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www.broadcastnow.co.uk

28 February 2014

ANALYSIS

INTERVIEW

BEHIND THE SCENES

Page 25

Page 18

Page 28

Where are the transgender roles?

Arrow Media: ready for lift-off

Counting down to World War I

ITV indie deals in spotlight Broadcaster reveals £300m ‘maximum consideration’ it could pay following acquisitions spree BY JAKE KANTER

ITV AT A GLANCE £435m Pre-tax profits rise 30% £2.75bn Total revenue climbs 8% £857m ITVS turnover grows by a fifth £118m Digital and pay revenues rise 26% 44% ITV’s non-ad income £1.01bn Programme budget up £20m £620m EBITA grows by £107m Source: ITV

Producer

Payment Maximum

Initial

Expected

The Garden

£18m

£35m

£46m

Payout period 2018

High Noon

£16m

£34m

£61m

2015-21

Thinkfactory

£19m

£31m

£61m

2017-19

Big Talk

£13m

£30m

£30m

2015-18

24 Hours In A&E: ITV could have to shell out £46m for producer The Garden

CATCH-UP ITV’S PLANS TO CAPITALISE ON GROWTH Adam Crozier claimed that catch-up now accounts for 11% of viewing across the British TV industry. He was speaking as ITV revealed that long-form video requests on ITV Player grew by 16% year on year in 2013, with online, pay and interactive activity revenues increasing from £102m to £118m. ITV plans to capitalise on its increased catch-up viewing by of Graham Norton’s So Television, Finnish indie Tarinatalo and Norway’s Mediacircus, but the broadcaster said the most

introducing advertising to its Sky and Virgin Media VoD services later this year. The launch of programming rentals on ITV Player is also delivering returns, Crozier said, but the company is experiencing more success with subscriptions. “We expect to again deliver double-digit revenue growth in online, pay and interactive in 2014,” he added. it will have to pay for these companies is £95m. Any increased outlay would be more than offset by the returns delivered by the production companies. In 2013 alone, the partners helped grow ITV Studios’ top line

by £97m, with the production division delivering a total revenue increase of 20% to £857m. The broadcaster pointed to success in the US, where shows including Hell’s Kitchen and High Noon’s Cake Boss bolstered international production turnover by 56% to £266m. UK production revenues increased from £408m to £456m year on year. Crozier heralded the US performance, reiterating that ITVS is now one of the top-five independent production outfits in the country. He said US drama will be a big focus over the next 18 months. Crozier also said ITV’s buying spree could continue. He said ITV would purchase more production outfits if the right opportunities in the right territories presented themselves, irrespective of the size of the deal. A bid for Channel 5 is not on the agenda, however.

£4.99

ITV could end up paying nearly £300m for the indies it has bought over the past two years if its new production partners hit top-end growth targets. The maximum potential bill for the eight production firms the broadcaster acquired between July 2012 and the end of 2013 was disclosed in the company’s annual results on Wednesday, which chief executive Adam Crozier said provided “clear and consistent evidence” that his transformation plan is working. ITV is prepared to pay a “maximum consideration” of £46m for The Garden by 2018, following its initial outlay of £18m for the company last year. Big Talk could fetch a maximum of £30m over the same timeframe after ITV made an initial cash payment of £13m for the Rev indie in July 2013. In the US, High Noon Entertainment and Thinkfactory Media could both end up costing ITV £61m. In each case, those payments would be based on stretching annual revenue growth targets of 20-30% over the coming years. The maximum potential bill for the 2012-13 acquisitions, excluding ITV’s most recent purchase of Teen Wolf indie DiGa Vision, is £293m. There was less granular information on ITV’s 2012 acquisitions


Editor’s Choice

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

Online this week www.broadcastnow.co.uk

Chris Curtis, Editor

Top News

So far, so good for ITV chief exec Results shows positive signs, with acquisitions spree paying off

N

ot many chief executives of £2.5bn companies are relaxed and rested ahead of their fullyear results – but Adam Crozier was this week. The ITV boss was on chipper form during the 7.30am results call on Wednesday, probably because the broadcaster’s impressive figures helped him “get some sleep for a change”. Four years into ITV’s five-year turnaround strategy, it’s hard to argue with

‘An acquisition of a superindie or global producer could be a fitting finale to a significant transformation’ his assertion that the company is in “a demonstrably better place”. He rattled off its achievements: double-digit profit growth for the fourth year in a row, the third-biggest distributor in Europe, a topfive content creator in the US. Tonally, things have changed. Previously, Crozier tended to sound notes of caution and manage expectations, now he’s happier to hail ITV’s progress and promise even more, particularly across production and online revenues. Creatively, too, he was bullish, claiming ITV’s reputation for high-end drama had “never been higher”. There were a few blemishes on its performance. ITV4 had a tough year, as our ratings analysis on page 20 shows, but Crozier said its maleskewing brand is sound and simply needs better programming. There’s nothing simple about ITV’s 2 | Broadcast | 28 February 2014

woes at breakfast time, and the review of Daybreak and ITV’s other morning shows will usher in changes over the next few months. The potentially excellent duo of Richard Bacon and Susanna Reid (pictured) has been touted as a team that could revive the flagship show, but they should be wary. ITV can succeed in the heat of primetime, but finds it disproportionately difficult to win viewers at breakfast. These are relatively minor niggles. ITV Encore will be profitable from the outset, and free-to-air channel ITVBe will launch towards the end of this year on the back of major research. There was also a hint in Crozier’s comments and in the results statement that the latter will be handed additional funds over and above the £1.01bn the broadcaster has set aside for content in 2014. So far, so good. The real test of ITV’s progress, and ultimately of Crozier’s tenure as chief exec, will come with the next advertising downturn. Non-ad revenues accounted for 44% of turnover in 2013, closing in on the 50% target that seemed very distant when it was originally set. If Crozier is right, and ITV is now “much more able to withstand the shocks and bumps that come along”, he will have succeeded. One final push in the production sector may settle the argument. ITV’s impressive indie acquisitions have already delivered, but there is still a sense the company has the cash to strike a truly transformative deal. It isn’t in the market to buy Channel 5, but an acquisition of a super-indie or global producer could be a fitting finale to a genuinely significant transformation.

è The sale of Channel 5 moved closer after Richard Desmond (below) resigned from the board. Key executives Paul Ashford and Stanley Myerson also exited at the end of last year. Discovery and Sky are reportedly considering a joint bid.

è BBC director of television Danny Cohen is exploring the idea of awarding bonuses to in-house producers who create successful shows.

è Channel 5 is to explore Britain’s debt problem via three documentaries including Britain’s Biggest Debtors, which follows a woman whose £500 loan cost her £128,000.

Ratings Top Five 1 Sky 1’s new firefighter drama The Smoke (pictured) got off to a smouldering start on Thursday, with an audience of just under 400,000. 2 The return of Ant & Dec’s Saturday Night Takeaway was watched by 6.5m on Saturday but was unable to beat BBC1’s The Voice UK, which delivered 7.3m.

ITV’s B&B comedy drama Edge Of Heaven attracted 2.7m guests for its launch on Friday. 3

4 Sky Living’s Emily Mortimer comedy Doll & Em got off to a shaky start on Tuesday with fewer than 100,000 viewers.

The Winter Olympics closing ceremony drew in 3.3m on Sunday. 5

Team Tweets è Finally watched excellent first two eps of Line of Duty. A triumph of defenestration. @ChrisMCurtis

www.broadcastnow.co.uk


News & Analysis

Hall changes approach to cuts BBC director general rejects salami-slicing as the prospect of axing an entire service re-emerges BY Jake Kanter

Director general Tony Hall has hinted that a major BBC channel or service could be at risk after ruling out further corporation-wide cuts to find another £100m of savings. Speaking at the Oxford Media Convention, Hall indicated that the savings were needed to pay for the BBC’s key priorities, such as drama and the evolution of iPlayer. “If that means taking hard decisions, I am going to do that,” he said. Hall will announce the outcome of those decisions in the next month, prompting immediate speculation by BBC rank-and-file staff about where the axe might fall. BBC4 would appear the biggest service under threat, given how closely it now works with BBC2 and its already reduced budget. Closing a major service would be a significant departure in strategy from Hall’s predecessor Mark Thompson, who introduced the biting DQF cuts without losing a full service. The BBC had planned to drop BBC6 Music and

Rather than preserve a less-good version of our past, we will focus on what we do best Tony Hall

Life Of Rock With Brian Pern: music industry spoof currently airing on BBC4

Asian Network in 2011 but handed both a reprieve after successful lobbying campaigns. But Hall has now made it clear that “staying the same” is not an option for the BBC. He said: “We decided we’d reached the point where salami-slicing would affect quality and distinctiveness. Rather

than seek to preserve a less-good version of our past, we decided to focus on what we do best.” Hall also backed the licence fee funding model, but with the caveat that it needs to evolve. Specifically, the BBC wants to close a loophole that allows viewers to catch up with shows via iPlayer without

paying the licence fee. The current requirements only apply to programmes that are streamed live through the player. Hall also revealed that the BBC will launch its biggest-ever industry benchmarking study, which will compare the corporation’s costs and management structures with broadcasters from around the world. He said: “We have a creative sector in this country that is worldbeating. The BBC is an essential part of that. And it’s British; owned by the British people. Google is more than double the size of the whole UK broadcasting market; Apple seven times bigger. Today, I believe the BBC’s cultural influence still matches theirs.”

