced by Hat Trick Productions and written by Citizen Khan scribe Richard Pinto.

October lands co-pro order from six countries

BY Peter White

BBC2 has ordered a big-budget international co-production about Stonehenge from October Films.

Stonehenge Empire is a co­production between the BBC, the US’ Smithsonian Channel, Canadian public broadcaster CBC, France 5, Austria’s ORF and Germany’s ZDF. The indie has gained access to the archaeological site, where a team of scientists are conducting the most far-reaching research there since the 1960s.

The 2 x 60-minute documentary series will combine this archaeological evidence with drama reconstructions and state-of-the-art CGI to show how the site looked at the time it was built, described by www.broadcastnow.co.uk

Stonehenge Empire: the doc will combine archaeological research and CGI

October Films as “a Neolithic Valley of the Kings”.

It was commissioned by Martin Davidson, BBC commissioning editor for history and business programming, and will be exec produced by October Films

creative director Adam Bullmore, Terence McKeown and Heinrich Mayer-Moroni.

The co-production was put together by international funding firm Drive, which was launched earlier this year and is run by

former Channel 5 exec Lilla Hurst and ex-Zig Zag exec Ben Barrett.

Davidson said: “This is a really exciting project that will allow us to properly understand the achievements and character of the people that built Stonehenge; people who mastered deep mining, sophisticated engineering, textile manufacturing, shipbuilding, ‘micro’ gold-working, metallurgy, glass making, overseas trade and complex astronomy and mathematics.”

Bullmore added: “Instead of seeing Stonehenge as an extraordinary achievement of an otherwise relatively primitive, prehistoric people, the documentary will reveal Stonehenge as the epicentre of a truly remarkable and highly sophisticated ancient civilisation.”

6 December 2013 | Broadcast | 5

News & Analysis

S4C pens investment deal with Wildseed BY peter white

Welsh public broadcaster S4C has taken a stake in Wildseed Studios, becoming the digital content studio’s biggest single investor.

Wildseed, run by former Aardman Animations television boss Miles Bullough and former BBC Children’s chief Jesse Cleverly, held a first investment round in April this year before launching in June.

S4C’s deal is effectively the company’s second round of investment, and it plans to hold a third in 2014.

The deal gives S4C the option to co-produce projects with Wildseed as well as the rights to dub the studio’s work into Welsh for the channel.

S4C has not disclosed the size of its stake, but its minority investment gives the broadcaster’s commercial development head David Bryant a seat on the Wildseed board.

Bullough said S4C’s investment means Wildseed will be in a position to add to its original fund of £500,000, created to support multiplatform ideas. “That pot will definitely increase,” he said.

Bullough added that the deal echoed the way that technology start-ups rather than indie producers raise money. Co-founder

Buck & Rick: a slate of animated pilots have been revealed by Wildseed

Cleverly said that Wildseed had been impressed with S4C’s desire to build a business around new creative talent.

“In a world in which everyone’s been asking what the hell is going on for a long time, we want to be a 21st-century media company – rather than feeling like we’re sitting on the balcony of the Palace of Versailles before the start of the French revolution,” he added.

S4C’s Bryant said: “We were impressed with Miles and Jesse’s

vision for Wildseed and the opportunity it offers to invest in a highly commercial proposition.

“The investment creates another way for talent in Wales to access finance and strategic and creative support for projects they want to develop.”

Wildseed revealed a slate of pilots last week, including a comedy featuring Green Wing star Michelle Gomez as a right-wing agony aunt, and animated projects including Buck & Rick (pictured).

Twenty Twelve’s successor to go inside the BBC Hugh Bonneville’s Twenty Twelve character Ian Fletcher has landed a new job – working as the head of values at the BBC. The BBC’s in-house comedy unit has been commissioned by BBC2 to make the 4 x 30-minute W1A, which will go inside the corporation in the run-up to charter renewal in 2016.

As head of BBC values, Fletcher will be tasked with defining the core purpose of the broadcaster and positioning it confidently for the future. His mission is distilled as: think big thoughts.

W1A is not a sequel to Twenty Twelve, but “shares some of its DNA” and will also follow the post-Olympic progress of Jessica Hynes’ PR guru Siobhan Sharpe.

Writer and director John Morton said the series wasn’t a “demolition job” on the BBC and that its characters would not be based on current executives.

“It’s satirical about an environment, an ethos, and the absurdities of modern corporate life,” he added.

W1A was commissioned by BBC2 controller Janice Hadlow and comedy controller Shane Allen. Paul Schlesinger is the producer and Jon Plowman is executive producing.

It goes into production next month for a 2014 TX.

Victoria Wood reworks acclaimed stage musical for BBC1 The split narrative centres on Tubby and Enid, two characters in their 50s

BY jake kanter

Victoria Wood is to adapt her stage musical That Day We Sang into a single drama for BBC1.

The comedian and actress is working up a television version of the 1960s-set drama in partnership with Red Arrow Entertainment Group’s Endor Productions.

The split-narrative story centres on Tubby and Enid, two characters in their 50s who are reminded of a Hallé orchestra version of Nymphs And Shepherds in which they had performed 40 years earlier. The action flits between the adult duo 6 | Broadcast | 6 December 2013

Wood: directing TV adaptation

assessing their lives and their preparations as children ahead of the performance in 1929.

That Day We Sang’s theatrical production premiered at the Man-

chester Opera House in 2011 as part of the city’s International Festival and won critical acclaim for its warmth and humour.

The BBC1 adaptation has been given the working title Tubby And Enid and will go into production in Manchester next month, with

Wood directing. It will be produced by Hillary Bevan Jones and Paul Frift, while the commission was overseen by BBC drama controller Ben Stephenson and BBC1 boss Charlotte Moore.

Endor’s most recent project for BBC1 was three-part legal thriller The Escape Artist, which averaged 5.7 million (21.8%) viewers for the channel.

Wood’s last television drama project was BBC1’s Loving Miss Hatto, a 90-minute story of British concert pianist Joyce Hatto that averaged 4.5 million (17.3%) at Christmas last year. www.broadcastnow.co.uk

Outside Broadcasts for Winners

Contact: Adam Berger: adam@ctvob.co.uk or Bill Morris: bill@ctvob.co.uk / 020 8453 8989 / www.ctvob.co.uk Photo credits: Ryder Cup: Hugh Routledge / Rex Features. BRIT Awards: David Fisher / Rex Features. NFL: Terry Harris / Rex Features The Ashes: Glyn Thomas / Rex Features. Open Championship Golf Tournament: Hugh Routledge/Rex Features. BAFTA Awards: BAFTA/Richard Kendal

Ratings Analysis channel 4 2013

Award hits but ratings misses Channel 4 may have picked up a slew of nominations for the Broadcast Awards 2014, but as Stephen Price reports, this hasn’t been matched by a flood of viewers to its programmes

W

hen the 2014 Broadcast Awards shortlist was revealed, one broadcaster stood out. With 25 titles across the 17 programme categories, Channel 4 received more nominations than any other single channel, beating its nearest rival BBC1, which had 22.

We’ll find out in February how many awards C4 wins, but this is already quite an achievement.

However, across these sunlit green uplands falls a long, cold shadow: the channel’s ratings performance.

Some moons ago, with my hot little hands gripping the ITV peaktime schedule, I was asked by the then director of television whether awards or ratings were more important. “Both,” I squeaked, as I saw my career vanishing down the plughole marked ‘the wrong answer’. “Awards for kudos and reputation, ratings for revenue.”

Genius, I think you’ll agree.

Today, C4 is facing a weighty contradiction; lots of nominations for awards (good), squaring up against significant declines for the main revenue-generating channel (bad).

It is a pronounced dislocation.

The extraordinary numbers for 2012’s Olympics and Paralympics will have skewed the year-on-year comparisons for a time in the summer, so this analysis will also look at before and after that period to see how the channel fared in ordinary circumstances, as well as the year to date.

The short answer is that it performed poorly, with details of its performance outlined in the front page news story.

Its difficulties also mean C4’s family of channels is showing a 4% decline in all time, despite E4, More 4, Film 4 and 4Seven all showing increases.

In comparison, ITV’s family is up 3% in all hours, while Channel 5’s portfolio has risen 0.2%. In 7pm to 10.30pm, C4’s family has declined by 2%, again despite increases among its digital net8 | Broadcast | 6 December 2013

HITS

MISSES

Educating Yorkshire

The Intern

Richard III: The King In The Car Park

works, while C5 is down by the same 2%. ITV, on the other hand, is up more than 4%.

Pressure points Looking at the main C4 channel, there are some key pressure points.

Between 8pm and 9pm, C4 is down 5%, despite the unalloyed success of The Mill with 3.2 million/13% at 8pm on four Sundays during the hottest of summers.

Shows that disappointed at 8pm include Hollywood Me (609,000/ 3%), which was dropped and played out in daytime, and Compare Your Life (710,000/3%), which was pulled after three episodes. Spring’s Bedtime Live (972,000/4%) also suffered.

The 9pm to 10pm slot is down 11% for individuals. Perversely, this is partly due to some of C4’s biggest shows slipping: One Born Every Minute’s 3.3 million/12% is down 26% on 2012’s share; 24 Hours In A&E (2.9 million/11% for the 23 episodes consolidated so far) is down 8% on last year’s 13 episodes; while 999: What’s Your

Hollywood Me

Emergency? is at 1.9 million/7% after seven consolidated episodes, 29% down on 2012.

Further pressure was added by The Intern’s ropey old time at 9pm.

It averaged 1.1 million/4% for three weeks in April before being sent to 11pm to finish its run (343,000/4%).

There have been 9pm successes though: five episodes of The Undateables (3.4 million/13% in the winter) were 11% up on 2012’s three episodes, while Southcliffe achieved 2.4 million/9% in August.

Yet neither these, nor successful singles like Richard III: The King In The Car Park (4.9 million/18% on 4 February) and The Man With The 10-Stone Testicles (4.5 million/18% on 24 June), have been enough to counter the declines.

The Paralympic effect It’s impossible to compare C4’s year-on-year performance without factoring in the 2012 Olympics and Paralympics. But even before 26 July 2013 (when the comparisons with the Olympics kick in), C4 was showing declines of 13% in all time

‘The 9pm to 10pm slot is down 11% for individuals, with big shows slipping’ and 11% in peak. In the same period, BBC1 was level in all time and down 5% in 7pm to 10.30pm, while BBC2 was down 6.6% in all time, but up 6.4% in peak.

Among the commercial opposition, C5’s declines were relatively modest: 3% in all time and 4% in peak. Meanwhile, ITV was up 0.4% and 0.8% respectively.

Moving ahead to the period from 10 September 2013 (when normal service was resumed) to 22 November (the latest date allowing for analysis of the consolidated data), the picture is slightly more nuanced. C4 has suffered in the afternoons (1pm to 6pm) particularly, falling 19%. In comparison, ITV is up by 7.5% and BBC1 has made giant increases (up 27%), largely due to the lack of CBBC. C5 is down by just 0.5%. www.broadcastnow.co.uk

Data supplied by Attentional

Source. BARB

Moving back to all hours (6am increase in all hours but a decline to 2am), during the past two of 2.7% in peak, while ITV is up months, C4’s share has still slipped 0.8% all hours and 2.4% in peak. nearly 6%, but there is better news But BBC2 is the top performer in peak time. C4’s share of peak with a Great British Bake Offviewing after the Paralympics is up inspired peak-time increase of 6.5%. C5 has enjoyed 1% peak by 3.6% to date on 2012.

These increases have mostly increases, and Sky 1 is up 0.9%. come from 8pm to 9pm, which is up 16% for individuals. The princi- Future prospects pal source is acquired comic book So it’s tough out there for C4, with series Marvel’s Agents Of BBC2 showing increases in peak, S.H.I.E.L.D., which, thanks and ITV doing likewise and to strong consolidation, across all time. That’s not is being watched by to mention increases 3 million/12% on for Sky 1 and C5’s relaFridays so far, and tively minor declines.

Year-on-year decline 1.4 million/6% for Despite its signs of in all time ratings the Saturday repeat. an autumn recovery, for Channel 4 (year to 26 July) Also helping out the ratings spotlight is are George Clarke’s shining on C4’s rather Amazing Spaces (averagprecipitous falls. ing 2.5 million/10%), now Certainly 2012’s exertions recommissioned for series three on track and field will have had a and four, and the indomitable bearing, but significant declines Location, Location, Location (2.4 were already apparent before this million/10%), as well as Obsessive came in to comparative effect.

Compulsive Cleaners’ 2.5 million/ Commissioned successes such 10% on Tuesdays. as The Mill, Educating Yorkshire Post-Paralympics comparisons, and Gogglebox (2.1 million/11% at 9pm is up as well, rising 1% for 10pm), plus imports Marvel’s Agents individuals. This is largely due to Of S.H.I.E.L.D. and Homeland, Educating Yorkshire (4.2 million/ reveal some green shoots, but these 17%) and better film titles at the must lead to a sustained recovery weekend, the best of which was to protect revenue, especially as its Paul’s 3.4 million/14% on Sunday commercial rivals are taking more 15 September at 9pm. robust figures to the market.

But in the four weeks since EduC4’s 25 Broadcast Awards nomicating Yorkshire and its Thursday nations play against all hours, companion Location, Location, Loca- peak and 5.30pm to midnight tion ended, the renaissance has also shares of 5.8%, 6.1% and 6.2% ended: peak has declined by 4%. respectively – all a long way short C4’s rivals have also had a of C4’s own share target of 7% in mixed performance since 10 Sep- 2011. Awards or ratings? It still has tember. BBC1 has registered a 4% to be both, really.