Indie execs query Cohen’s IP payment idea BY Chris Curtis

Senior indie figures have raised questions over mooted plans to reward BBC Productions staff who create IP that generates significant returns for BBC Worldwide. The idea, floated by BBC director of television Danny Cohen in a forthcoming book about the BBC, is designed to both stem a brain drain away from BBC Productions to the more lucrative indie sector, and to lure young programmemakers to the corporation. The idea generated responses on broadcastnow.co.uk from several well-known figures, speaking anonymously. One indie boss said it was “refreshing” to see Cohen thinking creatively, which is a “sign of a true leader”. www.broadcastnow.co.uk

Strictly Come Dancing: valuable IP

However, they added: “This is a reasonable commercial approach, but it would shine a spotlight on aspects of the BBC’s development that are currently non-commercial. For example, what should they do with the content they develop but don’t commis-

sion? Should it be opened up to the market? “It also begs the question – hasn’t this already happened, but less openly? What about the BBC effectively gifting Jeremy Clarkson the multimillion-pound IP of Top Gear, which it then bought back? Or in the early days of indie land, of Peter Bazalgette being permitted to leave the BBC with Food And Drink?” Another was rather more cynical, suggesting: “Perhaps this munificence could be extended to reward production companies for making a successful TV programme – beyond just a recommission and reduced licence fee.” A third exec, well placed to comment on the idea, said: “It’s great that Danny has the courage

and vision to raise this issue, but it quickly gets to the heart of questions around the purpose of inhouse production. Specifically in this case, what is its ‘commercial’ remit, if any? “The more BBC Productions starts acting and structuring itself like an indie, the more important it is to answer this, and wider questions of its funding and relationship with commissioning.” BBC Worldwide chief content officer Helen Jackson told Broadcast that early-stage discussions had taken place about how the commercial arm of the corporation could become involved in Cohen’s incentivisation scheme. “We recognise that to have a show with international success is a positive step,” she said. 28 February 2014 | Broadcast | 3


News & Analysis

Pioneer hires execs to grow UK business BY peter white

Pioneer Productions is looking to beef up its British business and move into factual entertainment after hiring two execs. The Tinopolis-owned indie has appointed former Channel 4 commissioner Nav Raman as director of development and BBC producer Simon Barnes as execu­ tive producer. The appointments were made by creative director Ailsa Orr, who joined the company at the end of last year. Pioneer is known for specialist factual content, specifically science programming, and wins a sig­ nificant proportion of its business in the US. “We would like more business coming out of the UK operation,” said Orr. “We’re diversifying into a range of factual TV. The company has been very successful in the US with shows like Extreme Homes, which you wouldn’t necessarily expect from Pioneer. We want to do more of that in the UK, and pick up our relationships with broadcast­ ers such as Sky and Channel 5.” It will also look at working in hybrid genres, such as combining

The Truth About Britain’s Weather: C4 show is Pioneer’s most recent in UK

natural history and reality, or history and comedy. “We’ll be doing Dancing with The Dinosaurs – you heard it here first,” she added. The company has also previ­ ously employed new forms of tech­ nology for shows such as its In The Womb strand. “We want to ask what can we do that we couldn’t do before,” Orr said. Raman was most recently direc­ tor of development at Jane Root’s Nutopia, where she worked on series including Sky Living’s

She’s Having A Baby. She was previously factual entertainment commissioner at Channel 4 and has also worked at CBBC and Twofour. Barnes was most recently exec producer at BBC Belfast, where he worked on daytime series, and was also responsible for Channel 4’s Dispatches: Third Class Post. Pioneer’s most recent UK com­ missions include The Truth About Britain’s Weather and Oklahoma Tornado, both of which were ordered by Channel 4.

Myfanwy Moore departs ITV for BBC comedy division ITV comedy commissioner Myfanwy Moore is leaving the broadcaster after two years to head up the BBC’s in-house comedy division. Broadcast reported last week that Moore was the favourite among the final four candidates for the role, which she will take over from Mark Freeland, who was promoted to BBC Productions controller of fiction and entertain­ ment last year. She will be the first woman to become controller of comedy pro­ duction and will oversee a raft of hit shows, including Mrs Brown’s Boys, Miranda and Twenty Twelve’s successor W1A. Moore has firsthand experience of working within the BBC’s comedy division, where she was editor of new comedy for seven years, executive producing Little Britain and The Mitchell and Webb Situation. She joined ITV in March 2012 and was involved in commission­ ing shows including Birds Of A Feather, Vicious and The Job Lot. ITV has confirmed that she will be replaced. Moore is understood to have fended off competition for the role from in-house comedy producers Saurabh Kakkar and Pete Thorn­ ton. An indie producer is also thought to have applied for the post.

Daniela Neumann joins Spun Gold as creative director BY jake kanter

Spun Gold TV is planning a major push into formatted and inter­ national programming after hiring Daniela Neumann as its second high-profile exec in a month. The former ITV commissioner joined the indie, best known for producing The Alan Titchmarsh Show, as creative director this week. Her arrival follows that of Tim Hammond, who left GroupM Entertainment to become Spun Gold’s commercial director earlier this month. Managing director Nick Bullen said the appointments were a “statement of intent” as the 4 | Broadcast | 28 February 2014

I wanted to go back to my love for making programmes, building on the foundations at Spun Gold Daniela Neumann, Spun Gold TV

Prince William’s Passion: Spun Gold

company bids to capitalise on its best-ever year in 2013, when it turned over close to £10m. Neumann will be tasked with tapping into her contacts in com­

missioning circles, plus the inter­ national relationships she developed as vice-president of content and development at Viasat before she stood down last year. “There’s a whole world of untapped potential out there,”

Neumann said. “I wanted to go back to my love and passion for making programmes, building on the very solid foundations at Spun Gold.” Bullen said the indie was strong in traditional documentaries, where it has successfully tapped into its connections with the royal family, but formatted factual has become a key area of focus. He also wants to move beyond its core production activity by exploiting talent relationships in other areas and potentially offering commercial support for fledgling producers through umbrella deals. www.broadcastnow.co.uk


News & Analysis

iPlayer drama slate revealed iPlayer has become a credible platform to showcase new work

BY Robin Parker

BBC director general Tony Hall’s vision of making iPlayer the “front door of the BBC” will move a step closer next month with the release of three web-only dramas. Targeting the 1.7 million people aged 16 to 24 who use iPlayer each week, the in-house shorts vary in length from 12 to 17 minutes and are standalone, authored pieces from up-and-coming writers. The ambition is to showcase dramas that do not fit traditional TV slots, as well as extending BBC3’s drama slate. The channel currently has just one drama on its roster: In The Flesh. BBC3 will promote the shorts around series two of the zombie drama and has an option to screen them at a later date. “The best way to train young talent is to give them work,” said BBC executive producer Hilary Salmon. “Holby City and Casualty don’t suit every writer. The more distinctive they are, the harder it can be to show their voice. We’ve been looking for opportunities to commission more authored work.”

Victoria Jaye, BBC

Flea: housing estate drama has been written entirely in verse

A team led by Salmon, BBC head of IPTV and online content Victoria Jaye and BBC3 controller Zai Bennett pooled 100 writers suggested by the BBC Writers’ Room, before inviting 30 of them to workshops and talks from established writers such as Being Human’s Toby Whithouse, and Levi David Addai, creator of E4’s Youngers.

The three shorts were chosen from 10 commissioned scripts. Shakeel Ahmed has scored his first credit with My Jihad, a comedy about Muslim speed-dating in Lancashire; Cat Jones, who has worked on Youngers, wrote housing estate drama Flea entirely in verse; and Welsh writer Katherine Chandler created Tag, in which two teachers play tag in a run-down school.

The dramas were each shot in the same abandoned school in Kent over three days and by the same production team. The BBC tried out three new directors, drawn from an initial pool of 150. The BBC has committed to three further iPlayer drama shorts and is discussing a second season of comedy shorts after the first spawned BBC3 series Impractical Jokers and People Just Do Nothing. Non-scripted BBC Fresh content is also being considered. “The real success is that the door is open for iPlayer to become the BBC’s online video home,” said Jaye. “It has become a credible platform to showcase new work – and the big prize is that it is new talent.” The dramas will be launched on 11 March.

Amazon looking to ramp up UK commissions BY Peter White

Amazon is to ramp up the amount of UK content it commissions and has called for producers to bring it original ideas. Scripted drama and comedy are its priorities, but it also has an eye on kids’ content. Amazon Prime Instant Video launched in the UK this week, incorporating the service formerly known as Lovefilm, and it has stepped in to revive cancelled BBC drama Ripper Street as its first UK original order. The service has ordered a third, 8 x 60-minute run of the Tiger Aspect and Lookout Point-produced drama, which is co-produced with BBC America. “We want to deliver a whole range of great exclusive content,” said Tim Leslie, vice-president of www.broadcastnow.co.uk

We want any and all [producers] to come to us, and we want great local content Tim Leslie, Amazon

Alpha House: the US political drama will be available on the Amazon service

Amazon Prime Instant Video in the UK and Germany. “We want any and all [producers] to come to us, and we want great local content.” Leslie will be the lead com­missioner in the UK and will work closely on UK programming with Amazon head of international content acquisition Jason Ropell.

Leslie, who joined the European content team at the end of last year after serving as vice-president of its legal retail team in the US, admitted that it would also look at other recently cancelled UK shows to see if there was the chance to revive them. “We’ll look at any content that is available,” he said. “Things are changing; it’s just getting started.”

In addition to Ripper Street, Amazon has acquired a raft of US series including secondary rights to The Following, Arrow and Hostages, as well as Amazon’s US originals including Alpha House, the political comedy starring John Goodman, and Silicon Valley comedy Betas. The platform is also piloting series including sci-fi drama The After, which was created by The X-Files creator Chris Carter, and crime drama Bosch, which is produced by Red Arrow’s Fabrik Entertainment. 28 February 2014 | Broadcast | 5


News & Analysis

BBC lacking gay characters When the great gay script comes in, I shall definitely be commissioning it

BY jake kanter

Ben Stephenson has voiced concerns about the lack of gay characters in UK drama – and argued that BBC drama has a “long way to go” before it becomes truly diverse. The BBC drama controller, who is himself gay, said he was “really worried” that there are not many gay characters on television and called on writers to come forward with more stories addressing homosexuality. Stephenson said it was simplistic to argue that greater diversity off screen will result in improvement in on-screen portrayals, pointing to his own experience. “I am diverse, in that sense [gay], and are there many portrayals of gay characters on television? I would say it’s probably one of the lowest [represented] areas. When the great gay script comes in, I shall definitely be commissioning it,” the BBC drama controller said. He was talking at the BBC’s Reflect and Represent session at New Broadcasting House on Monday, an inaugural week-long series of events the corporation has organised to discuss tele­ vision’s approach to diversity.

Ben Stephenson, BBC

Christopher And His Kind: rare drama with gay characters at its centre

Channel 4 director of creative diversity Stuart Cosgrove also took part in Monday’s session, which was titled Changing the Face of TV, while other panellists included transgender journalist Paris Lees and disabled actress Liz Carr. Stephenson said that diversity in BBC drama was the best it has ever been, but stressed “we’ve got a long way to go”. He added: “The nature of my job is to help people who love

drama find enough that connects with them over the course of the year, so they can say ‘that was worth the licence fee’. “The important thing is making these conversations feel creative and not about ticking a box, because no one believes that creates good drama.” Stephenson, who has led the BBC’s drama output since 2008, claimed that arts education should be improved to help people from

different backgrounds believe they can carve out a career in the creative industries. “It’s the starting point: you’ve got to say the arts are a career and if you’re passionate about it, you can make a living from it. It’s a billion-dollar industry, you can work in it,” he said. If it is a success, the BBC hopes to repeat the Reflect and Represent event in 2015. BBC director of television Danny Cohen and director of strategy James Purnell will share a platform later this week in a session titled Are We Fit for the Future?. BBC head of diversity Amanda Rice told Broadcast: “Reflect and Represent is about recognising that more needs to be done, exploring how we can all achieve greater impact but also celebrating the progress we have made. We want to make sure that all staff have the opportunity to share their thoughts and ideas.”

Grand Scheme to reversion US pilots for UK We’ve got experience and contacts and Grand Scheme is a really good way to exploit that

BY peter white

Grand Scheme Media, the indie development firm set up by former commissioners Graham Smith and Mark Robson, has struck a deal with a major US studio to reversion dead US pilots for UK broadcasters. The company is not able to name the studio, but is going through its comedy and drama pilots from last year to highlight whether any that did not make it to air would be suitable to be reversioned in the UK. Grand Scheme has already highlighted one comedy pilot. “We are now anglicising the script and then we’ll go to market,” said Smith. 6 | Broadcast | 28 February 2014

Graham Smith, Grand Scheme

Alan Davies: talk show commission

Grand Scheme is not the first company to do this. The BBC is in the process of developing a UK version of CBS pilot The Rich Inner Life Of Penelope Cloud, while ITV turned Fox’s creepy drama pilot The Oaks into Marchlands in 2011. Grand Scheme has been involved in a number of UK com-

missions, including Sky Atlantic’s Big Talk-produced Mr Sloane. It also worked on Dave’s 5 x 60-minute comedy talk show fronted by QI’s Alan Davies, and Porridge: The Inside Story for Gold. The latter two were produced in association with Phil McIntyre Television. It also has projects in development with ITV. Smith said: “We’ve got experience and contacts, and Grand Scheme is a really good way to exploit that.” Grand Scheme already has deals with Japanese broadcaster Nippon Television Network and Ukrainian broadcaster 1+1 to create and sell formats. www.broadcastnow.co.uk


Commissioning News

For more projects in development and the latest commissions, visit

http://greenlight.broadcastnow.co.uk

BBC2 lines up food history series Wall to Wall is gearing up to start work and is on the hunt for a family to take part in the experiment

BY JAKE KANTER

BBC2 is close to commissioning a Wall to Wall Television history format exploring how advances in the culinary world have shaped British family life over the past 40 years. The corporation is set to order a 6 x 60-minute series with the working title Dinner Times, which is being lined up to go into production between July and September 2014. Wall to Wall is gearing up to start work and is on the hunt for a family to take part in the experiment, in which they will consume the food typically served in the UK from the 1950s to the 1990s. By turning their home into a “self-contained time capsule”, it is hoped that the family can experience the revolution in food. The ambition is that the children will also grow to appreciate the importance of evolving technology and spending quality time at the family dining table. The commission is being overseen by BBC head of commission-

Electric Dreams: Wall to Wall format that also turned back the clock

long-standing debt of gratitude, is now in production. Wall to Wall has a reputation in the social history space, producing 2009’s three-part Electric Dreams for BBC4. It used a similar format to Dinner Times, with a family using only the technology available in the 1970s, 1980s and 1990s. The indie also made immersive social history series Turn Back Time in 2010, which asked a group of modern shopkeepers and their families to run shops based on principles dating from the 1870s through to the 1970s.

ing for factual features and formats Alison Kirkham, and Janice Hadlow, who steps down as BBC2 controller next month to become controller of special projects and seasons.

Kirkham is also responsible for another of Wall to Wall’s big new formats: BBC1’s The Gift. The series, which aims to help people make amends with someone they have seriously wronged, or repay a

Jack Whitehall calls time on Bad Education

Silver River examines UK debt problem for C5

C5 orders crime docs from Twofour and Title Role

Michael Portillo to front WWI railway series for BBC2

Jack Whitehall is to bring his BBC3 comedy Bad Education to an end after three series. The classroom sitcom made by Tiger Aspect Productions has been a breakthrough hit for the BBC’s youth channel, but creator Whitehall wants to focus on other projects. “I’ll be doing one more British series of Bad Education, but then that will be the end of it,” he told Time Out, adding: “Never say never, but I think three series is probably enough.” The comedian, who co-writes Bad Education with Freddy Syborn, stressed that it was his decision as he hunts for a new challenge. He is currently helping to pilot the show for ABC in the US.

Channel 5 is to explore Britain’s debt problem through three 60-minute documentaries from Silver River: Britain’s Biggest Debtors, Fingers In The Till and Taken To The Cleaners. Britain’s Biggest Debtors investigates payday loans, loan sharks and credit card debt, looking at four cases of debt disasters, including one woman whose £500 loan for a computer ended up costing her £128,000. Fingers In The Till focuses on employees who steal from work, and taken To The Cleaners looks at the criminals who stole the savings of three women. The films were ordered by C5 commissioning executive of factual and features Jason Wells.

Channel 5 has commissioned crime documentaries from Twofour and Title Role Productions. Fathers Who Kill, produced by Crimes That Shook Britain indie Title Role, tells the story of Damian Rzeszowski, a quiet man who lost control at a family BBQ and killed his wife, children and relatives. The Northern & Shell-owned broadcaster has also ordered Twofour’s Killing Spree, which will look at some of history’s most infamous and brutal criminal acts. Both documentaries were commissioned by factual commissioning exec Jason Wells.

BBC2 has ordered a documentary series fronted by Great British Railway Journeys presenter Michael Portillo (below), about how railways were used during the First World War. Fremantleowned Boundless has been commissioned to produce the 5 x 30-minute 1914-1918: The Railway War, which will be exec produced by John Comeford. Separately, BBC2 has ordered 4 x 60-minute British Gardens In Time from Keo Films; 4 x 60-minute The Wonder Of Bees With Martha Kearney from ITN; and oneoffs Magic Of Mushrooms and Dirt, both of which will be produced in-house.

8 | Broadcast | 28 February 2014

For details of all commissions, see

http://greenlight.broadcastnow.co.uk

www.broadcastnow.co.uk


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International News

BBCW revamp to boost sales This week’s Showcase likely to generate around £60m following last year’s restructure BY PETER WHITE

BBC Worldwide’s company-wide restructure is set to result in significantly improved sales at its annual Showcase, which took place in Liverpool this week. Some 725 international broadcasters and digital operators attended the sales conference to battle for the rights to shows such as Atlantis, The Musketeers and Mr Sloane, as well as longrunning formats including Top Gear and Strictly Come Dancing. It is likely it will generate around £60m in revenue. BBC Worldwide was restructured last year to operate and report across geographic lines, rather than by business sector. President of global markets Paul Dempsey said: “We will sell significantly more TV shows to third-party broadcasters as a result, partly because we’re investing more in new content and finding new customers. “The link with the reorganisation is that there are new customers, players and more people from emerging markets. There’s 45 more buyers at Showcase from Asia, Latin America and Central and Eastern Europe.”