13%

C4 FAMILY ALL HOURS (year to 22 November 2013) 06002600

2013 YTD volume

2013 YTD share (%)

2012 vol (m)

2012 share (%)

Change in Change in vol (%) share (%)

C4

625,100

5.77

727,000

6.51

-14.02

E4

199,100

1.84

198,600

1.78

0.25

-11.37 3.37

More 4

131,700

1.22

133,000

1.19

-0.98

2.52

Film 4

162,800

1.50

165,100

1.48

-1.39

1.35

4Seven

33,500

0.31

15,846

0.14

111.41

118.41

C4 total

1,152,200

10.64

1,239,546

11.10

-7.05

-4.16

C4 FAMILY PEAK (year to 22 November 2013) 19002230

2013 YTD volume

2013 YTD share (%)

2012 vol (m)

2012 share (%)

Change in Change in vol (%) share (%)

C4

1,440,500

6.1

1,623,300

6.68

-11.26

E4

452,000

1.91

440,000

1.81

2.73

-8.68 5.52

More 4

277,100

1.17

279,700

1.15

-0.93

1.74

Film 4

358,900

1.52

351,100

1.45

2.22

4.83

4Seven

60,600

0.26

30,609

0.13

97.98

107.34

C4 total

2,589,100

10.97

2,724,709

11.22

-4.98

-2.24

TOP 20 CHANNEL 4 PROGRAMMES (year to 22 November 2013) Rank 1 2 3 4 5 6 7 8 8 10 11 12 13 14 14 16 17 18 18 20

Programme My Big Fat Gypsy Valentine Richard III: King In The Car Park Educating Yorkshire Marvel’s Agents Of S.H.I.E.L.D. The Man With 10-Stone Testicles Film: Red 24 Hours In A & E The Mill Peter Kay: The Tour That Didn't…

Skint The Undateables One Born Every Minute My Big Fat Gypsy Fortune Grand Designs 16 Kids & Counting MBFGW: Life On The Run Film: Unknown Film: Paul Film: Robin Hood Homeland

Date

Day

Start time

Volume (m)

Share (%)

11 Feb 4 Feb 5 Sep 27 Sep 24 Jun 24 Mar 10 Apr 28 Jul 5 May 20 May 5 Feb 2 Jan 14 Apr 23 Oct 11 Jan 10 Jun 13 Jan 15 Sep 1 Jan 6 Oct

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

21.00 21.00 21.00 20.00 21.00 21.00 21.00 20.00 21.00 21.00 21.00 21.00 21.00 21.00 21.00 21.00 21.00 21.00 21.00 21.00

5.05 4.87 4.76 4.52 4.49 3.90 3.86 3.83 3.83 3.81 3.78 3.75 3.73 3.49 3.47 3.46 3.45 3.42 3.36 3.31

16.45 17.57 18.04 18.01 17.77 15.15 14.39 14.50 15.86 14.17 13.88 12.37 12.35 13.39 11.87 13.19 13.65 14.06 13.86 11.39

audience data system

Measuring success has never been easier...

Overnights.tv is home to our class-leading research engine, AQUA, and to our UK Overnights services, delivered every morning 7-days-a-week to clients around the world.

AQUA offers multiple search options and interactive reports, including 5-minute data, Day-part reports, Transmission reports, Programme and Series Profiles and Top Ratings.

www.overnights.tv www.broadcastnow.co.uk

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enquiries@attentional.com 6 December 2013 | Broadcast | 9

Broadcast Awards Shortlist Party In Pictures

Celebrating the year in TV The shortlist party for the Broadcast Awards 2014 at The Hospital Club in London last week brought together guests from across the world of television to raise a glass to the nominees

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www.broadcastnow.co.uk

For more information on the Broadcast Awards 2014 visit

PHIL WEEDON

www.broadcastawards.co.uk

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Who’s who

In pictures (left to right) 1 Lisa Campbell, Broadcast 2 Conor Dignam, MBI; Stephen Price, Broadcast ratings expert 3 Emma Barker, Screenchannel Television; Sarah Kinsella and Megan Taylor, Silverglade Associates 4 Roger Morris, Elstree Studios; Alison Pitchford, Broadcast 5 Jonathan Harley and Patrick Steele, Dock 10 6 Richard Hobbs and Kate McBride, Clear Cut Pictures 7 Judith Bunting, Ashley Kendall and Simeon Klein, Magic Hands 8 Meredith Chambers, Twenty Twenty; Richard Thomson, Wall to Wall 9 Emyr Afan, Connie Fisher, Avanti Media 10 Olwyn Silvester, Bedlam; Lisa Campbell, Broadcast 11 James MacLeod, C4; Sam Hodges and Julian Payne, BBC 12 Guests at the party 13 Johnny Whitehead and Max Caswell, Encore 14 Mat Appleton, Natascha Cadle and Josh Moore, Envy 15 Victoria Finlay, John Rogerson and Jo Beighton, Halo

To book your table for the awards, contact Hannah Grix T 020 3033 2889 E hannah.grix@mb-insight.com

www.broadcastnow.co.uk

6 December 2013 | Broadcast | 11

Find out what’s happening on Twitter during your programme.

61.30% neutral

Social Sentiment

Total tweets

audience data system

7,233 tweets

697 tweets between 20:10 and 20:11

Peak tweets per minute

26.5% negative

241.1

12.2% positive

Avg. tweets per minute

Total reach

9,540,299 New look, now live!

Television is something that people talk about a lot on Twitter. A high volume of tweets can often mean a high level of engagement - and that’s something everyone in the entertainment business is trying to achieve. So Overnights.tv has put together a page of useful information about TV and Twitter streams in its AQUA online service. It’s available to all AQUA subscribers at no additional charge.

It’s a first. Why not tweet about it?

www.overnights.tv d23318 Attentional Broadcast Magazine Advert 4 2013 (FAW).indd 1

Brilliant on tablets with a version for smartphones

04/11/2013 16:01

For more projects in development and the latest commissions, visit

http://greenlight.broadcastnow.co.uk

Q&A Jonathan Boseley Jonathan Boseley Head of programming, London Live

What’s the worst line you’ve heard in a pitch?

“Can I sing you a song?” I had to make my excuses.

What’s your most recent commission and why?

Anti Social Network. I loved the idea immediately. It’s a bold and noisy hidden-camera gameshow in which Londoners hand over control of their social profiles to a team of comedy talent for a week. I think it’s going to tap into the conversation about how young Londoners are living their lives so freely via their social profiles, and having some fun with that.

What’s your riskiest commission and why?

All of them. When you’re launching a brand new channel, and origin­ ating so much content, you really are in the hands of your audience.

How much has the programme changed from what was initially pitched?

The basic premise of the show has remained remarkably intact through the development process.

How quickly do you aim to respond to an idea?

We’ll respond to say we’ve received your submission, and then try to turn around an initial response within three weeks.

What was it that grabbed you?

It feels sufficiently ‘zeitgeisty’ in terms of subject matter that it will cut through and, importantly, register with our target audience. But most importantly, it feels fresh, spikey and totally on brand.

What would you like more of?

I’m looking for distinctive approaches to fact ent/lifestyle formats, especially property. Arts and culture for young Londoners is also of interest, but avoid obvious magazine-type formats. Entertainment formats to follow on from our launch commissions are also high on my agenda. And some defining-next generation documentaries as well please.

What’s a definite no for you?

No magazine shows, or ‘going out’ entertainment listings type formats.

What’s the best line you’ve heard in a pitch? “… and we can make it for tariff.” Nothing brings a smile to my face more.

Which TV character/personality would you most like to be?

Parks And Recreation’s Ron Swanson. Anyone who likes meat, hunting, whiskey and breakfast foods is my kind of guy.

What’s your guilty pleasure?

British Military fitness every night. I like a good beasting.

Who has final sign-off?

We have a really nimble process. I’ll request sign-off from London Live’s chief operating officer and the board, and that’s it.

How should producers pitch to you?

Do your homework first about the channel and our brand positioning and tone of voice – and check out our commissioning brief. Then send a one-page plan to ideas@londonlive.co.uk.

What’s your top pitching tip for producers?

Pitch what you believe in.

How would you like to be remembered?

Simply remembered, thanks.

Further information and programming tariffs available at: http://greenlight.broadcastnow.co.uk

recent commissions

F2 Kicks Off

Anti Social Network

Indie Renowned Films Duration 16 x 30 minutes TX 2014 Summary A sports lifestyle show showcasing the extraordinary skills of freestyle footballers Billy Wingrove and Jeremy Lynch. The series will see them demonstrate their skills on the streets of London and conjure up a mixture of jaw-dropping, suspenseful, high-stakes stunts and tricks in front of the public – while challenging others to join in.

Indie Nerd TV Duration 60 x 60 minutes TX 2014 Summary Developed with creative agency Holler, this is a hidden-camera gameshow for the Facebook generation. Participants are invited to hand over control of their social network profiles to a panel of some of the world’s leading comedy writers, giving them the opportunity to run, and maybe ruin, their ‘social’ lives.

www.broadcastnow.co.uk

6 December 2013 | Broadcast | 13

International News

Studiocanal buys Red stake We’re been looking at producing bigger dramas. Having a major company behind us will help

BY Peter White

French film producer and distributor Studiocanal has acquired a majority stake in Red Production Company as part of its drive to move into the UK. The deal will allow the indie, set up by Nicola Shindler, to move into producing larger-scale international dramas in addition to global versions of scripted formats such as Scott & Bailey and Last Tango In Halifax.

Studiocanal did not disclose how much it paid, but Red turned over £24m in 2012 with £3m profit, a 60% revenue rise from 2011. Some 98% of Red’s 2012 revenue was generated in the UK, and the indie believes the deal will help it bump up its income from overseas.

Shindler told Broadcast she had been talking to a number of companies about different investment options, but quickly clicked with Studiocanal, run by chairman and chief executive Olivier Courson, who was able to offer her a high degree of creative control.

“Equally, we’ve been looking at producing bigger dramas for the international market. Having a major company behind us will help when we need to invest.”

Nicola Shindler, Channel 5

Scott & Bailey: international broadcasters have shown interest in remake

Studiocanal produces and distributes feature films such as Tinker Tailor Soldier Spy and Alan Partridge: Alpha Papa, and has been keen to move into the UK for some time. Last year, it acquired Tandem Communications, the German TV production company behind series such as Ridley Scott exec-produced The Pillars Of The Earth, which aired here on Channel 4.

Red, which also makes Pat & Cabbage for ITV and Bedlam for Sky Living, has won a number

of major commissions this year, including Russell T Daviespenned Cucumber and Banana for Channel 4, and John Simmfronted crime drama Prey for ITV. Shindler said she was keen to build Red’s scripted format base, with international broad­ casters previously showing interest in remaking series including Scott & Bailey.

Studiocanal is part of the conglomerate that owns French premium network Canal+, which

could lead to future partnerships.

“In an ideal world, we could develop more with them,” she added.

Red has been linked with US buyers in the past. It had previously negotiated a US deal for Last Tango In Halifax – at one point Diane Keaton and HBO were reportedly keen to remake it – but Shindler said the US was no longer a priority for the company. “My main concern isn’t the US, it’s the UK, and Studiocanal is okay with that,” she added.

Studiocanal’s Courson added: “Partnering with Red is a step forward in positioning Studiocanal as a European leader in content production. Nicola Shindler’s strong track record of developing acclaimed and popular British TV series is the perfect fit for our ambition to develop British and inter­ national content out of the UK.”

ITV develops remake of Australian sitcom Laid

BY Peter White

ITV is in the early stages of developing a local version of Australian comedy Laid after striking a deal with UK distributor DRG. The commercial broadcaster is prepping the adaptation for ITV2 as part of Angela Jain’s drive to produce more comedy for the channel.

If commissioned, the show would be one of the first Australian scripted projects to be remade by a British broadcaster.

Laid is a female-skewed dark comedy described as “Girls-meetsHeathers”. The Australian original follows Roo McVie, a 30-year-old woman whose ex-boyfriend dies.

While she is deciding whether to 14 | Broadcast | 6 December 2013

Laid: could be one of the first Australian scripted shows to be remade in UK

attend the funeral, two more of her ex-boyfriends also die.

She starts to wonder why all the men she has slept with are dying, what that means for her future relationships, and whether

she is destined to meet a similar deadly fate.

Playwright Jonathan Harvey, who wrote Octavia for ITV and Beautiful People for the BBC, is working on the first script.

The Australian 6 x 30-minute format was produced by Porchlight Films for public broadcaster ABC. The indie is run by Liz Watts, who produced Oscar-nominated feature film Animal Kingdom, and the show was created by Packed To The Rafters writer Marieke Hardy and Kirsty Fisher.

Laid was adapted in the US by NBC in 2011, although it never made it past the pilot stage.

Australian scripted projects are currently hot property. Rake, starring Greg Kinnear, is set to launch on US network Fox in the new year, and ABC is remaking two formats by Australia’s Hoodlum: The Strange Calls and Secrets & Lies. The latter has just been picked up by Channel 5. www.broadcastnow.co.uk

Multiplatform News In Brief Record for iPlayer mobile Traffic to iPlayer from mobile and tablet devices is almost on par with computers, according to the latest figures from the BBC. Requests to access TV and radio shows from devices including iPads and Android smartphones was up to a record 96 million (37%) in October, while requests from computers rose slightly to 101 million (39%). Overall, iPlayer requests leapt to 261 million, their fourth highest level to date.

Sky adds C4 to Now TV Sky has agreed a deal with C4 to add 4oD to its Now TV settop box. The agreement will enable owners of the £9.99 device to watch shows from the last seven days including Fresh Meat (pictured), Gogglebox and Made In Chelsea, along with classic box-sets including Father Ted and Peep Show. Separately, C4 has struck a deal for 4oD with set-top box manufacturer Roku.

4Shorts to aid The Jump Channel 4 has commissioned a slew of short-form content to support its celebrity skiing show The Jump. The extra content will be hosted on 4Shorts, the 4oDbacked digital content platform unveiled by the broadcaster last month. Twofour Digital development director Alex Moore is directing the project, which was commissioned by Lizzy Keene, senior online producer at C4.

Sky unruffled by Netflix Sky Movies boss Ian Lewis has told the Screen International Film Summit that Sky does not consider VoD services Netflix and LoveFilm as competitors.

“People need to remember that in terms of VoD services in the UK, Sky Movies was the first and we’ve expanded our service over the years,” he said. “The growth in the VoD market makes it more complicated for the customer.

But it has also been stimulating as we’ve become more focused.”

For the latest breaking news www.broadcastnow.co.uk 16 | Broadcast | 6 December 2013

Snowman game sequel to use freemium model

BY Alex Farber

Channel 4 has introduced a freemium model for a follow-up game to last year’s Broadcast Digital Award-winning The Snowman and The Snowdog.

The game, produced by Brighton-based developer Big Beat, is another runner game in which the aim is to navigate the characters around a series of UK landmarks, including Stonehenge, the Angel of the North, Edinburgh Castle and C4’s Horseferry Road headquarters.

It retains the hand-drawn environment of last year’s animated film, which C4 will be screening again this Christmas, along with its Ilan Eshkeri and Andy Burrows-produced soundtrack.

The sequel will employ a freemium model, in which the game is free to download but players are able to make in-app purchases to gain power boosts and collect different accessories, such as hats and scarves, more quickly.

The original The Snowman And The Snowdog game, developed by Crash Lab, was released last December and went on to record 1.2 million downloads. Some players racked up more than 80 hours of total playing time.

Adventure: the game takes players on a tour of famous UK landmarks

Recreating the magic of the animated films has been an artistic dream Nick Bayne, Big Beat

C4 games commissioner Colin Macdonald said: “The Snowman And The Snowdog game builds on C4 Online’s previous successes in innovative and interactive multiplatform viewer experiences.”

Big Beat chief executive Nick Bayne added: “Recreating the magic of the animated films as an

interactive experience for all the family has been an artistic dream for the team here.”

C4’s previous gaming successes include the Made In Chelsea social-climbing game launched to support the E4 scripted-reality series in September.

The freemium game, in which players are tasked with winning as many friends as possible, has been downloaded 250,000 times since launch, with almost 40,000 people playing it to completion.

C4 is to build on the popularity of the iOS game with a Facebook version, which is set to launch this week.