Improved reputation Dempsey highlighted first-time buyers such as Google Play and US pay network DirecTV. He said that Showcase improved the reputation of BBCW and gave its sales team a halo effect during the rest of the year. He added that there would be a focus on countries such as China, which he is visiting in April, and India, as well as markets like Mexico. Last year, BBCW spent more money – some £31.3m – on distribution rights for programming commissioned by BBC rivals such as ITV and Sky. One of its biggest non-BBC series this year is Mr Sloane, the Nick Frost and Olivia Colmanfronted 1960s period comedy for Sky Atlantic, which is produced by Big Talk. 10 | Broadcast | 28 February 2014

Mr Sloane: the period comedy is one of the shows on offer to the 725 international broadcasters at Showcase

There’s more appetite for shows that have a narrative arc and are less episodic Helen Jackson, BBC

Creator Bob Weide, who exec produced Curb Your Enthusiasm, said he wrote the show for Frost after he directed feature film How To Lose Friends & Alienate People, starring Frost collaborator Simon Pegg. “It never occurred to me that BBC Worldwide had such a rich collection of content that it could hold its own sales conference,” he said. Dempsey defended its position distributing Sky series, despite crit-

icism from the likes of BBC Trust chair Lord Patten. “It would be odd to put them at the back of the catalogue,” said Dempsey. “We don’t give them second-class treatment.” However, he ruled out allowing rival distributors access to Showcase. “It’s valuable to us that it’s exclusive to BBC Worldwide. But some of the other distributors benefit from buyers flying in and then spending time with them.” Rivals such as Disney, Shine International and Passion Distribution all hold events in London in the days after Showcase. BBC Worldwide is on track to spend £200m on commissioning and distribution rights to UK content this year, according to chief content officer Helen Jackson.

CO-PRODUCTION THE PASSING BELLS One of BBC Worldwide’s key strengths is finding international co-producers for big-budget drama specials. Its latest deal is with Polish broadcaster TVP and Polish indie Apple Film Production for major World War I drama The Passing Bells. The series is made by Tony Jordan’s Red Planet Pictures for BBC1 and tells the story of

World War I through the eyes of two ordinary young men as they enlist, fight and fall in love with women they meet. The 5 x 30-minute series, which is being offered to international broadcasters as 4 x 45 minutes or 2 x 90 minutes, is set to shoot in Poland. It is BBCW’s second deal with TVP and Apple Film after critically acclaimed thriller Spies Of Warsaw (pictured), which aired last year.

There were around 90 indies and 60 BBC in-house producers in Liverpool, where Jackson interviewed BBC director of television Danny Cohen about his spending plans and thoughts on the new BBC2 controller as part of a producers’ forum.

Focus on UK talent The distributor is set to close a slew of first-look and output deals in the coming weeks. “I do want to stay focused on British talent,” said Jackson. “We’re still looking at emerging talent.” BBCW is calling for indies to bring it more male-skewing Top Gear-esque series for BBC Brit, lighter science shows for BBC Earth, and new styles of drama to mix with its crime franchises. “We’re looking for kinder drama, more relationship drama, so we can have a mixed offering,” says Jackson. “We’re also looking for more serialised drama as there’s appetite for shows that have a narrative arc and are less episodic.” Orphan Black, the BBC America sci-fi series starring Tatiana Maslany, which has already aired in the UK and Australia, is one of BBCW’s bright hopes. “The show has an international feel and flair,” said co-creator Graeme Manson. “You always hope that you can go international but it’s rewarding when it happens.” www.broadcastnow.co.uk


25 June 2014 | The Brewery | London

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Multiplatform News In Brief BT slims YouView box BT has launched a slimmeddown version of its YouView settop box, which features a 500GB hard drive and can store up to 300 hours of SD TV. The device, manufactured by existing provider Humax, will be made available for free to new BT customers and will cost existing subscribers £35 to upgrade. Director of BT TV Alex Green said the updated version was “smaller, quieter and faster”.

China bags BBC shows BBC titles including Ripper Street, Silk (pictured) and Frozen Planet are heading to China after BBC Worldwide struck a deal with VoD provider Sohu. The deal, agreed at the BBCW Showcase event in Liverpool this week, will include factual and drama series. BBCW vice-president and general manager, China, Pierre Cheung said: “While the BBC’s factual programmes have steadily risen in popularity in China, UK drama has been experiencing a surge.”

Hollyoaks joins Snapchat Hollyoaks is the first soap to launch a profile on mobile messaging service Snapchat. Each weekday at 4pm, producers will upload an exclusive, behind-thescenes picture from that evening’s episode, which will be available to view for 24 hours. After being shared on Snapchat, the images will be distributed via the Lime Pictures show’s Tumblr blog.

Brits are top for tweets The Brits Awards 2014 was the UK’s most-tweeted about nonsporting televised event ever, according to social media measurement firm SecondSync. More than 4 million messages about the awards, which included a live Twitter vote, were posted from almost 1 million users. The figures were well ahead of the 1.5 million tweets sent about The Brits in 2013.

For the latest breaking news www.broadcastnow.co.uk 12 | Broadcast | 28 February 2014

Yahoo! head of video joins social media firm BY Alex Farber

Yahoo! head of video Dan WattSmith has left the web giant to join social media firm Primary Opinion. Watt-Smith joined Yahoo! in March 2012 and went on to commission more than 20 short-form series across the comedy, factual, lifestyle and celebrity genres. His last commission was an animated spin-off of the spoof Twitter account @Queen_UK, dubbed Yes Ma’am, in October. Last August, he green-lit Boris Johnson’s Alternative Guide To London, a five-part live-action comedy series from Shed Media’s fledgling indie Yalli Productions. In February 2013, he commissioned Spirit Digital to produce #StripJamie, a 30-minute live show for Valentine’s Day in which Made In Chelsea star Jamie Laing read out a series of Valentines messages from viewers. Yahoo! is currently hunting for Watt-Smith’s replacement. Yahoo! hired ITV director of multi­platform programmes Richard Williams as head of media in April 2013 and is understood to be continuing its original-content strat-

Yes Ma’am: animated satirical show was Watt-Smith’s last commission

egy, under which it commissions videos based around the main areas of its site, including sport, lifestyle and celebrity. Speaking at CES in January, Yahoo! chief executive Marissa Meyer underlined the company’s commitment to video. “Our video product is only as good as the content available to watch on it,” she said. “At Yahoo!, we have aggressively increased our

content offering. Yahoo! Screen now has 80 original-content programmes and more than 400 episodes per month.” Primary Opinion was created after mobile social media platform Jumbuck Entertainment rebranded last year. Watt-Smith, who worked in the mobile space before joining video-on-demand provider Seesaw in 2009, has been recruited as publishing director.

Horror Channel to spark nightmares with app The Night Terror app influences users’ subconscious dream state via audio techniques

BY Alex Farber

The Horror Channel has launched an app that taps into sleep monitoring technology to induce nightmares in users. The free iOS Night Terror app, developed by Interone for the Chello Zone-owned broadcaster, influences the sub-conscious dream state of users via audio techniques. Horror fans activate the app and select one of five levels of nightmare before placing their iPhone on their pillow and listening to a short story. Once a user has entered the REM phase of sleep, the app begins to play a series of sound effects related to the story to kick-start bad dreams.

Grave Encounters: part of season

In the morning, users are able to share the level of fear they experienced, ranging from ‘Big Sissy’ to ‘Master of Terror’, via Facebook and Twitter using the app.

The Night Terror app has been launched ahead of a week of nightmare-themed films scheduled for early March, including Bob Clark’s sorority house classic Black Christmas and Lucio Fulci’s video nasty House By The Cemetery. The app will be launched on Android in the future and includes full TV listings for the channel, which is available via Freesat, Sky and Virgin Media. www.broadcastnow.co.uk


audience data system

569 tweets between 20:10

and 20:11


Technology & Facilities Creative review

Fonteyn ‘59: Sleeping Beauty

Junior Paramedics

Gogglebox

Post The Finish Line Client BBC Brief Restore the film of the television production of Sleeping Beauty, which featured Royal Ballet stars Margot Fonteyn and Michael Somes, including previously lost footage that was located by BBC archivists at Perivale. How it was done The film was a telerecording of the original performance and suffered from interlacing and visible scanlines, as well as distracting dust and dirt. The Finish Line’s Zeb Chadfield worked with BBC production manager Lottie Gazzard and used Media Composer 7 with Symphony, along with a combination of Boris restoration plug-ins, to repair the footage in a way that removed distractions without losing the aesthetic of the film. The Finish Line provided a 60-minute version for TX and a 90-minute version for iPlayer. Watch it 7 March, 8pm, BBC4

Post Core Post Client BBC Brief Provide picture and audio post services for the 7 x 60-minute series about a group of paramedic students on a six-week job placement that puts them on the front line of the emergency services. How it was done Core used FORscene to log the large volumes of footage, which the facility said was vital due to a tight delivery schedule in the run-up to TX. The project was ingested natively and incorporated a fully tapeless workflow. Senior online editor Matt Brown finished the project using Avid Symphony. He also graded the series using DaVinci Resolve. The sound mix was completed by dubbing mixers Tony Greenwood and Emily Nuttall, who used Pro Tools. The nature of the series meant extensive use of noise-reduction software was required. Watch it Thursdays, 9pm, BBC3

Post Envy Client Studio Lambert Brief Provide picture and audio post services for the third series of the show, in which viewers around the country critique the week’s most-talked about programmes. How it was done Filmed over a seven-day period in five different locations throughout the UK every evening, the 12 x 60-minute series requires a precise post-production plan. During filming, batches of rushes from 10 cameras arrive at Envy each night between 11pm and 4am. Staff dedicated to the project then ingest all of the footage, which together with logs is then made available for the team of editors to begin working on the series at 8am. Eight suites work concurrently at full resolution throughout the week, with the final online, voiceover and delivery made on the day of transmission. Watch it Fridays, 9pm, Channel 4

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

Claire McGrane to head up digital team at Company 3 Company 3 has hired former Framestore producer Claire McGrane (pictured) to head up its digital intermediary team. Company 3 president Stefan Sonnenfeld said: “It is rare to find the combination of technical and operational knowledge, together with the empathy required to support the creative vision of the film-maker.” McGrane replaces Patrick Malone, who joined Goldcrest earlier this year.