Web watch Nick App

N

ickelodeon has launched an app featuring a variety of VoD content and games to support shows including Sam & Cat and SpongeBob SquarePants in the UK. The app, which is a free download for iOS devices such as the iPhone and iPad, has already generated 5 million downloads in the US since its launch there in February.

The Nick App will feature two full-length episodes of shows, along with a selection of short-form videos, behind-the-scenes clips, images, blogs and games.

Around 200 pieces of content are available initially, with the Viacom-owned channel planning to add more every day.

An innovative tile-based design allows users to swipe in any direction to aid content discovery and exploration.

Nickelodeon UK managing director Tina McCann said: “The Nick App, through its layout, navigation and ever-refreshing content, is an excellent way to serve our audiences with the Nick content that they want, as well as offering to the uninitiated a sample of what Nick has to offer.”

URL iTunes

www.broadcastnow.co.uk

Technology & Facilities CREATIVE REVIEW

HIDDEN KILLERS

LUCAN

KEANE & VIEIRA – BEST OF ENEMIES

Post Gorilla Client Modern TV Brief Provide picture post for the two-parter that looks at the domestic horrors that took place in Victorian and Edwardian homes.

How it was done The series was edited natively on Avid Media Composer 7 on Isis shared storage. One of the biggest challenges was handling the large amount of archive stills that appear throughout. This was achieved using a plug-in: the Boris Continuum Complete 8.2 AVX for Avid Pan and Zoom. The rotation and cropping tools in the plug-in made it more suited to the job than the on-board Avid Pan and Zoom tool, according to Gorilla managing director Rich Moss. The plug-in’s stability enabled Gorilla to handle around 200 effects in a one-hour timeline. Dylan Evans was editor and David Peate online editor.

Watch it Tuesday 10 December, 9pm, BBC4

VFX 3sixtymedia Client ITV Studios Brief Create visual effects for the two-part ITV drama that tells the story of Lord Lucan’s exploits as a member of the infamous Clermont set, the collapse of his marriage and his subsequent disappearance.

How it was done A plate shoot was required for key scenes that were set in Switzerland, Monte Carlo and Acapulco, with parts of Spain representing Acapulco and suitable stand-ins for Swiss and Monte Carlo locations shot by the VFX team. These were treated to create period versions that were then integrated with the main unit footage. Other scenes required animals to be combined with actors, with plate shoots of zebras, camels and giraffes added to create the desired effect.

VFX supervisor Tanvir Hanif and effects artist Paul Senior used Autodesk Maya, Fusion and Nuke.

Watch it Wednesday 11 December, 9pm, ITV

Post Fifty Fifty Post Client LoveSport for ITV4 Brief Provide picture post for the hour-long programme in which former footballers Roy Keane and Patrick Vieira discuss their numerous run-ins.

How it was done The show includes archive footage and an art installation featuring snap shots, headlines and visual metaphors to tell the stories of the ex-footballers’ careers. The four-camera shoot on location in the Victoria warehouse in Manchester used a Sony F5, two Canon C300s and a Canon 5D, with the lighting designed to create intimacy and atmosphere. The grade and final post was completed on Avid DS by colourist Robin Doelly, who kept picture noise to a minimum, while pushing the grade to reveal a richly toned colour palette. The DS was also used for laying back audio mixes, supplying composites and creating fixes.

Watch it Tuesday 10 December, 10pm, ITV4

You can view clips at broadcastnow.co.uk/techfacils/creative-review To include your work email george.bevir@broadcastnow.co.uk

Clear Cut hires 360’s Burgis Clear Cut Pictures has recruited Jennifer Burgis (below) as business development manager. She joins the company from 360 Production, having also worked for Renegade, Darlow Smithson and Nutopia.

Clear Cut commercial director Richard Hobbs said: “Jennifer brings a wealth of experience from the production community and will be an integral contributor to Clear Cut’s development.”

Milk to create VFX for next Doctor Milk has been commissioned by the BBC to create the visual effects for the eighth series of Doctor Who, which will be broadcast in 2014.

The VFX house recently worked on the 50th anniversary episode of the 18 | Broadcast | 6 December 2013

show and is also working on the one-hour Christmas special. Series eight will start shooting in January.

VM installs geolocation tech for Anywhere mobile service Virgin Media (VM) has installed Digital Element’s NetAcuity Edge IP geolocation technology to manage the geographic rights of content on its Virgin TV Anywhere service.

“We need to be able to assure content rights owners that their content will only be distributed where we say it will be,” said Virgin Media director of digital entertainment Scott Kewley. VM will use Digital Element’s real-time location data to prevent viewing in countries where it is prohibited.

Narduzzo Too adds grading theatre Narduzzo Too has set up a second grading theatre.

The Canal Bank Farm site in Hertfordshire has been kitted out with the same equipment used at the company’s Pinewood facility, including a Nucoda Film Master grading system and a full 2K projection system. “It gives us double the capacity, and because it’s in the countryside, it’s a really creative environment – I don’t know of another set-up like this,” said founder Vince Narduzzo.

Recent projects worked on by Narduzzo Too include The Paradise and Storyville: The Spy Who Went Into The Cold.

ID.TV snaps up slo-mo system for SPL coverage Glasgow-based production company ID.TV has purchased

a NewTek 3Play4800 slow motion and instant replay system (above) for its coverage of Scottish Professional Football League matches. The 3Play system was supplied and installed by systems integrator Sat-Comm Broadcast, which is also supplying and building a new SNG production vehicle. ID.TV managing director David McNeil said: “Space is at a premium in the truck and the streamlined nature of the 3Play system and controller make it an ergonomic as well as an economic fit.” www.broadcastnow.co.uk

For the latest technology and facilities news, updated daily, visit www.broadcastnow.co.uk/techfacils

ITN Source cuts archive cost with delivery system launch BY george bevir

ITN Source has launched a filebased delivery system, which it says will cut footage costs for the users of its archive service by 50%.

It is the culmination of a project that began in 2006 to digitise an archive that dates back to 1955 and spans 30,000 film cans and legacy tape formats.

Content that is available for download includes digitised ITN footage and selected material from archives represented by ITN Source, such as Reuters.

The delivery system has already been trialled by indies including Open Mike Productions, Twofour and Crackit Productions, which used it to deliver content for its Countdown To Murder series for C5.

ITN Source director of operations Kathey Battrick said: “In trials of this service, we’ve cut delivery times and transfer costs, removed the need to ingest tapes and enabled producers to match timecodes between the H.264 screener and high-quality master version.”

Fox buys Project Parking licences for Avid archive Fox International Channels (FIC) UK has purchased three licences for Project Parking from content workflows and media integration software firm Marquis Broadcast.

Project Parking, which is designed to assist editors and facilities to manage Avid edit storage more effectively, will be used to archive promos and long-form content for National Geographic. “Project Parking will allow us to archive complete Avid projects rather than having to rebuild them from different sources,” said FIC UK director of operations Simon Brett. “In the future, if another region would like to reuse an edit we have created, it will not be a problem.”

Warner Bros De Lane Lea completes Soho refurb Warner Bros De Lane Lea has put the finishing touches to the latest www.broadcastnow.co.uk

Churchill’s funeral: ITN Source’s digitisation project dates back to 2006

The digitised SD content held by ITN Source is stored as IMX30 PAL assets in ITN’s digital asset management system for delivery via Aspera. ITN Source said it would continue to offer a traditional delivery service for clients that do not have the bandwidth to support IP-based delivery, or who still operate tape-based workflows.

Battrick said IMX30 was chosen because it eradicated the need for transcoding ITN Source’s XDCam

assets, and because it is supported

by Avid’s Media Composer and Apple’s Final Cut Pro. ITN Source is now part way through a project to improve metadata associated with its archive content. The process of adding rights management information and correctly structuring copyright information and making it easier to understand started in February, and is likely to conclude by the end of next year.

round of upgrades at the Soho facility (below), including the creation of 18 cutting rooms and an ADR suite on the first floor of its Royalty House site. Warner Bros De Lane Lea has undergone

ERA recruits Bluegfx’s Irven

a significant refurbishment and investment programme since it was acquired by Warner Bros Studios Leavesden in November last year, including the purchase of 18 Pro Tools HDX and HD Native systems, control surfaces and plug-ins, as well as additional equipment to improve MADI routing and ADR streaming.

Reseller ERA has recruited Danny Irven to the role of technical sales consultant. Irven previously worked at Bluegfx and will be based at ERA’s offices in London for his new role, in which he will be responsible for selling the company’s range of solutions to the broadcast, media and creative markets. ERA commercial director Sean Baker said Irven’s “industry wide reputation for delivering exceptional customer support and keen eye for new market opportunities and commercial partnerships” would add to the firm’s reputation for “customer-centric, high-performance solutions”.

Rotolight unveils RotoMic Rotolight has launched the RotoMic, a condenser shotgun microphone for use with DSLR cameras, camcorders and personal audio recorders. The Roto-Mic can be

Envy takes on Prime Focus’ Hill as exec producer Envy has recruited Prime Focus commercial director Sara Hill to the role of executive producer.

Hill, who worked at Prime Focus for seven years, is currently on gardening leave and will join Envy by early February.

Envy managing director Dave Cadle said: “To have someone of Sara’s calibre joining us is great.

Her dedication to giving clients the best possible experience is well known and is backed up with a wealth of technical knowledge, which means she will be a welcome addition to our team”.

Hill’s credits include History’s America: The Story of Us, Channel 4’s The Plot to Bring Down Britain’s Planes, as well as BBC2’s Great British Menu and docs for C4’s Dispatches strand.

She said she was happy to be joining the company. “The timing is perfect for me at this stage in my career. Envy is well known for its client care and I’m passionate about giving my clients the very best experience possible.”

Envy’s recent credits include C4’s Liberty Of London.

adjusted for loud and soft sound sources with the three-position level control, and can eliminate ‘rumble’ using a two-step high-pass filter.

Jünger Audio links with Audinate for Dante system Jünger Audio has partnered with Audinate to incorporate the latter’s Dante digital media networking system into Jünger’s audio processing solutions. The Dante technology is a plug-and-play system that delivers “ultra-low latency, tightly synchronised media”.

DPP to trademark name Cross-broadcaster group the Digital Production Partnership has applied to trademark the DPP name and brand. A spokeswoman said: “When producers, broadcasters and manufacturers see the DPP brand, they can be confident of the quality and common standards behind the use of the name.”

6 December 2013 | Broadcast | 19

Comment

As a woman, you either have to be beautiful and do the news or be fat and funny Ruby Wax, Interview, page 24

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20 | Broadcast | 6 December 2013

Should we fear showrunners?

Let’s not dilute the director’s role, says Philippa Collie Cousins

W

ith the rise of the creator/ writer as showrunner in the US, adopted by Doctor Who (pictured) in the UK since 2005 and gaining ground in the UK, are directors being undermined by a fetishisation of the writer that distorts the creative process? Or does the showrunner process allow director and writer to flourish and enjoy new creative possibilities?

The phenomenon hit US cable in particular more than a decade ago, and grew from a desire to manage studio control of productions by having a key creative (director or writer) assuming lead control when delivering a longer story arc. It’s credited with reviving tele­vision drama, spawning shows such as Breaking Bad, The Wire and Mad Men, and creating a fashion for the creator/writer to hold the reins.

As I see it, if showrunning is seen as a dictatorial force imposed on directors and producers by writer/ creators, then it poisons the creative process. The director could be reduced to a walking shot list, with no place at the final edit. Much like a carpenter asked to cut out the shapes for a flat pack, which are then designed and assembled by others, the result is an assembly line end product.

However, according to British directors such as SJ Clarkson, James Hawes and Paul Unwin, who gathered for a Directors’ UK panel on showrunning last month, the best showrunner shows are highly collaborative and give directors proper casting, cutting room and interpretative input. This might mean a change of fortune for UK directors who have seen prep and rehearsal time dwindle, and where first cut turns out to be group voice cut.

Sherlock, instigated by producer Sue Vertue and created by Steven Moffat and Mark Gatiss, was

brought to life by the clever direction of Paul McGuigan. Uncowed and energetic, he created the show’s visual style, including on-screen text-speak, and nurtured the tongue-in-cheek performances that simultaneously made Sherlock a visual feast, an entertainment and a drama.

However, there is a peculiarly British version of TV production, nothing to do with the showrunner concept, that seeks to minimise the contribution of the director by reducing their creative access – ie, reduced prep and post – which, while presenting itself as a pragmatic process, is in fact both economically and creatively inefficient.

The traditional model of UK drama that once made us the envy of the world was a strong alliance between writer, producer and director that encouraged mutual ambition, originality and big audiences. I believe that directors and writers working together, encouraged by imaginative producers, make the best programmes.

If showrunning brings writers and directors together, then this is a very exciting opportunity.

Broadcasters need to get to know directors in the way they do writers. I would go further: directors should have designated pitching slots with all broadcasters, where they are free to pitch with or without a writer or producer. The director’s role can properly serve the creative process and make sure the UK is not a staging post for US series, but a country that continues to punch way above its weight in TV series drama. ➤ Philippa Collie Cousins is a board member of Directors UK

‘Broadcasters need to get to know directors in the way they do writers’

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In my view

Women in broadcasting need action, not words As the Women In Film & TV Awards prove, we’re making progress, says Shelley Fox

T

Tony Hall: plan to call in the consultants has not gone down well with readers

Responses on broadcastnow.co.uk to the story ‘BBC prepares to spend £85m on consultants’ (Broadcast, 29.11.13) Oh for a brave DG who doesn’t need to hide behind consultants. A consultant asks senior management what the problem is and how they would like to deal with it, goes away, writes a report and gives them back exactly what they asked for – with a bill for several million.

They make their money preying on the weak and scared.

Years ago, I spent hours at the BBC explaining to consultants why the desktop-editing system, so recently canned to the tune of £100m, would not work. I doubt my answers ever made it into the report, yet it was obvious to all programme-makers with a little experience that it would fail.

Television is supposed to be full of people from the top 5% of intellectual and academic achievers.

Take away the fear of saying no to a boss and they will be able to solve any problem the BBC has without wasting nearly another £100m on outside consultants.

Any half-decent researcher, AP or producer who has not been beaten into submission by their bosses can easily do the job of a consultant.

Recently reading Sherard CowperColes’ Ever The Diplomat, it gave a clear reminder of the problems of staff not being able to say no to the boss. The present chairman of the BBC Trust very nearly caused a disaster with his handling of China over Hong Kong. Cowper-Coles reasons that the staff were partly to blame for being scared.

Now we have a DG scared of his political paymasters, the press and licence fee naysayers, so he is hiding behind consultants, who are only interested in their bottom line, their profit. www.broadcastnow.co.uk

It is a way of making a very simple job difficult. The licence fee payer gets terrific value for their 40p per day. All they want is great content, whether it’s radio, TV or online. It’s not difficult to give the money to the programmemakers – not the consultants, who have proven time and time again they are definitely not value for money.

Producer A story that is repeated time and time again across the BBC. Well said. If the BBC concentrated more on the quality of its managers to do the job they’re being asked to do, not the one they were once good at, it would get better results.

Broadcasting executive When Tony Hall was last in the BBC the standard senior management response to any significant strategic dilemma or challenge was “Get McKinsey”. It looks like he is reverting to this Birtist practice.

On the other hand, maybe he just doesn’t trust the abilities of the team he has inherited and feels he needs outside voices. Post the DMI debacle, who can blame him?

Producer Response on broadcastnow.co.uk to the story ‘UK signs culture deal with China’ Just make sure you get paid up front. China has a really bad trackrecord of not paying music royalties, playing shows well beyond their licence terms, not paying for DVD sales etc. Unlikely they’ll respect format rights too as they have a long history of infringing patents and copyrights in other commercial areas. Having said that, you still get the best Peking Duck in Bejiing.

Anonymous

here’s been a huge amount of chatter recently about women in our industry. The Women in Film & Television Awards, held this week, are an annual testament to existing female talent, and the industry’s desire to nurture it. In my 25 years in the business, I don’t think there’s been a more exciting time for women, with so many opportunities opening up in a fast-paced and growing market. It’s fantastic to see women making great strides in the business.

Here at Suite, we specialise in post-producing comedy and entertainment programmes. We’ve seen some brilliant examples of British female talent working in our suites – Drifters, for example, the recent comedy series from the producers of The Inbetweeners, is written by Jessica Knappett, who also stars in the show.

Our other recent ensemble shows – C4’s Derek and Man Down, Gold’s You, Me And Them – showcase female comedy acting at its very best. We also edit the hugely successful Celebrity Juice, that rare panel show with two female captains, who clearly demonstrate that there’s no truth in the old chestnut that women aren’t funny.

But as with any British TV talent, producers, commissioners and post houses sometimes need to take a risk and invest in the early stages. Over the years, Suite has invested time and money to postproduce pilots, helping clients to win commissions. From The Office and Pulling in our formative years, to Watson & Oliver, The Catherine Tate Show and Dead Boss, the majority of our pilots have gone on to be fully commissioned series.

If our industry is to stay on top of its game and push the boundaries, we need to ensure that despite tough economic times, this type of investment continues across the board.

Although there are lots of extremely talented and successful female directors, producers and production staff out there, I’m sure many would argue that there’s plenty of room for improvement.

To encourage and attract great female talent, it’s not enough to simply promise that there will be no gender bias or just proclaim that there’s a “good atmosphere”.

These words need to be put into action: we must think about our working environments, and how

‘Let’s nurture the women we have, and attract those we don’t’ we deliver the kind of support and great customer service that welcomes in all manner of staff, freelancers and clients while encouraging creativity.

It’s a time of opportunity for women to be in the industry, so let’s nurture those we have, and attract those we don’t.

We have always strived to provide a home-from-home experience for our clients and freelancers, and I have always intentionally based myself at the front of the client reception area so I can personally greet all those who pass over our threshold, and be available to talk with our clients face to face.

A quarter of a century ago, I knew that TV was, like most media, predominantly male-dominated. However, over recent years, I have seen significant changes.

There are a far greater number of extremely talented, creative and influential women in the many diverse and challenging roles within our sector. Nevertheless, the industry desperately needs more visible female talent moving through the ranks. We have undoubtedly come a long way, but there’s always more work to do. ➤ Shelley Fox is managing director of Suite 6 December 2013 | Broadcast | 21

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6 December 2013 | Broadcast | 23

The Broadcast Interview Ruby Wax

From stand-up to poster girl Comedian Ruby Wax is back in the limelight – this time as a corporate speaker on mental health issues. She tells Lisa Campbell how TV can play its part in stamping out the stigma

E

xpect Ruby Wax to have them rolling in the aisles when she hosts the Women in Film & Television Awards this week – and for her performance to remind guests what the industry has been missing since she gave up her 25-year career.

Who can forget her meeting Madonna and Zsa Zsa Gabor; rifling through Imelda Marcos’s shoe cupboard and Sarah Ferguson’s colour-coded knicker drawer; or asking bold, brash questions with her trademark chutzpah?

“My career ended with a bang in that I ended up in an asylum,” she writes in her book, Sane New World.

In it, she also recalls sinking to new depths in her latter TV days, with reality show Celebrity Shark Bait. She and Richard E Grant were literally that, only for a 20ft Great White to size them up and swim off, looking, Wax writes, “for an A-lister”.

However much she ridicules it, winning, then losing, fame is a difficult adjustment to make, not least for someone who was eventually diagnosed as bipolar.

She writes: “I’m still asked by taxi drivers, as if this wouldn’t hurt me, why I am no longer on television. In the past, I used to choke back the bile as I felt that stab in my heart. I used to answer with: ‘Because I have terminal cancer’. That usually shut them up. I stopped doing that because I’ve learnt that if you let out your anger on someone, it comes back to you like acid reflux. You’ve poisoned yourself and feel toxic and nauseous while the taxi

Celebrity Shark Bait 24 | Broadcast | 6 December 2013

driver probably just goes back to his home and wife and has a lovely life.”

The book is a moving, fascinating and characteristically shocking/funny account not just of her own depression, but of how the brain works and of what happens when we fail to “put the brakes on” in a frenetic world.

Battling depression in silence for much of her comedy career, Wax is now loud and proud about being among the “one in four” who experience mental illness in their lives, and is determined to end the stigma.

Comic Relief outing Not that it was entirely her choice to begin with. “I was unintentionally outed by Comic Relief,” she reveals.

Asked to pose for a photo to raise cash for the mental health arm of the charity, she assumed it would be postagestamp-sized in the back of a mag, not a life-size print in tube stations.

Becoming the unwitting “poster girl for mental illness”, she decided to use it to her advantage, writing a script on the subject and effectively using the posters as pre-publicity for her darkly humorous stage shows Losing It and Out Of Her Mind.

She has also completed an MA at Oxford in Mindfulness-based Cognitive Therapy. She now tours regularly, giving lectures and advice to audiences and companies around the world.

Her passion for the subject also resulted in last year’s TV show

Losing It

‘When people can laugh at themselves, no matter what, that’s when liberation happens’

Ruby Wax’s Mad Confessions, part of the Channel 4 Goes Mad season. The Nine Lives documentary followed Wax as she campaigned to break down stigma and followed three successful businesspeople who disclosed their mental illness to employers and friends.

It was nominated for a Mind Media award last month but lost out to another programme in the C4 season: Jon Richardson: A Little Bit OCD. The award ceremony, now in its 20th year, celebrates the good in a bid to dispel the ‘mad’ and ‘bad’ mental health myths. But Wax believes TV still has a long way to go because it focuses too much on extremes.

“The point is to understand that people are suffering who are working next to you. I was a little upset not to win the award because the one that did was too sensational. Mine was about normal people doing a job and trying to say to their boss that they had a mental disorder. To me, that was more responsible – forget that I was in it – otherwise you’re laughing at people.”

Finding the right approach towards tackling mental health on TV remains tough and the line between laughing at/laughing with is a fine one. But humour is central to Wax’s approach.

She believes that done correctly, it could be part of the solution to ending the stigma. “The gay movement was helped by shows like Will & Grace. When people can laugh at themselves, no matter what, that’s when liberation happens.

“If you took Jo Brand’s NHS series [Getting On] and made it about crazy

Ruby Wax’s Mad Confessions www.broadcastnow.co.uk

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“I used to reinvent TV; that was my pleasure. I thought of moving cameras, not having static shots, then I would stay with people for five days rather than just do a half-hour interview.

“I wouldn’t say I’m proud of all of the celeb docs, but I was proud of the Klu Klux Klan one, and when we filmed people in Alabama throwing rattle snakes in a church to show God loved them, that was when I was having a good time.”

Then suddenly, she couldn’t get a job in TV, and there was no explanation.

She claims she knew the exec responsible, but “left the party” knowing she’d enjoyed decades with “nobody on my back – they just liked what I was doing”.

She adds: “Then the execs started changing really quickly and they became idiots and they had no idea what good TV was. They got scared so you couldn’t be as inventive. But I had a really good run for 25 years – that wouldn’t happen now.”

Corporate conscience

people, it could be funny, it could be a good format – a bit like Ab Fab, where it’s so funny you can excuse these drunks, these addicts. When you’re laughing, it’s forgivable, you’re not mocking. But there’s a fine line.”

However, she strikes a cautionary note: “If you’re going to be comedic, it’s got to be that far out, otherwise don’t touch it. Or leave it to EastEnders,” says Wax, who praises soaps such as Mind Media award-winner Casualty for their attempts to normalise the issue.

Wax now takes the kind of shocking humour she used on TV and combines it with shocking facts, both in her book and her live shows. “I get some influential people to my shows and really make them laugh – then I stick in something really serious. They’ve still got a smile on their face, but it disappears really quickly. It’s like a child having an injection; you distract it then you stick the needle in,” she says.

However, Wax is critical of the fact that TV has, in her view, failed to www.broadcastnow.co.uk

marry science with humour in the same way. “People say: ‘Thank you because you helped make my brain clear’. That’s much more satisfying than people coming up and saying: ‘Boy, are you funny’. I wanna have funny and smart. You don’t get that on TV too much, unless you’re a man.

As a woman, you either have to be beautiful and do the news or be fat and funny.” (With the exception of Joanna Lumley, she adds.)

Wax also points to the 1 billion global audience for TEDTalks – the online lecture series, available on Netflix in the UK, that spun out of the TED (Technology, Entertainment, Design) conferences. She held her own, ‘What’s So Funny about Mental Illness?’, last year and asks: “Couldn’t we bring a little of that to a TV screen?

That would be my dream, to have something that smart on TV.” While she refuses to hark back to the good old days, she does believe TV has lost some of its inventiveness.

‘The TV execs became idiots and they had no idea what good TV was’

Wax has now turned her attention to the corporate world. She’s been asked to talk to Google employees on six occasions and last week followed Vince ‘father of the internet’ Cerf on stage after he demonstrated how Google Glass will benefit deaf people by translating sign language into any language.

Wax remarks on how progressive the company is, noting the diversity – including “loads of women, c’mon, gimme a break!” – the focus on disability and the willingness to engage in mental health issues. “Where is that in TV?” she asks.

“I think companies ask me in because they’re responsible – more so than the BBC. Stress is predicted to be the biggest killer by 2020 and I explain, in an amusing way, what happens when you leave the machine on too long.”

Initially, the answer is memory loss and mental health issues, but it can also lead to cancer, diabetes and death. It’s not a funny subject but Wax continually makes it so. In many ways, she can’t believe her luck in finding a new outlet for her approach.

“I talk to the big boys – neuroscientists, Merrill Lynch, Goldman Sachs, Accenture – everybody’s interested, and do you know what a delight that is for a woman of my age? You’re sexy again. These guys go: ‘Wow, look at what she knows’, and I think: ‘This wouldn’t have happened on TV’.”

6 December 2013 | Broadcast | 25

Production MASTERCLASS MANAGING TALENT

Main picture: Kate Humble on the set of Lambing Live; below: Dermot O’Leary

How to ensure a happy host They may throw the odd tantrum, but then they are the face of show. Lucy Hooper of the BBC Academy talks to producers and presenters on how to get the best from the ‘turn’

“Y

our role as the producer is to let them be the best possible version of who they are,” explains Daisy Goodwin, head girl of Silver River Productions, who has discovered and nurtured presenters including Kevin McCloud, Sarah Beeny and Lucy Worsley. “The key is to work out how to reconcile who they think they are and who you think they are, but let them fix an identity.”

Colette Foster, creative director at Remarkable Television, has worked on Channel 4 shows How To Look Good Naked, Embarrassing Bodies and Supersize vs Superskinny. She says: “You have to create the world around them, listen to how they talk, write like them and discover their voice, which will then define the tone of the show.”

In working with talent, a producer’s job is to identify the presenter’s needs, foibles and likes, tap into them and create an environment that enables

26 | Broadcast | 6 December 2013

‘I really do believe in constructive feedback. If you are brutal in what you say, you can destroy someone’s confidence’ Lisa Ausden, BBC

them to shine. As Helen Thomas, editor of mornings at BBC Radio 2, says, this works best with the likes of Chris Evans: “We have to ensure he has the scaffolding he needs to create the magic. That’s what he’s paid to do; anything else is a waste of his energy.”

From the presenter’s point of view, they need to feel a safety net behind them. “It’s so important for me to work with a team or individuals I know I can trust,” says Kate Humble. “Sometimes it’s sneered at but it’s not because I just want to work with my mates, but because we know how each other works best.”

Humble recalls that she had to step in to present BBC2’s Airport Live on 24 hours’ notice after

original presenter Dan Snow pulled out for personal reasons. “It was a huge decision but I knew it would be produced by a team I trusted implicitly, having worked with them in situations from the side of a volcano to a lambing shed in fierce storms,” she says. “I knew that I could walk in and the running order would convey the kind of narrative I feel is vital. This made the decision to do the show not seem such a huge risk.”

BBC creative director of consumer and live programmes Lisa Ausden worked with Humble. “On a live show, trust is writ particularly large because a presenter carries so much. For all the prep, for all the teamwork, it is at the moment of going live that your presenter www.broadcastnow.co.uk

There had been sightings of Lucan all over the world.

Sadly, the second script only went as far as Newhaven Adrian Shergold, Behind the Scenes, page 28

takes it on. They set out your stall – the content, the feel, the energy, the tone,” she says. “There is so much to get right on a live show, and all at the same time, that everyone involved needs to be worrying as little as possible about something as fundamentally important as trust.”

Humble has one piece of advice for talent: don’t be a diva. “The presenter is only one part of the success of a broadcast; you are no more important than anyone else on the team,” she says.

Ausden believes it’s a question of communication. “There are presenters who want to be across the content, who have ideas, who are experts in their field. This can enrich the content and push the ideas and the ambition,” she says. “It is also the case that ideas can change shape and direction, and a presenter may not be at the meetings when those things happen or appreciate all the reasons why. That’s why you should keep them in the loop.”

Chemistry is crucial Matthew Wright, presenter of Channel 5’s The Wright Stuff, says that as the volume of programming racks up, that chemistry becomes a crucial component. “I’ve become very close to my three producers. Doing two hours of live TV every day, five days a week, you get to know each other’s strengths and you learn to watch each other’s backs.

It’s a big part of the whole buzz, I reckon. You can’t captain a ship like this without a first-class team that really pulls together.”

Producer/director David Pritchard, meanwhile, is almost as famous as the chefs he has worked with over the past three decades, from the late Keith Floyd to his 18 years with Rick Stein.

What’s his secret to longevity?

“Being really good friends helps an awful lot, and unfailing enthusiasm, even on eight-hour bumpy road trips.