Motors TV signs up to Arqiva’s Connect TV service Motors TV has joined Arqiva’s Connect TV service, which enables broadcasters to combine content 14 | Broadcast | 28 February 2014

delivered on the terrestrial broadcast network alongside IP-delivered content and present it on a single channel number in the Freeview EPG. Arqiva director of hybrid TV, digital platforms, Russ Armstrong said: “Motors TV is a brand that understands its audience and the various nuances between devices and platforms. Providing their content on the Freeview platform allows new viewers to discover their channel.”

Prime Focus relocates to Old Compton Street base Prime Focus has exited its Dean Street building, with staff and kit from the facility now housed at the post firm’s Old Compton Street base. The Old Compton Street

site now includes an expanded film division, with additional scanning facilities sitting alongside services for archive restor­ ation, rushes transfer and film scanning.

Harris hires Paula Bargery as regional sales director Paula Bargery has joined Harris as regional sales director for the UK, Ireland and South Africa. She will be responsible for all sales activity and customer relationships across the territories. Bargery has more than 20 years’ experience in sales and business development, including her most recent role as head of sales for Europe, the Middle East and Africa at Amberfin, a post she held for four years.

Ericsson selects three initial CDN partners Ericsson has named the first three content delivery network (CDN)

partners to join its Media Delivery Network initiative. Limelight Networks, CDNetworks, which serves China and Russia, and a second Chinese service, China­ Cache, have signed up to the partnership programme. Described as “a plug-in ecosystem for operators”, Ericsson hopes it will ease the strain of video on mobile phone networks.

Films at 59 first to adopt Avid’s S6 control surface Bristol-based post house Films at 59 has become the first UK facility to adopt Avid’s S6 control surface www.broadcastnow.co.uk


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

Production firms not up to speed on file delivery BY george bevir

The production community does not fully appreciate the extra demands that the shift from tape to file will place on delivery, according to an expert panel at this week’s BVE trade show. Speaking during a session that addressed how the move to tapeless would affect the post-production sector, Crow TV head of post Andy Briers said some production firms were unaware of the additional work required to deliver a programme that complies with the Digital Production Partnerships file specification. From October, the new spec will be the only delivery standard accepted by Channel 4 and ITV. Briers said: “Sometimes production firms think we tell them off and make them jump through hoops for the sake of it. “With file-based delivery, there are extra steps in the chain so more discipline is needed. To export, render and QC a file can take two or three times longer [than with tape].

(pictured) for audio post-production. The facility’s new audio production infrastructure combines Avid Pro Tools and the S6 console, which it has integrated into its existing Media Composer and Isis workflow. Films at 59 managing director Gina Fucci said: “The ability for productions to share audio and vision, and the flexibility to pick up a mix in any room to accommodate schedule changes, are tremendous benefits.”

Canon launches common camera remote control Canon has released a wired remote control unit that allows users to control common settings. Compatible with a range of the manu­facturer’s professional video and Cinema EOS cameras, the RC-V100 allows access to any incamera function using standard operating menus. The product, which will be available from June www.broadcastnow.co.uk

Left to right: BVE’s expert line-up of Craig Dwyer, Avid; Kevin Burrows, DPP and C4; John Robertson, Lime; Jai Cave, Envy; and Andy Briers, Crow TV

“Some production companies have fully adopted file-based workflows for archive and inter­ national sales; others think you are trying to pull the wool over their eyes.” Envy head of operations Jai Cave agreed that the additional processes were a concern and said the extra time required to create an AS-11 file means sched­ uling is a key consideration for production firms: “If something

goes wrong, time to fix it needs to be built in.” DPP technical standards lead Kevin Burrows said the crossbroadcaster group was engaging with the production community. “Ultimately, everyone needs to work together. The October deadline should focus minds,” he said. Cave added that over the past month, more production firms had enquired about file-based delivery than in the previous four.

for approximately £2,800, includes dedicated interfaces that allow users to remotely control common settings including iris, zoom and white balance.

deliver content to clients. Endemol head of IT Mark Cotterel said: “The system is fully searchable and easy to use, and puts Endemol and production companies at the forefront of digital asset management.”

Deltatre and Forbidden Technologies renew ties

Endemol picks Imagen for digital asset management Cambridge Imaging System’s asset management system Imagen (above) has been selected by Endemol to provide access to its subsidiaries’ catalogues of content. Endemol will use Imagen, which is being installed by Root6, to stream digitised video as well as to clip, annotate, share and

Sport media and technology company Deltatre has renewed its partnership with Forbidden Technologies. Forbidden’s cloud video platform FORscene will be used on 30 golf tournaments this year, allowing the sport producer to edit live feeds from any web browser and distribute them across several locations. “Cementing our relationship with Deltatre for another year is a testament to the benefits FORscene brings to the company’s sport delivery workflow,” said Forbidden Technologies business development director Greg Hirst.

Maverick, Sony and Forbidden trial proxy workflow Maverick TV has teamed up with Forbidden and Sony to trial a new proxy-based workflow for a fourpart Channel 4 documentary. Speaking at a BVE session about the cloud, Maverick TV head of post-production Donna Mulvey Jones said that pairing a Sony wireless adapter CBK WA100 with one of the manu­ facturer’s PMW-200 cameras and Forbidden’s FORscene platform had saved the indie “days”. Its production team was able to send proxies from the back of a camera via a 4G dongle to a cloud-based server. It is also the first time rushes have been wirelessly loaded into the FORscene platform, which provides 1Mbps proxy files for Maverick to work from. “The joy for us is that we no longer have to wait for media to be ingested and backed up.” Mulvey Jones said. The session attempted to assess whether the cloud is a “technical nightmare or if it is actually a dream come true for collaboration”.

The Foundry unveils two digital media packages The Foundry has launched two sets of applications designed to enhance collaboration, efficiency and productivity of digital media productions. The Creation Collective features digital 3D visualisation, modelling, animation, painting, playback and integration tools in a single licence. The second package, the Production Collective, includes Modo and Mari, as well as Nuke X and Hiero.

Cinelabs recruits John Mahtani for finance role Cinelabs International has appointed former Warner Bros vice-president John Mahtani as chief financial officer. During his 18-year career at Warner Bros, Mahtani negotiated contracts for theatrical, home video and television divisions. He will be responsible for the development of Cinelabs’ international strategy. 28 February 2014 | Broadcast | 15


Comment

Running an indie is exciting because we are not accountable to anyone other than ourselves Arrow Media’s John Smithson, Interview, page 18

Eddie Huang: Vice food talent 101 Finsbury Pavement, London EC2A 1RS Editor Chris Curtis 020 3033 2718 News Editor Jake Kanter 020 3033 4205 Features Editor Robin Parker 020 3033 4202 Web Editor Alex Farber 020 3033 4204 Senior Reporter Andreas Wiseman 020 3638 5066 Senior Reporter, International Peter White 020 3033 4271 Technology and Facilities Editor George Bevir 020 3033 4207 Production Editor Dominic Needham 020 3033 4201 Group Art Director, MBI Peter Gingell 020 3033 4203 Head of Production and Art, MBI Mark Mowbray 020 3033 2817 Contributors Kate Bulkley, Stephen Price Group Commercial Director, MBI Alison Pitchford 020 3033 2949 Conference Director, MBI Charlotte Wheeler 07702 381809 Events Manager, MBI Mai Le 020 3033 2950 Deputy Sales Manager Sonya Jacobs 020 3638 5057 Business Development Director Patricia Arescy 020 3638 5063 Recruitment & Classified Manager Jonathan Thornley 020 3638 5065 Sales Administrator Justyna Zieba 020 3033 2694 Marketing Executive Sheryl Rood 020 3033 2872 Production Manager, MBI Jon Cooke 020 3033 4296 Chief Executive, MBI Conor Dignam 020 3033 2717 Advertising Fax 020 3033 2604 Subscription Enquiries 01604 828706 Customer Services Email help@subscribe.broadcastnow.co.uk 0203 033 2620 The formula to email individual members of staff is: firstname.surname@broadcastnow.co.uk The formula to email individual members of staff with MBI after their job title: firstname.surname@mb-insight.com