But an unbridled love for the subject matter is probably the most important thing,” he says. “Rick and I talk about food all the time, although we come from opposite ends of the food spectrum. Rick prefers a tranche of turbot with hollandaise and a glass of Montrachet, while I love lamb chops with Bisto gravy and runner beans. He gets extremely cross about my love affair with Bisto.”

But admit it, we’ve all moaned about the talent and swapped anecdotes about badly behaved presenters.

Humble has a theory. “As a presenter, you are outside the pen, but I think presenters only behave badly when www.broadcastnow.co.uk

Clockwise from top: Daisy Goodwin presented Essential Poems (To Fall In Love With); presenter Matthew Wright; celebrity chef Rick Stein

they are insecure and don’t feel part of the process or decision-making.”

Dermot O’Leary adds: “As a host, you’re obviously the voice of the show, which is why any host worth their salt needs to have a say in the editorial; that way, the producer has that trust when a show goes live. Then the process is a whole lot more fun.”

Goodwin has been on both sides of the camera. “Presenters think producers are talking about them,” she says.

“But remember, they are putting themselves in someone else’s hands.

You’ve got to have their back and don’t be scared of them as you’ll end up not saying what you mean, and that makes talent nervous.”

As with any relationship, being straight is key. Don’t be overblown, but don’t put them in an ivory tower either, as Foster puts it. Honesty is the watchword for those “difficult conversations”.

Ausden has this advice: “I know presenters who never watch their own

‘Rick Stein and I talk about food all the time.

He gets extremely cross about my love of Bisto’ David Pritchard

performances; presenters who have fronted a show for years and never once been given a word of advice or comment on their performance. What does that say about us all? Maybe that we all need to be a bit more honest.

“What I do know is that when the moment is right to say something to a presenter about their performance, they have appreciated being told, even if it was difficult to hear. I really do believe in constructive feedback. If you are brutal in what you say, you can destroy someone’s confidence. Equally, if you only ever flatter someone, it can begin to lose its meaning.”

So the producer/presenter relationship is all about give and take, love and respect, a bit like a marriage. And like a marriage, a bit of flattery is always useful. As Pritchard says: “Look the presenter right in the eye after he’s delivered a particularly brilliant piece to camera, take his hand and say, ‘Gosh, I’m really proud to work with you.’”

That should do the trick.

6 December 2013 | Broadcast | 27

Behind the Scenes LUCAN

Rolling back time against the clock With just eight weeks to cast, recce locations and recreate the clubs and aristocratic homes of 1970s London, dramatising Lord Lucan’s story was a tall order, says Adrian Shergold LUCAN

Production company ITV Studios/Group M Entertainment TX 9pm, 11 and 18 December, ITV Commissioner Steve November Director Adrian Shergold Writer Jeff Pope Executive producers Jeff Pope; Francis Hopkinson; Quentin Curtis Executive producer for GroupM Richard Foster Producer Chris Clough Line producer Emily Russell Post house Goldcrest (sound); Molinare (picture) DoP Tony Slater-Ling Editor Tania Reddin Production designer John Stevenson Make-up designer Angie Mudge Costume designer Susannah Buxton Summary Two-part thriller based on the life of flamboyant aristocrat Lord Lucan.

Adrian Shergold My tricks of the trade ■ Make sure you are all

making the same film.

No hidden agendas.

■ Only shoot what you want. Trust your instinct and edit in your head.

■ Do your homework but be prepared to change it.

If you do a shot list, keep it in your back pocket and get ready to tear it up.

■ The only person behind the camera who can improvise is you. But to improvise, you must know the tune.

■ If it stops being fun, do something else. I am learning the saxophone.

■ Always wear a hat. No good reason, except people can say: “Who’s that idiot in a hat?”

Adrian Shergold Director

A

fter I read part one of Jeff Pope’s extraordinary and gripping screenplay for Lucan, I thought: “I’ve got to do this.” Also, I’d remembered that there had been sightings of Lucan all over the world, so part two might mean filming in Africa, Australia or South America.

Sadly, the second script only went as far as Newhaven.

With a cast of nearly 40 and almost as many locations, the eight weeks of prep was daunting. We clambered into the car for whistlestop trips within the M25 looking for locations for houses, Mayfair clubs and Lucan’s family home, which we eventually found in Bloomsbury.

One location we looked at for a character’s house became three major locations for three characters. The front of the house was more than 200 years old, the back was Edwardian and the interior was a mixture of many periods. The house became the home of Lord Lucan’s friends the MaxwellScotts in Uckfield, the garden became that of relatives the Shand-Kydds, while the upstairs doubled for dowager Lucan’s London flat.

We found the older Susie Maxwell Scott’s house in Islington just by letterdropping. It is always exciting when you find an ‘unfilmed in’ property rather than one from a website. It was a beautiful Georgian house that had not been modernised in any way for at least 40 years. Perfect.

We had to paint the Lucan family home (46 Lower Belgrave Street) from top to bottom then furnish it, 1974style, from reference and pictures.

Every room had to be worked on.

You have to tech recce two weeks before the shoot, so our eight weeks quickly became six. Meanwhile, John Stevenson was trying to design and crew up. One minute he was on

28 | Broadcast | 6 December 2013

a recce with me, the next he was sitting outside cafés looking at art directors’ CVs. Susanne Buxton (costume) was desperately trying to meet actors for fittings when they still hadn’t been booked because there was no schedule in place. And we were still hunting some locations. Where could we shoot the scenes set in Acapulco? Because it was hot in the UK at the time, we were shown lakes in West London where we could build a seafront restaurant. When I asked “can you guar-

‘The last few days before a shoot would ideally be spent at home just thinking. Here there was still much to do Adrian Shergold

antee me this weather?” I was met with blank faces.

We ended up doing it as an interior at the Café de Paris with the help of a Mexican band and a bit of CGI. We recreated Switzerland in Wendover woods and the Cleremont Club interior in an officers’ mess nearby. The general mood in the production office was good, but we’d taken over an area in ITV’s Grays Inn Road building usually populated with quiet people looking at computer screens. With us shouting at each other, it became a bit chaotic.

We couldn’t recce two of our locations due to lack of time so we decided to travel, shoot and recce them on the day of filming.

For me, the last few days before a shoot would ideally be spent locked away at home, just thinking, but here, there was still much to do. We cast Jane Lapotaire (Susie Maxwell-Scott) about a day before the read-through.

We booked a couple of days’ rehearsal in the schedule, but

this was more about character than working on scenes. Those days are very valuable, even just for everyone to get to know each other.

For the duration of the shooting and the edit, the film was mine; then it went out into the world. As a writer, Jeff Pope is a brilliant collaborator, quite happy for me to add to, and develop, his script in terms of its visual sense.

Chris Clough is one of those clever producers who will let you do your own thing, yet keeps a beady eye on everything, and Francis Hopkinson, with whom I worked as a producer on Danielle Cable: Eyewitness, responded well to the rushes and turned up occasionally to gee up the troops. The best thing about the actual filming is it is a day at a time rather than the scrabble of pre-production.

The London of 1974 was grubby and dirty, with dustman strikes and three-day weeks. We referenced John Schlesinger’s Sunday Bloody Sunday and Roman Polanski’s Repulsion, both of which had a great ‘smell’ of the late 60s, early 70s. Period cars were brought in to dress streets, a van followed us around making piles of rubbish outside houses we were shooting at, and window boxes were removed to make our London feel more ‘Lucanesque’.

Within two weeks, we watched a first cut in a viewing theatre at Goldcrest. No one took notes or talked; we just watched. At this point, it was over-length, but in good shape, and beautifully shot and lit by Tony SlaterLing. A great first viewing.

Over the next few weeks we locked the films. By the end, it was about nine months from start to finish. We could finally say: “It is birthed.”

www.broadcastnow.co.uk

For all the latest breaking news, updated daily, visit www.broadcastnow.co.uk

Lucan: Rory Kinnear as Lord Lucan with extras Mytle Vraets and Kya Garwood; below: Christopher Eccleston as John Aspinall

LUCAN GOING BACK TO THE 70S Chris Clough Producer

Top down: Lord Lucan with John Aspinall; the Lucans in Brighton; Veronica Lucan (Catherine McCormack) and daughter Frances (Mabel Watson); Lord Burke (Michael Gambon) and John Pearson (Paul Freeman); left: Lord Lucan and Veronica on the beach at Brighton www.broadcastnow.co.uk

This was a world of privilege and wealth, so we had to find a long list of very expensive-looking locations – including a private zoo with tigers and gorillas. This was never going to be an easy show to make.

It’s very, very expensive to film in London.

Unit bases are unlikely to be close to the location so time is lost at each end of a meal break sitting in traffic jams. Council permissions, the clearing of parking bays and attempts at some sort of traffic control all take an incredible amount of negotiation and money. Some councils are much better at it than others and have filming specialists on their team – the best are ex-location managers. Unfortunately, our film is set in the fashionable side of Mayfair, which merely compounded our problems.

However, one of the advantages of filming a ‘posh’ film set in the 1970s is that there are plenty of interior locations available. The London clubs are very accommodating and immune from the ravages of time. So too are the plethora of country houses that ring the M25. This saved an enormous amount of our design budget, which had to be concentrated on the Lucan house.

The Lucan family lived in a typical fourstorey Georgian terrace in Lower Belgrave Street. It takes a lot at the best of times to convince someone that letting a film crew into their house is a good idea, let alone the fact that we would have to redecorate it from top to bottom in 1970s style and rebuild the kitchen. When dealing with householders in this bracket, they aren’t going to be interested in the amount of money we could offer.

This could have been our breaking point, but after a huge amount of searching we found an ideal house and, with incredible good fortune, the family were going to be on holiday in Australia for the duration of our shoot.

Adrian Shergold was the ideal director.

He’s amazingly practical and took a highly creative approach to the huge physical problems of a show like this. Backed up by a great script, a fabulous cast and very supportive execs, it turned out to be a lot easier than we could have ever hoped for.

6 December 2013 | Broadcast | 29

Marketplace BUSINESS OPPORTUNITY

To advertise here, contact Jon Thornley on 020 3638 5065 email jonathan.thornley@broadcastnow.co.uk

DIGITAL TRANSFERS

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To advertise in the Marketplace section please contact: Jonathan Thornley 020 3638 5065 jonathan.thornley@broadcastnow.co.uk

30 | Broadcast | 6 December 2013

www.broadcastnow.co.uk

Appointments

To advertise here, contact Jon Thornley on 020 3638 5065 email jonathan.thornley@broadcastnow.co.uk

Development Director Salary negotiable dependent on experience

London

The CTBF is seeking a high calibre individual to build strategic relationships, enhance awareness of the Fund and develop new fundraising opportunities. This is an executive position requiring a person of considerable aptitude with the capability of leading the charity into new areas of support, enhancing its scope and influence.

Exceptional Interpersonal skills will be vital to the success of this new role. You will be capable of engaging and securing the support of strategic partners, donors and other stakeholders, whilst building coalitions for the charity at a senior level.

A detailed job description can be seen at: www.ctbf.co.uk/careers.

To apply for this position please send a covering letter as to why you believe you are suitable for this role, including a full CV, directly to our retained HR Consultant, Lisa Gibson, Triple Three Solutions Limited at lisa@triplethreesolutions.co.uk. Tel: 07771 944676

We are a small post production agency based in Soho looking for a full time Bookings Assistant.

‘Great service provided with plenty of candidates.

We have had a good success rate through using Broadcast.’

Adam Luckwell, CEO Unit Post Production

It is essential you have some knowledge of the post production industry, preferably within a bookings department or as a runner looking to further your career in bookings. It is important that you have a great sense of humour and friendly disposition to fit in with our team. You must also be extremely organised and have great attention to detail.

Salary is dependent on experience.

Please send your cv and cover letter to: enquiries@satusfaction.com

EMS

technical personnel are looking for: Broadcast Support Engineers Central London Proposals Engineer Hampshire MAM Support Engineers West London Call us, e-mail your CV or register online. +44(0)20 8948 9400 recruit@ems-tp.com. www.ems-tp.com

Head of Administration Fixed term contract maternity cover

To advertise call Jon Thornley 020 3638 5065 www.broadcastnow.co.uk

An organised team player is required for a busy International Exhibitions company based in Central London specialising in the TV, Music & Property industries. The right candidate will be a fast learning, trustworthy, selfstarter with proven managerial experience. Knowledge and experience of the Cannes Mip markets would be a considerable advantage in this role.

In brief responsibilities include: Support Managing Director to ensure daily smooth running of the office and Manage a team of 7 Administrators responsible for different areas of client care Salary in the region of £2,500 a month. Minimum 6 months contract to begin end January 2014.

If you would like to join this small but fast paced team, please request a more detailed job description from: alison.arkell@reedmidem.com before Friday 9th December 2013

COMMISSIONING EDITOR, BBC ENTERTAINMENT COMMISSIONING £COMPETITIVE + BENEFITS LONDON The role of Commissioning Editor, Entertainment is at the heart of an exciting and high profile department which unashamedly embraces showbiz and delivering pleasure for just pleasures sake.

BBC Entertainment commissions some of the UK’s best and most loved entertainment programmes and showcases them across all channels and platforms. We deliver more range than any other broadcaster; from live spectacular events and shiny floor studios, to talent driven comedy entertainment and factual entertainment. Our content engages and interacts with all of our diverse audiences, providing talked about and unmissable television and bringing joy and laughter to everyone.

BBC Entertainment Commissioning also play a vital role in developing the most loved on-screen talent in the UK, working closely with the TV channels to build a clear direction and strategy for new talent and ideas.

You will work on primetime BBC One development and programming. You will work to foster creativity and find new ways to inspire, motivate and influence creative talent and ideas. Reporting to Mark Linsey, Controller of Entertainment Commissioning and working very closely with the channel team, you will help create and deliver programmes of the highest quality to the heartland BBC One audiences.

With strong editorial judgment and taste, the successful applicant will have an extensive track record in mainstream entertainment development and programmes. You will be innovative and highly effective at managing relationships and dealing with creative risk. You’ll also have experience of developing creative strategies, building and working within a wide range of partnerships and establishing new and exciting approaches to developing big ideas and ambitious formats. Substantial experience of managing on and off screen talent is essential, as is the flair and ability to understand the needs of our diverse mainstream audience.

If you meet the requirements for this role, please submit your CV and a covering letter to Ian Critchley at ian.critchley@bbc.co.uk by 11th December, 2013.

Interview dates: Wednesday 18th and Thursday 19th December, 2013.

29 November 2013 | Broadcast | 31

Ratings Mon 25 Nov – Sun 1 Dec

Last but not least for BBC1 Last Tango In Halifax scores its highest live rating yet as Strictly pips I’m A Celeb to the top

BY Stephen Price

How on earth did it get to be December? I had weeks, if not months, to do my Christmas shopping and now, suddenly, there are just a handful of days left.

Hopefully, as they wring out their last bit of energy, TV schedulers haven’t forgotten. For this week the Christmas schedules, like reluctant children, get put to bed. There’s always a moment when they appear finished, only for some bright spark to come along and demand The Queen’s Christmas Message goes back in. Until then, it’s the continuing dancing and jungle antics that hold our collective attention.

On Monday, BBC1’s Ripper Street continued to have a tricky time, registering its lowest live rating of 3.1 million/12%. Opposite, ITV’s I’m A Celebrity… Get Me Out Of Here! mopped up with 9.5 million/38% (451,000 +1), more than 1.5% ahead of the equivalent episode last year, and its best this week.

On Tuesday, ITV’s coverage of Arsenal v Marseille in the Champions League achieved just 3.4 million/15% (46,000 +1) from 7.30pm. Opposite at 8pm, BBC1’s Holby City delivered 4.9 million/21%, followed at 9pm by the rather elegant Last Tango In Halifax, which found its best ever live rating in either series so far: 6.3 million/28%.

On BBC1 at 8pm on Wednesday, Nigel And Adam’s Farm Kitchen fell by 900,000 to 3.7 million/ 17%, ahead of ITV’s second and final Mystery Map (3.3 million/ 15% incl +1). BBC2’s MasterChef: 32 | Broadcast | 6 December 2013

Broadcast/Barb Top 100 network programmes 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 31 32 33 34 35 36 37 38 39 40 40 42 43 44 45 45 47 48 49 50

Title

Day

Start

Viewers (m) (all homes)

Share %

Broadcaster/ Producer*

Strictly Come Dancing Strictly Come Dancing: The Results I’m A Celebrity... Get Me Out Of Here!

I’m A Celebrity... Get Me Out Of Here!

Coronation Street Coronation Street I’m A Celebrity... Get Me Out Of Here!

I’m A Celebrity... Get Me Out Of Here!

Coronation Street I’m A Celebrity... Get Me Out Of Here!

EastEnders Coronation Street EastEnders I’m A Celebrity... Get Me Out Of Here!

The X Factor Results The X Factor Coronation Street Emmerdale EastEnders Countryfile Emmerdale Emmerdale EastEnders Emmerdale Emmerdale Emmerdale Last Tango In Halifax BBC News At Six BBC News At Six Pointless Celebrities BBC News At Six BBC News At Six BBC News At Six BBC News Holby City The One Show BBC News At Ten Pointless Pointless Animal Odd Couples The Paradise The One Show BBC News Pointless Pointless Pointless The One Show Atlantis BBC News At Ten ITV News & Weather

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

19.00 19.20 21.00 21.00 20.30 19.30 21.00 21.00 19.30 21.00 20.00 19.30 19.30 21.45 20.00 20.00 20.30 19.00 19.30 18.20 19.00 19.00 20.00 19.00 19.00 20.00 21.00 18.00 18.00 18.15 18.00 18.00 18.00 17.50 20.00 19.00 22.00 17.15 17.15 20.00 20.00 19.00 18.00 17.15 17.15 17.15 19.00 20.15 22.00 22.30

10.10 10.06 9.97 9.66 9.27 9.24 9.13 9.11 8.84 8.73 8.41 8.24 8.09 8.03 8.02 7.90 7.73 7.46 7.44 7.27 7.09 6.87 6.86 6.71 6.70 6.47 6.30 5.57 5.21 5.19 5.11 5.04 4.93 4.88 4.85 4.75 4.63 4.53 4.46 4.45 4.45 4.42 4.36 4.35 4.32 4.32 4.18 4.09 3.99 3.96

42.57 39.64 39.55 38.16 36.05 40.16 39.09 39.87 39.75 39.24 34.26 39.30 35.82 37.83 30.62 33.22 35.04 34.49 34.45 33.37 34.63 32.76 31.96 34.38 31.68 28.74 27.61 28.85 29.50 25.48 27.74 27.45 27.12 24.76 20.99 22.43 25.50 27.49 28.53 19.55 17.00 20.44 22.65 28.29 27.84 27.92 19.94 17.45 21.14 22.86

BBC1 BBC1 ITV ITV ITV ITV ITV ITV ITV ITV BBC1 ITV BBC1 ITV ITV/Thames/Syco ITV/Thames/Syco ITV ITV BBC1 BBC1 ITV ITV BBC1 ITV ITV ITV BBC1/Red Productions BBC1 BBC1 BBC1/Remarkable Television BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1/Remarkable Television BBC1/Remarkable Television BBC1/Oxford Scientific Films BBC1 BBC1 BBC1 BBC1/Remarkable Television BBC1/Remarkable Television BBC1/Remarkable Television BBC1 BBC1/Urban Myth Films BBC1 ITV/ITN

Figures include HD and +1 where applicable

Strictly Come Dancing

I’m A Celebrity… Get Me Out Of Here! www.broadcastnow.co.uk

All BARB ratings supplied by: Attentional

Source: BARB

51 51 53 54 55 56 57 58 58 60 61 62 62 64 65 66 67 68 69 70 71 72 73 74 75 76 76 78 79 80 81 82 83 84 85 86 87 88 89 89 91 92 93 93 95 96 97 98 99 100

Title

Day

Start

Viewers (m) (all homes)

Share %

Broadcaster/ Producer*

Fake Britain Surprise Surprise The One Show BBC News At Ten Crimewatch Update Have I Got News For You The One Show ITV News & Weather ITV News & Weather Nigel And Adam’s Farm Kitchen Tales From Northumberland With R Green ITV News & Weather Panorama: Amazon: Truth Behind The Click BBC News At Ten Casualty ITV News & Weather The Chase: Celebrity Special BBC News ITV News & Weather BBC News Champions League: Arsenal V Marseille Mystery Map The Graham Norton Show University Challenge MasterChef: The Professionals Match Of The Day Harry Potter And The Philosopher’s Stone Off The Beaten Track MasterChef: The Professionals MasterChef: The Professionals Ripper Street ITV News At Ten & Weather Crimewatch Miranda A Question Of Sport BBC News At Ten ITV News & Weather New Tricks ITV News At Ten & Weather Britain And The Sea BBC News At One Match Of The Day 2 The Jonathan Ross Show All New You've Been Framed!

Tonight: Too Young For Technology?

Britain’s Secret Treasures MasterChef: The Professionals ITV News & Weather ITV News & Weather BBC News At One

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

19.30 19.00 19.00 22.00 22.35 21.00 19.00 18.30 18.30 20.00 20.00 18.30 20.30 22.00 21.00 18.30 19.00 22.00 18.30 22.00 19.30 20.00 22.35 20.00 20.00 22.20 15.15 20.00 20.00 20.00 21.00 22.00 21.00 20.30 19.30 22.00 18.15 21.00 22.00 21.00 13.00 22.25 22.50 18.30 19.30 20.30 20.30 18.45 22.30 13.00

3.88 3.88 3.85 3.80 3.77 3.73 3.69 3.68 3.68 3.66 3.65 3.62 3.62 3.59 3.58 3.55 3.50 3.48 3.45 3.41 3.39 3.33 3.29 3.26 3.25 3.20 3.20 3.15 3.14 3.08 3.06 3.00 2.98 2.97 2.96 2.91 2.90 2.89 2.88 2.88 2.86 2.85 2.83 2.83 2.80 2.77 2.73 2.71 2.70 2.68

16.88 15.77 18.05 19.61 23.35 16.06 18.92 18.69 17.78 16.60 14.89 19.45 14.07 16.73 15.30 17.82 15.03 15.71 17.52 13.90 14.83 15.10 22.34 13.27 14.06 19.81 21.44 14.70 14.23 13.53 12.13 15.92 12.75 13.45 14.10 13.63 14.55 12.14 15.64 11.00 42.13 21.62 21.17 13.74 12.99 12.05 10.60 12.49 18.02 40.69

BBC1/Screenchannel TV ITV BBC1 BBC1 BBC1 BBC1/Hat Trick Productions BBC1 ITV/ITN ITV/ITN BBC1 ITV/Shiver ITV BBC1 BBC1 BBC1 ITV/ITN ITV BBC1 ITV/ITN BBC1 ITV ITV/Shiver BBC1/So Television BBC2 BBC2/Shine TV BBC1 ITV ITV/Spun Gold TV BBC2/Shine TV BBC2/Shine TV BBC1/Tiger Aspect ITV BBC1 BBC1 BBC1 BBC1 ITV/ITN BBC1/Wall to Wall ITV/ITN BBC1 BBC1 BBC1 ITV/Hot Sauce ITV ITV ITV BBC2/Shine TV ITV/ITN ITV/ITN BBC1

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

Animal Odd Couples www.broadcastnow.co.uk

MasterChef: The Professionals

The Professionals achieved 3.1 million/14%. At 9pm, ITV’s I’m A Celebrity (8.7 million/38%; 392,000 +1) was ahead of BBC1’s New Tricks repeat (2.9 million/12%).

On Thursday, BBC1’s Animal Odd Couples achieved 4.5 million/20% at 8pm, just 400,000 behind last week. It inevitably lost to ITV’s Emmerdale (6.3 million/26%; 178,000 +1) but was ahead of Britain’s Secret Treasures (2.7 million/12%; 32,000 +1) at 8.30pm. At 9pm, ITV’s I’m A Celebrity (8.7 million/37%; 412,000 +1) made short work of Crimewatch’s 3 million/13% for BBC1.

‘On Saturday, Strictly Come Dancing was the biggest show of the week with 10.1 million’ At 9pm on Friday, I’m A Celebrity hit 8.4 million/39% (341,000 +1) for 90 minutes, putting it an aeon ahead of BBC1’s Have I Got News For You (3.7 million/16%) at 9pm and Live At The Apollo (2.6 million/11%) at 9.30pm.

On Saturday, Strictly Come Dancing was the biggest show of the week with 10.1 million/43% from 7pm; the preceding Pointless Celebrities (5.2 million/ 25%) was BBC1’s second best of the night. ITV’s The X Factor achieved 7.7 million/32% (240,000 +1) at 8pm, making it the fifth show so far this season with an overnight of more than 7 million. At 9.45pm, I’m A Celebrity’s 8 million/38% (incl +1) was the weakest of the week. Opposite, BBC1’s National Lottery Live averaged 2.4 million/10%, followed by News At Ten’s 3.5 million/16%.

On Sunday, BBC1’s Strictly Come Dancing Results was the second best performer of the week (10.1 million/40%), a fraction behind its Saturday sibling. At 7pm, ITV’s Surprise Surprise managed 3.6 million/15% (235,000 +1).

Despite ITV going awol in parts of The Midlands and North, ITV’s The X Factor achieved 7.7 million/29% (333,000 +1) at 8pm and I’m A Celebrity got 9.3 million/37% (370,000 +1) at 9pm. BBC1’s The Paradise averaged 4.5 million/17% at 8pm, followed at 9pm by Britain And The Sea’s 2.9 million/11%.

See over for digital focus, plus channel and genre overviews 6 December 2013 | Broadcast | 33

Ratings Mon 25 Nov – Sun 1 Dec Channel Overview

Wild Burma tames C4 Cats BY stephen price

It remains difficult for me to see a poly­styrene cup without wanting to pick it up, place it between my teeth and launch into “sitting at my piano the other day”, followed by throwing an imaginary ball into a paper bag. A generation of dadcopying kids finding laughs in prosaic packaging is Eric Morecambe’s legacy. We didn’t really need reminding, but reminded we were in the second part of BBC2’s elegy to a comedy duo.

BBC2’s best-performing Master­ Chef: The Professionals was on Tuesday with 3.3 million/ 14%. Channel 4’s best of the week, Obsessive Compulsive Clean­ ers, achieved 1.8 million/8% opposite (342,000 +1), well ahead of Channel 5’s Cowboy Builders (700,000/3%; 77,000 +1).

On Friday, BBC2 launched Wild Burma: Nature’s Lost Kingdom (1.9 million/8%), ahead of C4’s hour-long 8 Out Of 10 Cats (800,000/4%; 200,000 +1).

On Sunday at 8pm, C4’s Time Team returned with 1.6 million/6% (291,000 +1) for 1066: The Lost Battlefield. Opposite, BBC2’s Great Continental Railway Journeys won with 2.6 million/ 10%. At 9pm, the second and final part of BBC2’s Morecambe And Wise: The Whole Story’s 2.3 million/9% was 300,000 up on the opener. Opposite, C4’s Homeland achieved 2 million/8% incl +1.

Source: BARB

WEEK 48 Average hours per viewer Daytime Share (%) Peaktime Share (%) w/c 25.11.13 Peaktime share (%) w/c 26.11.12 Year to date Average hours per viewer Audience share (%) Audience share (2012)

BBC1 5.66 19.56 21.78 21.57 BBC1 5.63 20.94 21.35

BBC2 1.68 4.79 8.49 7.33 BBC2 1.54 5.74 6.07

ITV1 5.13 13.80 25.99 26.83 ITV1 4.36 16.23 15.82

C4 1.46 5.76 5.51 5.68 C4 1.55 5.78 6.48

Start

Viewers (m) (all homes)

Share %

34 | Broadcast | 6 December 2013

Total 27.06 100.00 100.00 100.00 Total 26.87 100.00 100.00

Top 30 bbc2, channel 4 and channel 5 Title

Day

1

University Challenge

Mon

20.00

3.26

13.27

BBC2

2

MasterChef: The Professionals

Tue

20.00

3.25

14.06

BBC2

3

MasterChef: The Professionals

Wed

20.00

3.14

14.23

BBC2

4

MasterChef: The Professionals

Thu

20.00

3.08

13.53

BBC2

5

MasterChef: The Professionals

Mon

20.30

2.73

10.60

BBC2

Broadcaster

6

Great Continental Railway Journeys

Sun

20.00

2.59

9.90

BBC2

7

Strictly Come Dancing – It Takes Two

Mon

18.30

2.48

11.97

BBC2

8

Morecambe And Wise: The Whole Story

Sun

21.00

2.31

9.11

BBC2

9

The Choir: Sing While You Work

Mon

21.00

2.29

9.10

BBC2

10

Celebrity Antiques Road Trip

Tue

19.00

2.20

10.08

BBC2

11

Obsessive Compulsive Cleaners

Tue

20.00

2.16

9.35

12

Rugby Union: Wales V Australia

Sat

16.30

2.11

11.69

13

Strictly Come Dancing – It Takes Two

Fri

18.30

2.03

10.92

BBC2

14

Strictly Come Dancing – It Takes Two

Thu

18.30

2.02

10.24

BBC2

15

Strictly Come Dancing – It Takes Two

Tue

18.30

1.99

9.98

BBC2

16

Mastermind

Fri

20.00

1.97

9.19

BBC2

C4 BBC2

16

Homeland

Sun

21.00

1.97

7.56

C4

18

Celebrity Antiques Road Trip

Mon

19.00

1.93

8.64

BBC2

19

Wild Burma: Nature’s Lost Kingdom

Fri

21.00

1.91

8.34

BBC2

20

Strictly Come Dancing – It Takes Two

Wed

18.30

1.89

9.60

BBC2

21

Celebrity Antiques Road Trip

Thu

19.00

1.87

8.79

BBC2

22

1066: The Lost Battlefield: Time Team Special

Sun

20.00

1.84

7.04

C4

23

Celebrity Antiques Road Trip

Wed

19.00

1.79

8.39

BBC2

24

QI

Fri

22.00

1.71

8.15

BBC2

25

Getting Rich In The Recession: Scrappers

Thu

21.00

1.68

7.18

C4

25

Celebrity Antiques Road Trip

Fri

19.00

1.66

8.18

27

Disney’s Snow Dogs

Sun

14.30

1.64

12.97

BBC2 C5

28

The Simpsons

Mon

18.00

1.63

8.43

C4

29

Kangaroo Dundee

Fri

20.30

1.62

7.37

BBC2

29

24 Hours In A&E

Wed

21.00

1.62

6.81

C4

Figures include HD and +1 where applicable

Multichannel 34.98

The retelling of The Bible launched ahead of Channel 5’s 9pm-11pm Saturday night slot average

Others 12.05 50.80 34.98 35.53 Others 12.69 47.23 46.06

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

daytime share (%) w/c 25.11.13

peaktime share (%) w/c 25.11.13

1.3m

C5 1.08 5.29 3.25 3.05 C5 1.10 4.08 4.23

BBC1 21.78

ITV1 25.99 C5 3.25 C4 5.51

BBC2 8.49

Multichannel 50.80

604k

C4’s 50 Years Of Rock Excess proved a slightly bigger 10pm Sunday draw than recent efforts

BBC1 19.56

ITV1 13.80

C5 5.29

BBC2 4.79

C4 5.76

www.broadcastnow.co.uk

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

Dani’s Castle Junior Bake Off Topsy And Tim Old Jack's Boat All At Sea Wizards Vs Aliens Gigglebiz Wizards Vs Aliens Operation Ouch!