To subscribe to Broadcast simply follow one of these steps  ISIT V www.subscription.co.uk/ broadcast/bmla Or Call 01604 828705 (UK) or +44 (0)1604 828705 (international) and quote BMLA Broadcast is part of Media Business Insight Ltd (MBI), publisher of Screen International & shots www.mb-insight.com

16 | Broadcast | 28 February 2014

Vice deal is food for thought It’s not just TV and online that are converging, says Kate Bulkley

F

iguring out which genres will lead the convergence of YouTube content and traditional TV programming is not easy – but the current favourite is food, glorious food. There have been several initiatives recently: Jamie Oliver’s Food Tube has added celebrity chef Hugh Fearnley-Whittingstall to its roster; the TV production company owned by American Idol host Ryan Seacrest has signed a deal with online food network Tastemade to co-produce digital food and lifestyle programming; and hip online content maker Vice Media has tied up with TV production powerhouse Fremantle Media to create food content for both online and TV. The common thread is food and scale. Together, Vice and FM plan to create hundreds of hours of foodrelated programming designed for the Millennial audience that Vice knows how to reach online. What FM brings to the party is global reach onto TV screens and into the world of licensing and merchandising. FM wants to learn more about digital content creation and distribution, and had already signalled at Mipcom last year that it would be focusing on “lifestyle verticals including food, fashion and possibly cars”. Meanwhile, Vice recognises that it needs to move beyond Vice.com and YouTube. Food seemed a good place to start, drawing on its “network of some of the hottest chefs with a lot of personality in the space”, according to Andrew Creighton, president of Vice Media. On 2 April, an online food channel, co-owned by Vice and FM, will join Vice’s eight existing verticals, spanning music, technology, art, dance, martial arts and fashion. New sites around news and sport are also coming soon. Creighton won’t reveal the investment for the food venture but he’s hiring around 60 people

to develop video and app-based utilities for shows with an edgier focus. The content will look beyond cooking to talk about food politics and culture. Vice already has operations in 34 countries and plans to partner with sites in different countries to increase the food site’s digital footprint. Vice will own 70% of the venture and FM 30%. Finding a successful commercial model that works for digital content is not easy. Vice will turn over close to $550m (£330m) this year bur Creighton is keen to turn the company from a niche digital brand into a “general young person’s consumer brand” so he can tap into bigger advertising budgets and off-line revenue streams. This is clearly on the minds of executives at Food Tube as well. Oliver has already battered, boiled and basted his way to 36 million views and his Food Tube channel has a whopping 690,000 subscribers. There are 13 affiliated cooking channels under the Food Tube umbrella (from CupcakeJemma to DJ BBQ to French Guy Cooking). But Zoe Collins, head of food at Jamie’s Fresh One Productions, says the goal isn’t to build the biggest food multichannel network online: “It’s about growing a credible brand and seeing what you can do from there.” A bigger profile will help Food Tube with planned moves into live events and publishing – so it’s not just TV and online that are converging, it’s the whole content sector. ➤ Kate Bulkley is a print and TV journalist and awards secretary of the Broadcasting Press Guild. Follow her on Twitter @katecomments

‘Vice recognises that it needs to move beyond Vice.com and YouTube’

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Digital provides the way to service niche audiences Opportunities await where TV has hardly scratched the surface, says Justin Gayner

I

BBC: ICM research was based on a survey of 27 complaints

Don’t blame all indies for not dealing with BBC gripes Broadcastnow’s story last week (‘Indies fail to deal with BBC complaints’) is unfair and misleading for your readers. Judging by the detail of the ICM mystery shopper research and the BBC Trust’s response, it is difficult to understand how Broadcast arrived at such a headline or the main thrust of the story. It would appear from the ICM report that a tiny number of complaints were not dealt with properly – by both the BBC and a small number of indies. Yet it’s the indies en masse that get the flak in your headline and in the story’s opening paragraph. The ICM executive summary states that the small survey sample size means that the results “should be treated as indicative only”. The independent report also states that for a number of those complaints, it is “impossible to decipher whether the fault lies with the postal service or with BBC departments or production companies”. Crucially, some companies did not consider comments as “complaints”. I have no issue with Broadcast reporting that complaints may not have been well-handled by www.broadcastnow.co.uk

some indies. But a balanced piece of journalism would have at least included this important statement from the independent report, which read: “Overall, [BBC] Television is satisfied that independent production companies and production departments take an acceptable and sensible approach to complaints handling.” John McVay, chief executive, Pact Editor’s response We believe the story is a fair account of the BBC Trust/ICM research and that the key message for indie production companies is to make sure they comply with the BBC’s complaints guidelines. If that wasn’t the case, the BBC Trust would not have “asked the BBC executive to remind independent production companies that this service is there for them to use”. Our story also makes it clear that the survey paints a “broadly positive picture” and that the elements relating to the indie sector and in-house production was based on a survey of 27 complaints. In hindsight, the headline may have been a little strong given the nuanced nature of the story, but we are comfortable that, taken in its entirety, the piece paints an accurate picture.

n my first job in TV, I worked with John Lloyd. As I went cap in hand with new ideas to see TV commissioners, I naively thought that if you are the best at what you do, then you’ll get the gig. But as we know, that’s not how the industry works. The scales fell from my eyes when John pitched Class War, a game that would pit privately educated Oxbridge graduates against people from a working class background (to show that an expensive education did not necessarily make you brighter or better). John did a co-production deal with Peter Fincham, then chief executive of Talkback, and they pitched to BBC1 controller Lorraine Heggessey. She was interested, but not enough to commission it on the spot, and before we could tweak it, she left the channel. Later, she effectively swapped jobs with Peter. John and I went back to pitch to Fincham – since he’d been involved in the original pitch, he was sure to commission it. He turned it down. That’s the point when I realised I no longer wanted to work in an industry where great ideas can fall down a crack and never get made; where producers can’t have direct relationships with viewers or develop their products further

because the broadcaster takes the digital rights; where the under­ lying principle of markets – that the best product should succeed – was being subverted. Why would a young man or woman think of investing their future in such a precarious business? If I were running a terrestrial channel today, I’d be on the hunt for ways to service different audiences through digital. We have hardly scratched the surface of niche. TV needs to focus on both the micro and the macro. Traditional broad-

‘We now live in a connected global economy hungry for high-quality programming’ casters should stop thinking of themselves as UK players. Netflix, and to a degree Sky, have shown us that we now live in a connected global economy hungry for a high-quality slate of programming. The opportunities are there for anyone bold enough to take them. ➤ Justin Gayner is the former creative director and co-founder of entertainment website ChannelFlip This is an edited extract of an essay published in 2024: The Future of Tele­ vision, edited by UKTV communications director Zoë Clapp. Download it from Amazon.co.uk and iTunes

ChannelFlip: the multichannel network creates brand-friendly content 28 February 2014 | Broadcast | 17


The Broadcast Interview arrow media Tom brisLey, iain peLLing & John smiThson

ready for lift-off Three years after leaving Endemol-owned Darlow Smithson, the trio behind Arrow Media are revelling in their independence as they gear up to take TV into space. Peter White reports facT fiLe Arrow Media Managing director Iain Pelling Co-creative directors John Smithson; Tom Brisley Head office London Staff employed 55 Global turnover (2013) £7.9m Five biggest shows (2013) Ultimate Airport: Dubai Terror In The Skies Hairy Bikers: Restoration Road Trip Ultimate Warfare Aliens: Defintive Guides

J

ohn Smithson, Tom Brisley and Iain Pelling left Darlow Smithson in 2011, a year after it was acquired by Endemol. Three years on, the trio have turned the indie they went on to set up, Arrow Media, into a medium-sized producer with an annual turnover of nearly £8m, producing 100 hours of programming. However, when they were filling in the blank piece of paper that became Arrow Media in the summer of 2011, they may well have been surprised by the range of shows they would bring to air, from big-budget specialist factual-meets-UGC doc Terror In The Skies and pet reality series Dogs: Their Secret Lives – both for Channel 4 – through to a one-off film on David Bailey’s latest National Portrait Gallery exhibition for Sky. Arrow’s next major project is its most ambitious to date. Live From Space promises to do what it says on the tin for Channel 4, US cable channel Nat Geo and international broadcaster National Geographic Channels International (see box). Smithson says that returning to his indie roots has positioned the Arrow team to feed their curiosity. “We can pursue the shows that we want to do,” he says. “It is exciting because we are not accountable to anyone other than ourselves, and we have deliberately not locked ourselves into anything.” Brisley agrees that it’s been a liberating period. “It’s made us much more creative. We’re able to change directions and do lots more variety. John and I spend a lot of time

18 | Broadcast | 28 February 2014

Left to right: Tom Brisley, Iain Pelling and John Smithson

‘The UK and US are of equal importance to us, although I think we’re working harder to have lots of eggs in lots of baskets’ John Smithson, Arrow Media

in cutting rooms and it’s worked from that point,” he says. Arrow still produces the type of shows on which Smithson and Brisley – an aviation enthusiast – built their reputations: World’s Busiest…, a co-pro with GroupM Entertainment for Channel 5; and Jumbo: The Plane That Changed The World for BBC2. But alongside this, it has ramped up the number of character-oriented ob-doc series it makes, exemplified by the mix of factual entertainment and specialist factual in BBC2’s The Hairy Bikers’ Restoration Road Trip. “The UK market was having more presenter-led programming and merging specialist factual with factual entertainment, so we were able to read that and work with broadcasters to respond to those needs,” says Brisley. Similarly, Ultimate Airport Dubai, commissioned by NGCI, was a tradi-

tional engineering series with colourful characters. Meanwhile, with Animal Fight Night (left), a three-part archive-heavy Nat Geo Wild series about battles in the animal kingdom, Arrow has made its first foray into natural history. “We are looking to do more in the wildlife area,” Brisley says. “If you find an area that works, whether it’s dogs, traction engines or space, you want to look at those areas, and make the things you do newer, fresher and bigger.”