Junior Bake Off 2

Top 10 Factual programmes

Day

Start

Viewers (Age 4-15)

Share (%)

Channel

Thu Thu Tue Tue Wed Mon Tue Tue Mon Tue

17.00 16.30 17.30 17.45 17.00 17.00 17.15 17.00 17.30 16.30

305,000 284,400 279,700 269,900 261,800 260,900 245,200 241,700 239,000 232,200

18.04 18.65 15.19 13.87 13.95 15.16 14.64 14.94 12.18 16.59

CBBC CBBC CBeebies CBeebies CBBC CBBC CBeebies CBBC CBBC CBBC

Title

1 2 3 4 5 6 7 8 9 10

Countryfile The One Show Animal Odd Couples The One Show The One Show Fake Britain The One Show The One Show Nigel And Adam's Farm Kitchen Tales From N’land With R Green

Day

Start

Viewers (millions)

Share (%)

Channel

Sun Tue Thu Mon Thu Mon Wed Fri Wed Mon

18.20 19.00 20.00 19.00 19.00 19.30 19.00 19.00 20.00 20.00

7.27 4.75 4.45 4.42 4.18 3.88 3.85 3.69 3.66 3.65

33.37 22.43 19.55 20.44 19.94 16.88 18.05 18.92 16.60 14.89

BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 ITV

➤ Junior Bake Off was toppled by Dani’s House in the children’s lineup, which was dominated by CBBC shows. The Great British Bake Off sister show also featured in tenth, while CBeebies managed three entries, including fresh faces Old Jack’s Boat and Gigglebiz.

➤ Nigel And Adam’s Farm Kitchen lost nearly 1 million viewers and slid from fourth to ninth in the factual table. Countryfile maintained its stranglehold as BBC1 scooped up every entry bar one, which fell to ITV’s Robson Green series.

Top 10 Drama programmes

Top 10 Entertainment programmes

Title

1 2 3 4 5 6 7 8 9 10

Last Tango In Halifax Holby City The Paradise Atlantis Casualty Ripper Street New Tricks Homeland Legacy The Bible

Day

Start

Viewers (millions)

Share (%)

Channel

Tue Tue Sun Sat Sat Mon Wed Sun Thu Sat

21.00 20.00 20.00 20.15 21.00 21.00 21.00 21.00 21.00 21.00

6.30 4.85 4.45 4.09 3.58 3.06 2.89 1.97 1.59 1.23

27.61 20.99 17.00 17.45 15.30 12.13 12.14 7.56 7.28 5.63

BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 C4 BBC2 C5

➤ With the absence of Doctor Who, Last Tango In Halifax’s 340,000 upswing meant the BBC1 drama was imperious in the line-up. BBC1 secured the lion’s share of the entries, but there were places for Channel 4’s Homeland, BBC2’s Legacy and C5 import The Bible.

UP Last Tango in Halifax adds 340,000

DOWN Strictly Come Dancing loses 460,000

UP Holby City gains 130,000

1 2 3 4 5 6 7 8 9 10

Miranda Live At The Apollo My Family The Simpsons The Simpsons The Simpsons The Simpsons The Big Bang Theory Dad’s Army The Simpsons

Strictly Come Dancing Strictly Come Dancing: Results I’m A Celebrity...

I’m A Celebrity...

I’m A Celebrity...

I’m A Celebrity...

I’m A Celebrity...

I’m A Celebrity...

The X Factor Results The X Factor

Day

Start

Viewers (millions)

Share (%)

Channel

Sat Sun Mon Sun Thu Wed Fri Sat Sun Sat

19.00 19.20 21.00 21.00 21.00 21.00 21.00 21.45 20.00 20.00

10.10 10.06 9.97 9.66 9.13 9.11 8.73 8.03 8.02 7.90

42.57 39.64 39.55 38.16 39.09 39.87 39.24 37.83 30.62 33.22

BBC1 BBC1 ITV ITV ITV ITV ITV ITV ITV ITV

➤ Saturday’s Strictly Come Dancing may have lost 460,000 viewers, but it still outmuscled I’m a Celebrity… Get Me Out of Here!, which had a quieter second week. Elsewhere, The X Factor is getting used to the lows of ninth and tenth places.

UP Homeland rises 260,000

DOWN The Paradise drops 320,000

UP Morecombe and Wise doc up by 300,000

Top 10 Music & Arts programmes

Day

Start

Viewers (millions)

Share (%)

Channel

Fri Fri Sat Mon Tue Wed Thu Thu Sat Fri

20.30 21.30 17.10 18.00 18.00 18.00 18.00 20.30 20.00 18.00

2.97 2.58 2.26 1.63 1.61 1.55 1.52 1.41 1.38 1.28

13.45 11.42 12.81 8.43 8.79 8.40 8.37 6.12 5.62 7.24

BBC1 BBC1 BBC1 C4 C4 C4 C4 E4 BBC2 C4

➤ A repeat of Miranda topped the comedy line-up in a quiet week for the genre, where Live At The Apollo was the only new original British content. The Simpsons snagged its usual five places, while repeats of My Family and Dad’s Army performed well. next week sport and current affairs www.broadcastnow.co.uk

1 2 3 4 5 6 7 8 9 10

DOWN Nigel and Adam’s Farm Kitchen loses 930,000

Top 10 comedy programmes Title

Title

Title

1 2 3 4 5 6 7 8 9 10

Imagine... Hitler, The Tiger And Me The Secret Life Of Mary Poppins The Sound Of Musicals 50 Years Of Rock Excess Top Of The Pops: 1977 – Big Hits Narnia’s Lost Poet...

Culture Show: Vicky Featherstone...

Danny Boy – Ballad That Bewitched...

Blues America Blues At The BBC

Day

Start

Viewers (millions)

Share (%)

Channel

Tue Sat Tue Sun Thu Wed Wed Sun Fri Fri

22.35 20.30 21.00 22.10 19.30 21.00 22.00 20.00 21.00 22.00

1.49 1.16 1.08 0.58 0.42 0.40 0.39 0.38 0.37 0.33

13.27 4.94 4.72 3.42 1.90 1.68 1.87 1.45 1.63 1.78

BBC1 BBC2 C4 C4 BBC4 BBC4 BBC2 BBC4 BBC4 BBC4

➤ BBC1’s Imagine… on children’s writer Judith Kerr secured an audience of nearly 1.5 million, easily batting away competition from other shows, including BBC2’s The Secret Life Of Mary Poppins, which aired close to the release of Disney film Saving Mr Banks.

See over for demographic and digital focus 6 December 2013 | Broadcast | 35

Ratings Mon 25 Nov – Sun 1 Dec Demographic Focus Channels

Individuals Share (%)

Source: BARB

Adults ABC1 Share (%)1

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

BBC1

21.15

25.72

48.32

11.85

9.95

20.83

44.79

21.42

ITV

19.09

16.96

35.31

18.43

17.14

15.78

37.59

21.85

62.41

6.15

8.13

52.54

3.14

9.06

6.59

48.74

5.78

51.26

BBC2

55.21

C4

5.26

5.45

41.22

7.27

24.56

4.96

42.91

5.50

57.08

C5

4.35

3.63

33.15

4.26

17.37

3.91

40.87

4.72

59.13

ITV3

2.66

2.57

38.49

0.64

4.28

2.31

39.62

2.94

60.41

ITV2

2.41

2.07

34.23

3.51

25.90

2.03

38.28

2.73

61.72

E4

1.85

1.92

41.23

5.33

51.23

1.81

44.62

1.88

55.38

Film 4

1.50

1.37

36.50

1.51

17.98

1.95

59.43

1.11

40.57

ITV4

1.37

1.19

34.55

1.17

15.20

2.04

67.93

0.80

32.04

BBC3

1.29

1.36

41.93

3.35

46.30

1.48

52.20

1.13

47.81

Dave

1.08

1.17

43.41

1.94

32.10

1.46

61.90

0.75

38.04

More 4

1.04

1.15

44.30

1.09

18.62

0.94

41.13

1.12

58.85 28.50

Sky Sports 1

1.03

1.28

49.45

1.46

25.23

1.62

71.50

0.54

5 USA

1.01

0.89

34.96

0.82

14.45

0.97

43.70

1.04

56.27

BBC4

0.81

1.13

55.37

0.36

7.92

0.98

54.96

0.67

45.06

Yesterday

0.79

0.71

35.42

0.26

5.73

1.00

57.11

0.62

42.87

Sky 1

0.78

0.79

40.48

1.37

31.29

0.97

56.44

0.62

43.61

Drama

0.68

0.52

30.38

0.37

9.67

0.65

43.52

0.71

56.48

37%

C4’s Saturday night show, Charlie Brooker’s How Videogames Changed The World brought male, young (ish) AB1’s to the channel.

Its share of 25-34s rocketed to 37% from a slot average of 14.3%, with 35-44s up from 13% to 30.3%.

Men made up 62.1% of the audience (average: 51.1%) and a third – 33.6% – were AB1’s, up from the 22.1% slot 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

Cops crack it for ITV3 BY stephen price

Did the comet Ison have the cosmos’s most useless satnav? After 3 million years of travel, its command was: ‘In 1 million miles take the second exit and head for the big, hot yellow thing.’ As it fell to its fiery doom last week, Ison could have taken comfort from our TV detectives: even if they die, they don’t die. How long before Poirot Jr? After all, Morse minor still does good work for ITV3.

ITV3’s Endeavour achieved its best on Friday: 850,000/4%. The channel’s best was 8pm Saturday’s Foyle’s War on 1.2 million/5%.

E4’s The Big Bang Theory achieved 1.4 million/6%, the best for the channel this week, even if it was the second lowest of this series.

In its swansong year on BBC4, Only Connect managed to link with 900,000/3%, the channel’s best of the week.

BBC3’s best was Family Guy on 790,000/3% on Sunday at 10pm, a squeak ahead of Tuesday’s Snow, Sex And Suspicious Parents’ 780,000/3% at 9pm.

36 | Broadcast | 6 December 2013

Source: BARB

digital homes

Top 30 multichannel programmes Title

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 19 21 21 23 23 25 26 27 28 29 29

Live Ford Super Sunday The Big Bang Theory Foyle’s War Live Ford Super Sunday I’m A Celebrity...

I’m A Celebrity...

Hollyoaks The Big Bang Theory Uefa Europa League Live The Big Bang Theory Only Connect Hollyoaks I’m A Celebrity...

Endeavour I’m A Celebrity...

Hollyoaks I’m A Celebrity...

Family Guy Snow, Sex & Suspicious...

The Big Bang Theory Hollyoaks The Big Bang Theory The Big Bang Theory Endeavour Made In Chelsea The Big Bang Theory Hollyoaks The Big Bang Theory I’m A Celebrity...

I’m A Celebrity...

Figures include HD and +1 where applicable

Day

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

Start

16.00 20.30 20.00 13.00 22.00 22.00 19.00 18.30 17.30 18.30 20.30 19.00 22.00 21.00 22.30 19.00 22.30 22.00 21.00 18.30 19.00 18.30 18.00 21.00 22.00 18.00 19.00 18.00 22.30 22.50

Viewers (millions)

Share (%)

Channel

1.44 1.41 1.15 1.04 0.97 0.96 0.95 0.94 0.91 0.90 0.88 0.87 0.86 0.85 0.84 0.83 0.80 0.79 0.78 0.78 0.76 0.76 0.75 0.75 0.73 0.72 0.70 0.69 0.68 0.68

8.18 6.12 4.88 9.21 5.65 5.89 4.47 4.75 4.38 4.57 3.44 4.20 5.09 4.10 6.30 3.84 5.56 3.30 3.40 3.75 3.64 3.82 4.15 3.74 4.45 3.91 3.61 3.78 5.33 5.07

Sky Sports 1 E4 ITV3 Sky Sports 1 ITV2 ITV2 E4 E4 ITV4 E4 BBC4 E4 ITV2 ITV3 ITV2 E4 ITV2 BBC3 BBC3 E4 E4 E4 E4 ITV3 E4 E4 E4 E4 ITV2 ITV2

Channels

Share (%)

BBC1 ITV BBC2 C4 C5 Total multichannel ITV3 ITV2 E4 Film 4 ITV4 CBeebies BBC 3 BBC News Dave More 4 Sky Sports 1 5 USA

21.15 19.09 6.15 5.26 4.35 44.01 2.66 2.41 1.85 1.50 1.37 1.29 1.29 1.16 1.08 1.04 1.03 1.01

Figures include HD and +1 where applicable

209k Audience for More 4’s alternative to I’m A Celebrity... – documentary Safari, Witchcraft And Murder

www.broadcastnow.co.uk

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 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

Title

Day

Start

Viewers (000s) Share (all homes) %

Broadcaster/ Producer*

Live Ford Super Sunday Live Ford Super Sunday Live Ford Saturday Night Football Live: Tottenham V Manchester United Uefa Champions League The Simpsons Live Ford Monday Night Football Lizard Lick Towing Elementary The Simpsons Lizard Lick Towing The Simpsons The Simpsons Arrow Special: Sofia The First Gillette Soccer Saturday The Simpsons The Simpsons The Simpsons The Simpsons Storage Hunters New Tricks The Simpsons The Simpsons Not Going Out The Simpsons The Simpsons Porridge Mock The Week Stargate Atlantis The Simpsons The Blacklist Yonderland The Simpsons Live Uefa Champions League The Simpsons The Simpsons Storage Hunters Keeping Up Appearances Mrs Brown’s Boys Porridge Star Trek: Enterprise Porridge World’s Most Dangerous Roads The Simpsons Not Going Out The Best Of Stargate Atlantis Doc Files Storage Hunters QI XL