Creative freedom Arrow’s ability to work in new genres and develop new formats is underpinned by the legal and financial frameworks established by managing director Iain Pelling, the safe pair of hands that allows Smithson and Brisley to be creative. Starting a new indie is not as easy as it seems, says Smithson, and is more complicated now than five years ago. “It’s great that new people are emerging, whether they’re coming out of the broadcasters or other indies. But it’s tough,” he says. “This business changes every month. It isn’t as easy as it might seem.” Setting up a global company is even more difficult. While Arrow’s head office is on a busy street just north of www.broadcastnow.co.uk


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

Clockwise: Live From Space; The Hairy Bikers’ Restoration Road Trip; Terror In The Skies

Oxford Circus, it is not solely a UK indie: 62% of its com­missions last year came from inter­national broadcasters. Smithson and Brisley are certainly collecting the air miles, particularly to Washington, DC, and New York, where the US cable networks are based. “The UK and US are probably of equal importance to us, although I think we’re working harder to have lots of eggs in lots of baskets,” says Smithson. It seems North America may hold the key to Arrow’s future. “We have a brilliant creative economy in the UK but we’d be crazy not to look at America,” admits Smithson. “We’ve a couple of really big US shows that are close to being greenlit and we will figure out the best way to do them.” Arrow is considering opening a US division, although such plans are at an early stage. But Brisley acknowledges that this would bring its own set of challenges. “You need to be of a scale to be able to manage it.” What’s their long-term plan? Would they sell the company to an Endemollike group? “I think the focus for now is to continue the journey we’re on,” says Smithson diplomatically. While the trio are careful not to rule out the idea of third-party ownership, it’s clear that they’re once again enjoying the freedom of independence. www.broadcastnow.co.uk

Live from space going where no one has gone before The international space station takes 90 minutes to complete a full orbit of Earth – perfect for a primetime TV show. C4’s Live From Space is a short season of programming from Arrow that comprises a live two-hour orbit aboard the space station and two 60-minute documentaries about the astronauts: Astronauts: Living In Space and Astronauts: Houston We Have A Problem. Arrow will also produce a separate two-hour Live From Space show for Nat Geo’s network of more than 170 inter­ national channels. Negotiating access with Nasa and its astronauts, and putting together a series of live broadcasts, wasn’t simple. Arrow Media co-creative director Tom Brisley came up with the idea and contacted Nasa. “We wanted to humanise space and show what it was really like living on the space station,” he says. “We’ve all seen clips but it’s very corporate and we wanted to present it warts and all.”

‘We wanted to show what it was really like living on the space station’ Tom Brisley, Arrow Media

This approach was what convinced American astronaut Rick Mastracchio and Japanese astronaut Koichi Wakata to participate. The thought of watching astronauts brushing their teeth and exercising attracted C4 to the project. C4 head of specialist factual David Glover says he wants Live From Space to be like Coppers for astronauts. “There’s a juxta­position of the mundane with the extraordinary,” he says. The former Windfall Films producer will have to come up with a different excuse should he leave C4. “When I left production to become a commissioning editor, I said I’d only do it for a year because I was fed up of not meeting the astronauts,” he jokes. “But in this case, I actually met them.”

Nat Geo’s show, which will TX on 14 March, will feature a different orbit to C4’s. Nat Geo US chief executive David Lyle says he’s surprised no one has attempted it before. “We’re constantly trying to differentiate ourselves at Nat Geo,” he says. “This hits our sweet spot. It’s intellectually stimulating, it’s about exploration and it’s cool.” Nat Geo will launch Live From Space in 171 countries. “It’s going to be able to make some interesting observations about the world,” says executive vicepresident and head of international content Hamish Mykura. “We’re trying to find things with a breadth of appeal and this, by its very nature, is international.” Arrow Media is aware of the challenges in broadcasting live from space, including blackouts and signal delays. But Brisley says it all adds to the magic. “There’s been a surge in interest in space. Hopefully our show will benefit from that and contribute to it,” he says.

28 February 2014 | Broadcast | 19


Ratings Analysis Digital channels

Mixed fortunes in multichannel Imported shows boosted Dave and BBC4 in 2013, while original series gave ITV2 a lift – and US comedies made E4 the C4 family’s best performer. Stephen Price reports

O

ver the Valentine’s weekend, more than 5 million US viewers reportedly watched the second series of Netflix’s House Of Cards. Given the apparent and inexorable march of this future, it seemed rather quaint of ITV to announce plans to launch two new linear channels: ITV Encore and ITVBe. But then research was published by commercial TV marketing body Thinkbox revealing that 98.5% of Britons’ average daily viewing is via the television set, which represents just eight minutes short of four hours a day. Thinkbox’s findings also showed that just 1.5% of viewing – 3.5 minutes – is done via tablet, laptop or smartphone. For now at least, our habits remain stubbornly TV-shaped and launching new channels, especially within an existing family, remains a viable strategy. In 2013, ITV’s best performing digital network in all-time was

UktV 0600-2600 Channel

2012 vol (000s) Dave 122.80 Drama Blighty 3.10 Alibi 41.10 gold 65.10 Yesterday 109.10 watch 59.90 really 41.50 Home 15.20 good Food 13.10 eden 12.50

UktV 1900-2230 Channel

2012 vol (000s) Dave 236.50 Drama Blighty 5.50 Alibi 94.40 gold 116.60 Yesterday 204.40 watch 145.20 really 82.80 Home 26.90 good Food 23.20 eden 20.60

‘Between 7pm and 10.30pm, BBC4 was up 4.8%, fuelled by the Scandi explosion’

with peak-time increases of 5.5%, led by US comedies The Big Bang Theory (5 December’s 2.8 million/ 10% was the best) and How I Met Your Mother (best: 1.6 million/8% on 11 July). However, teen soap Hollyoaks’ series average of 800,000/4%, up 26% on 2012 for the weekday 7pm episodes, provided some cheery UK news. The Big Bang Theory: E4’s top-rating show Series-high rating for Particularly for E4’s The Big Bang commercial channels, Theory, achieved on pursuing the lucrative ITV3 (+4.9%), while ITV4 fell by million/5% (Thurs5 December youth audience is vital. 3.5%. ITV2’s all-time increase of day 7 February ITV2’s 16 to 34 share 2.6% was enhanced by peak-time 2013’s 1.6 million/6% increased by 5% in 1900increases of 5%. The Big Reunion, was its best). Celebrity 2230 peak-time, while E4 was up a new addition to ITV2’s roster of Juice averaged 2 million/10% 4.5%. Channel 5’s 5* showed a UK commissions, averaged 1.2 across two series on Thursday 2.6% increase for 16 to 34s to supnights at 10pm, peaking on 28 plement its 3.7% increase in allFebruary with 2.4 million/12%. time, making it the broadcaster’s ITV3, which will soon have to 2012 2013 vol 2013 Y-o-y vol Y-o-y share best performer. contend with ITV Encore lurking share (%) (000s) share (%) change (%) change (%) behind a paywall, still ekes value 1.09 140.40 1.29 14.33 18.35 out of its detectives; the best was Contrasting fortunes 36.40 0.33 the 23 March episode of Foyle’s BBC3 and BBC4 faced contrasting 0.03 0.82 0.01 -73.68 -75.10 0.36 41.10 0.38 0.00 5.56 War (1.8 million/8%), followed by fortunes. Between 7pm and 0.58 60.20 0.55 -7.53 -5.17 Lewis (1.4 million/5%) on 20 Feb10.30pm, BBC4 was up 4.8%, 0.97 82.10 0.75 -24.75 -22.68 ruary, alongside relative fuelled by the Scandi explosion, 0.53 55.00 0.50 -8.18 -5.66 newcomer Endeavour (picthe best of which was Borgen’s 0.37 42.50 0.39 2.41 5.41 tured), with a best of 1.3 1.2 million/5% on 5 January 0.14 12.90 0.12 -15.13 -14.29 million/6% on 6 April. (the two series in 2013 averaged 0.12 12.10 0.11 -7.63 -8.33 ITV4’s decline can be 900,000/4%). The channel’s 0.11 9.10 0.08 -27.20 -27.27 attributed to fewer best was an atypical piece strong films (27 of event programming: achieved more Goodbye Television 2012 2013 vol 2013 Y-o-y vol Y-o-y share than 500,000 Centre’s Centre 1.6 million/ share (%) (000s) share (%) change (%) change (%) viewers in 2012 6% on 22 March. 0.97 270.3 1.14 14.29 17.53 compared with Youth-skewing 76.89 0.32 0.02 1.28 0.01 -76.82 -73.15 just five in 2013) BBC3 was down 5% for 0.39 99.6 0.42 5.51 7.69 and 2013’s Tour all individuals despite 0.48 120.7 0.51 3.52 6.25 De France being the success of The Call 0.84 149.4 0.63 -26.91 -25.00 around 4% shy Centre (4 June’s 1.2 0.60 119.6 0.50 -17.63 -16.67 of 2012’s. million/5% was the best 0.34 86.5 0.36 4.47 5.88 E4 was the of the series, which aver0.11 22.3 0.09 -17.10 -18.18 0.09 20.9 0.09 -9.91 0.00 aged 1 million/ 4%) and Channel 4 family’s 0.08 15.7 0.07 -23.79 -12.50 best performer, coverage of the Confed-