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

16.00 13.00 17.00 11.00 18.00 18.00 19.00 20.30 21.00 19.00 20.00 19.00 19.30 20.00 17.30 12.00 19.00 18.30 19.30 19.00 17.30 21.00 18.30 19.30 21.00 19.00 19.30 19.40 22.00 20.00 19.00 21.00 18.30 18.30 19.00 19.30 18.30 10.30 20.20 22.20 22.20 19.00 20.20 20.00 19.30 21.40 20.00 17.25 10.00 20.00

1.440.200 1.040.400 624.700 618.400 593.700 523.100 492.800 484.400 465.200 446.200 421.300 410.400 409.600 403.000 386.100 372.400 370.400 369.300 365.900 356.600 350.800 350.300 332.500 331.700 330.200 327.100 326.000 325.600 322.800 320.800 319.400 313.600 311.700 303.700 302.600 297.300 290.800 289.900 284.100 282.000 280.100 279.700 277.500 277.400 274.600 270.600 270.100 268.900 266.900 266.500

Sky Sports 1 Sky Sports 1 Sky Sports 1 BT Sport 1 Sky Sports 2 Sky 1 Sky Sports 1 Dave Sky Living Sky 1 Dave Sky 1 Sky 1 Sky 1 Disney Junior Sky Sports News Sky 1 Sky 1 Sky 1 Sky 1 Dave/T Group Drama/Wall to Wall Sky 1 Sky 1 Dave/Avalon Sky 1 Sky 1 Yesterday Dave Pick Sky 1 Sky Living Sky 1/Working Title Sky 1 Sky Sports 2 Sky 1 Sky 1 Dave/T Group Drama Gold/Boc-Pix/RTÉ Yesterday Pick Yesterday Dave Sky 1 Dave/Avalon Pick Disney Junior Dave/T Group Dave/Talkback

Figures include HD and +1 where applicable

Sofia The First www.broadcastnow.co.uk

Stargate Atlantis

8.18 9.21 3.08 6.83 2.75 2.58 2.20 2.16 2.04 2.06 1.95 1.73 1.81 1.60 2.13 3.19 1.75 1.79 1.75 1.70 1.89 1.57 1.67 1.30 1.40 1.60 1.42 1.26 1.75 1.28 1.64 1.37 1.46 1.63 1.34 1.38 1.48 3.96 1.27 1.84 1.47 1.31 1.05 1.10 1.24 1.29 1.23 1.73 3.67 1.17

74K

Fox import American Horror Story: Coven remains ahead of the 48,000 slot average

Fairytale result for Disney Jr BY stephen price

The big football-centric beasts may be spending the sort of money that would make Croesus blush, and dominating the press in an Alpha sort of way, but sometimes the big news is about a cartoon princess who turns into a mermaid to visit an underwater city. Oh, and tow trucks.

BT Sports’ coverage of Spurs v Man United on Sunday lunchtime achieved 618,000/7% from 11am, its best live rating ever. However, Sky Sports 1’s Saturday evening coverage of Newcastle United v West Brom achieved more (625,000/3%), while Sunday afternoon’s Chelsea v Southampton tie (1.4 million/8%) was the best.

On Wednesday at 8.30pm, Lizard Lick Towing was Dave’s best again this week: 484,000/2%.

The second best was 8pm’s showing on 421,000/2%.

Not far behind was Disney Junior’s cartoon Sofia The First with 386,000/2% on Monday at 5.30pm. This was more than was achieved by an episode of Sky 1’s The Simpsons on Tuesday at 7pm (370,000/1.8%). The best of the yellow ’uns – and Sky 1’s best nonsport programme – was Sunday’s at 6pm (523,000/2.3%).

Sky Living’s best was Elementary with 465,000/2% at 9pm on Tuesday. Next best was fellow US drama The Blacklist with 314,000/1% on Friday at 9pm.

6 December 2013 | Broadcast | 37

Ratings Mon 18 Nov – Sun 24 Nov

All BARB ratings supplied by: Attentional

Consolidated Ratings

Doctor beats all-comers

BY Stephen Price

It’s a bit like the giant spot on an adolescent’s nose that springs up right on cue as the first date approaches: really hard to miss. But just in case you didn’t spot the BBC’s subtle marketing, Doctor Who was 50 on 23 November (though the Doctor himself is rather older, which just shows what regeneration can do for you). The BBC, understandably, went a bit Whotastic.

BBC1: Doctor Who On Saturday 23 November, Doctor Who’s anniversary episode achieved a live rating of 10.2 million/37% at 7.50pm. It was recorded and watched by 2.6 million (perhaps some cinemagoers wanting to repeat the experience on TV?) to end up on a whopping 12.8 million/41%. Its 16-34 profile was

Source: BARB

2.7 million/43% (more than The X Factor that night: 1.7 million/33%) and it attracted a 63% share of boys aged 10-15. It is the highestrated show of the year so far, in terms of average viewers, ahead of Andy Murray’s Wimbledon triumph and Downton’s finale. It also broke an iPlayer record with nearly 1.3 million requests in the 24 hours after transmission.

The 3D version was screened in cinemas globally over three days and, according to reports, it earned $4.7m (£2.9m) at the US box office, making it the second-biggest cinema attraction of the day behind The Hunger Games. Globally, it hoovered up $10.2m (£6.2m) over three days. Straight after the anniversary episode, BBC3’s Afterparty consolidated to 1.6 million/6%. The BBC3 repeat got another 680,000 viewers on Sunday at 7.15pm.

BBC2: An Adventure In Space And Time BBC2’s drama chronicling the early days of Doctor Who, An Adventure In Space And Time,

played on Thursday at 9pm. Its live rating of 2.2 million/10% jumped to 2.7 million/11% after recording. BBC4 repeated the first ever episodes from 1963 straight afterwards, the best being the first: 827,000/4.7% at 10. 30pm.

E4: The Big Bang Theory More tangentially to do with space and time, E4’s The Big Bang Theory keeps bowling along. This week’s episode on 21 November at 8.30pm delivered a live rating of 1.6 million/7%. After more than 760,000 recorded and watched, it ended on 2.4 million/9%. Its best remains November last year: 3.3 million/12%. The best in 2013 was 11 April, with 2.8 million/11%.

Another 1.4 million via PVR and catch-up secured a strong return for BBC1’s Last Tango In Halifax

BBC1: Animal Odd Couples

UP The Paradise adds 500,000

BBC1’s Animal Odd Couples, in the tricky Thursday 8pm slot, began well. Its live rating of 4.9 million/21% increased to 5.6 million/22% after recording.

Waterloo Road averaged 3.8 million/16% in that slot over 28 episodes this year.

Top 30 Consolidated Ratings: ranked by gain

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

7.4m DOWN Arrow slips 130,000

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Title

Day

Start

Viewers (m) (all homes)

Share %

Gain (m)

Gain %

Doctor Who I’m A Celebrity... Get Me Out Of Here!

Last Tango In Halifax I’m A Celebrity... Get Me Out Of Here!

Casualty I’m A Celebrity... Get Me Out Of Here!

I’m A Celebrity... Get Me Out Of Here!

Homeland I’m A Celebrity... Get Me Out Of Here!

Coronation Street I’m A Celebrity... Get Me Out Of Here!

Ripper Street The X Factor Marvel’s Agents Of S.H.I.E.L.D. EastEnders Strictly Come Dancing Coronation Street Coronation Street EastEnders The Mentalist The Big Bang Theory The Graham Norton Show The Blacklist Coronation Street The Paradise EastEnders Arrow Person Of Interest Animal Odd Couples Have I Got News For You

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

19.50 21.30 21.00 21.00 21.10 21.00 21.00 21.00 21.00 20.30 21.00 21.00 20.00 20.00 20.00 18.30 19.30 20.30 19.30 21.00 20.30 22.40 21.00 19.30 20.00 19.30 20.00 22.00 20.00 21.00

12.80 11.14 7.42 11.43 5.41 11.24 12.48 2.96 11.32 9.61 12.06 4.24 8.87 2.30 7.97 11.48 9.56 10.10 8.37 2.00 2.39 5.20 1.15 9.71 5.52 8.14 1.14 1.35 5.59 4.80

40.88 40.74 26.16 40.70 19.00 41.10 41.20 10.07 41.57 36.33 42.31 14.23 28.43 8.87 32.01 44.54 40.80 36.45 36.58 6.97 8.98 29.80 4.10 41.43 19.15 33.66 4.19 6.84 21.50 17.08

2.62 1.71 1.43 1.23 1.19 1.18 1.17 1.15 1.14 0.98 0.96 0.94 0.93 0.92 0.91 0.90 0.84 0.82 0.81 0.80 0.76 0.75 0.74 0.73 0.72 0.72 0.71 0.70 0.69 0.65

25.70 18.20 23.90 12.10 28.30 11.80 10.40 63.60 11.20 11.30 8.70 28.40 11.70 67.20 12.80 8.50 9.70 8.90 10.70 66.70 46.80 16.90 180.80 8.10 15.10 9.70 162.60 106.90 14.20 15.70

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

Figures include HD and +1 where applicable

38 | Broadcast | 6 December 2013

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Off Cuts

Contact robin.parker@emap.com

ALL A TWITTER

out of plans to release a single of an intended theme tune ahead of the show’s launch in 1998…

You just get a better class of tranny at #LibertyofLondon than you do at #thefriedchickenshop

Tarrant: celebrating WWTBAM?

Cowell’s missing millions “There are more millionaires in the room than there ever were on the show,” quipped Paul Jackson at an RTS lunch celebrating the phenomenon of Who Wants To Be A Millionaire?. And the money was certainly up there on stage as Celador chief Paul Smith, host Chris Tarrant and former ITV director of programmes and channels David Liddiment recounted the quiz show’s rocky road to success. In a different world, Simon Cowell might well have been there too, had he not pulled

No no no no @deborahturness PLEASE don’t take @billneelyitv – the UK needs him! #foreversecretcrush

Chris Tarrant put former ITV chairman Michael Grade through his paces at the event with an agonising set of questions based on his career. A bolshy crowd steered him to the top £1m prize thanks to some well-placed coughing, though Tarrant made Grade sweat to £250,000 before revealing that the prize sum, for the Samaritans, was in South Korean Wons and would be worth closer to £577.

C5’s shoestring drama How does C5 hope to compete in drama on a reduced budget? Simple, Ben Frow told the audience at this week’s Broadcast/RTS Futures Hot 100 event. First, the upcoming Evidence will have no writers – it’ll be improvised. Second: no lighting.

“It’s very cost-effective,” he said.

“My brief was: ‘Just don’t make it look shit’.” Keep aiming high, Ben.

@fikee (Fiona Keenaghan) Former ITV Studios controller of daytime and lifestyle

Labour query energy plan; One Direction ‘storm’ to number one; and ITV loses coverage on the north. Is the world ending? @JamesEHawes (James Hawes) Director, The Mill

Our hats off to writer Tony Jordan, whose indie Red Planet Pictures has donated kit including a camera, soundbox, boom and light to youth production training venture Films4Life. Founder Mickey Dehara (centre) here celebrates the boost to his non-profit organisation with some of his young film-makers.

Standing on top of Broadcasting House. All views are the BBC’s. @JulianDutton (Julian Dutton) Co-creator, Pompidou

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Creative labels to be freed At least six teams genres. up to work across oor Back to the fl

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Mark Damazer said handing Ofcom responsibility for the BBC could work, but warned: “If you go down this route, it would require Ofcom to have, deep in its remit, operating procedures and culture, an understanding of the BBC’s

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Pa it INTERVIEW uk Pandas 3D: why t, inside .co.

Pullout supplemen ck on 20 years pays to look the part ays now ty W new w er Maveri cast Page 26 of unpredictabili RVIE road d INTE mfield: dercov Page 22 w.b rwar Technology ww Broo lming un and techniq ay fo ue for produc st w fi tion, e be BBC Productionspost and playout 20 th NGS inning le? of within ge TI labels’ e be Pa RA and six ‘creativ uld s w batt s co for development push Who’factual el 4’ £2m Plans COHEN’S VISION L nninclude the 24 CREATIVE OVERHAU Cha in to BY JAKE KANTER Page Pat Younge role split into em ak Younge’s CCO to plough £2m of factual The BBC is to syst between controller Humn free up executives t, developmen and daytime Natalie latio genres in “creative controller of work across phreys and a new nt. regu encourage senior labels” and fiction and entertainme back to the floor” est a a managers to “go £2m investment into talent, in-house into sugg £2m t, in a bid to turn BBC to plough production outfi erts pilots. world-leading taster tapes and television Exp to director of according Danny Cohen. the changes on Cohen outlined are He said they Wednesday. down working aimed at breaking BBC Productions structures at and creativity” that “stifle energy the corporation and will help “powerful” emercompete with ix. such as Netfl ging platforms vision feeds into his also move The n across the for greater collaboratio

What would you do with a million quid?

Build a rollercoaster on the back lot at Wimbledon Studios.

What’s the one thing you couldn’t live without?

Mexican food and television.

What do you do to relax?

All I need is to crack open a bottle of wine and throw on some Simon & Garfunkel.

Who is your pin-up?

I actually have quite a big crush on Claudia Winkleman [below].

What TV channel would you most like to launch?

A channel specifically dedicated to 8 Out Of 10 Cats.

What is your greatest extravagance?

Nothing huge, but when I was 17, I was convinced I was going to be a rock star so I spent £1,000 on a guitar. It’s still not been paid off.

Who would you like to play yourself in a movie?

I’d like Chris Evans (Captain America), but it’s probably more like Chris Evans (The One Show).

Actually, I’m okay with that.

What is the best thing about working in TV or radio?

There is always an exciting buzz, which only happens in the creative sector, I think.

What TV shows would be in your fantasy schedule?

The Office (UK and US), Parks & Recreation, The Last Leg and Saturday Night Live.

2013 20 September

t?

Trusform in-house C tra B B ns to e n thhe r Co w fo t no a h W THE SCENES 26 BEHIND

Martin Izzard Communications executive, Wimbledon Film and TV Studios

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Grade in the hot seat

@danbrimley (Dan Brimley) Development producer

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£1m severance deal for former BBC director general Mark Byford was a particular flash point, with ex-Trust chairman Sir Michael Lyons admitting that he discussed the payment, but did not approve it.

Trust director Nicholas Kroll told MPs repeatedly that the governing body is only allowed to intervene on remuneration matters relating to the director general, meaning it could not prevent other payoffs.

Neither did the Trust secretariat brief Lord Patten on the issue when

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