20 | Broadcast | 28 February 2014

2.8m

www.broadcastnow.co.uk


Data supplied by Attentional

Source. BARB

erations Cup football tournament in June (best: the semi-final between Brazil and Uruguay on 26 June with 2.1 million/8%). However, between its core hours of 7pm and midnight, BBC3’s share of 16 to 24s grew by 0.7% to 5.6%; the same number as E4, whose declines were above 3%. ITV2’s share of this young audience, while the smallest of the three channels, was up the most: by 3.6% to 4.6%. UKTV’s family overall showed an increase in all time of 5.6%, which was largely driven by Dave (up 18% in all time and in 19.0022.30 peak) and the arrival of the Drama channel, which replaced the tiny Blighty in July 2013. Dave’s good year came in large part via the unlikely hit Storage Hunters, the best of which was 18 June’s 1.1 million/5% at 8pm, second overall in the UKTV family behind Watch’s Dynamo: Magician Impossible (11 July’s 1.4 million/6% at 9pm).

Yesterday in decline Yesterday’s improved share in recent years has been fuelled by narrative but with the arrival of Drama, there will be less to be had and its declines in 2013 (-23% in all time; -25% in peak) suggest that process has begun. Gold increased by 6% in peak, driven by the BBC1 comedy hit Mrs Brown’s Boys, the best of which was 8 May 2013’s 849,000/3%. Eight other episodes were bigger than Gold’s best 2012 show: The Comic Strip Presents… (628,000/ 2% on 7 November). In the share and broadband subscriber battle, which is BSkyB’s daily concern, Sky Atlantic is a small but important plank in the

Mrs Brown’s Boys: top show for Gold www.broadcastnow.co.uk

top 20 PSB digital network programmes Programme

Date

Day

Start

Viewers (m)

Share (%)

Channel

1

The Big Bang Theory

5 Dec

Thu

20.30

2.78

10.29

E4

2

Celebrity Juice

28 Feb

Thu

22.05

2.45

11.96

ITV2

3

Red

1 Aug

Thu

21.00.

2.11

10.74

Film 4

4

Match Of The Day Live

26 Jun

Wed

20.50

2.07

7.82

BBC3

5

Family Guy

21 Jul

Sun

22.20

1.94

10.76

BBC3

6

I’m A Celebrity, Get Me Out Of Here! Now!

8 Dec

Sun

22.00

1.89

9.46

ITV2

7

Foyle’s War

23 Mar

Sat

21.00

1.81

8.23

ITV3

8

Star Wars: Revenge Of the Sith

30 Jun

Sun

17.20

1.72

10.28

ITV2 ITV4

9

Uefa Europa League Live

14 Mar

Thu

17.30

1.66

7.78

10

The Only Way Is Essex

2 Jun

Sun

22.00

1.65

8.35

ITV2

11

Raiders Of The Lost Ark

24 Dec

Tue

20.00

1.59

5.98

BBC3

11

Goodbye Television Centre

22 Mar

Fri

20.30

1.59

6.39

BBC4

13

Doctor Who Live: The Afterparty

23 Nov

Sat

21.00

1.58

5.60

BBC3 ITV2

14

The Big Reunion

7 Feb

Thu

21.00

1.56

5.76

15

How I Met Your Mother

11 Jul

Thu

20.30

1.55

7.76

E4

16

Star Wars: Return Of The Jedi

21 Jul

Sun

17.05

1.54

9.69

ITV2

17

Quantum Of Solace

8 Nov

Fri

21.00

1.51

6.83

ITV2

18

Britain's Got More Talent

8 Jun

Sat

22.00

1.50

8.10

ITV2

19

Star Wars: Attack Of The Clones

23 Jun

Sun

17.25

1.47

7.45

ITV2

20

Hollyoaks

6 Nov

Wed

19.00

1.43

6.51

E4

Day

Start

Viewers (m)

Share (%)

Channel

top 20 non-pSB digital network programmes Programme

Date

1

Revolution

29 Mar

Fri

21.00

2.15

8.20

Sky 1

2

Karl Pilkington: The Moaning Of Life

20 Oct

Sun

21.00

1.60

5.31

Sky 1

2

Arrow

4 Mar

Mon

20.00

1.60

5.78

Sky 1

4

The Following

29 Jan

Tue

22.00

1.39

6.87

Sky Atlantic Sky Living

5

The Blacklist

8 Nov

Fri

21.00

1.36

5.58

5

Stella

11 Jan

Fri

21.00

1.36

4.65

Sky 1

7

Dynamo: Magician Impossible

11 Jul

Thu

21.00

1.35

6.05

Watch Sky Living

8

Elementary

12 Nov

Tue

21.00

1.33

5.10

9

The Simpsons

24 Mar

Sun

18.30

1.31

5.56

Sky 1

10

Game Of Thrones

1 Apr

Mon

21.00

1.27

3.94

Sky Atlantic

11

Hawaii Five-0

6 Jan

Sun

21.00

1.18

3.72

Sky 1

11

Moonfleet

29 Dec

Sun

20.00

1.17

4.33

Sky 1 Sky 1

13

Got To Dance 4

17 Mar

Sun

19.50

1.16

4.25

14

Storage Hunters

18 Jun

Tue

20.00

1.10

5.10

Dave

15

Bones

9 Jan

Wed

21.00

1.09

3.53

Sky Living Sky Living

16

Dracula

31 Jun

Thu

21.00

1.07

4.62

17

Spartacus: War Of The Damned

11 Feb

Mon

22.00

1.03

5.01

Sky 1

18

Mad Dogs

4 Jun

Tue

21.00

1.02

4.12

Sky 1

19

Yonderland

10 Nov

Sun

18.30

1.01

4.56

Sky 1

20

Criminal Minds

11 Mar

Mon

21.00

0.99

3.38

Sky Living

Game Of Thrones: Sky Atlantic boost

➤ 28 February 2014 | Broadcast | 21


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Ratings Analysis

Data supplied by Attentional

DIGITAL CHANNELS ‘Sky Living, up 21% in peak-time, benefited from US imports. The best was The Blacklist’ subscriber attraction strategy. Numbers are slight for some shows but in 2013 it grew by 14% in peak, thanks to Game Of Thrones (1.1 million/4% for the series; 24% up on 2012) plus strong showings for newer series The Following (1.2 million/6% series average). The best of Atlantic’s UK commissions was The Bridge remake The Tunnel, which averaged 627,000/2.4%. Sky Atlantic benefits hugely from the PVR – for example, The Following on 29 January 2013 achieved 1.4 million/ 7%, with 1 million of those coming via recording. Overall, Sky Atlantic

grew its peak-time volume by 80% via PVR in 2012. In comparison, Sky 1 grew by 38%, E4 by 11% and Dave by just 2.5%. Sky Living, up 21% in peak-time, also benefited from US imports. The best was The Blacklist on 8 November (1.4 million/5.6%; series average of 1.2 million/5%). The best entirely home-grown show was Mount Pleasant, which began life on Sky 1 in 2011. Series three, the second on Sky Living, averaged 585,000/2% in 2013, the highest of which was 9 October’s 675,000/2.8%. Sky 1’s 1.6% peak-time growth was led by US imports. Apocalyptic drama Revolution’s best was 29 March’s 1.9 million/7%; the series averaged 1.2 million/5%. The best of the home-grown commissions was Karl Pilkington: The Moaning Of Life, which averaged 1.3 million/4%.

BBC3 BBC4

2012 vol (000s) 483.10 357.20

2012 share (%) 1.98 1.46

2013 vol (000s) 447.00 363.80

2013 share (%) 1.88 1.53

Y-o-y vol change (%) -7.47 1.85

Y-o-y share change (%) -5.05 4.79

ITV 0600-2600 Channel ITV2 ITV3 ITV4

2012 vol (000s) 306.50 276.40 129.30

2012 share (%) 2.72 2.45 1.15

2013 vol (000s) 305.30 280.90 121.60

2013 share (%) 2.79 2.57 1.11

Y-o-y vol change (%) -0.39 1.63 -5.96

Y-o-y share change (%) 2.57 4.90 -3.48

ITV2 ITV3 ITV4

2012 vol (000s) 537.00 550.20 250.80

2012 vol (000s)

E4 More 4 Film 4 4seven

202.20 134.50 169.30 15.45

2012 share (%) 2.20 2.26 1.03

2013 vol (000s) 548.80 556.40 238.10

2013 share (%) 2.31 2.34 1.00

Y-o-y vol change (%) 2.20 1.13 -5.06

Y-o-y share change (%) 5.00 3.54 -2.91

2012 share (%) 1.79 1.19 1.50 0.13

2013 vol (000s) 200.90 132.00 165.30 33.50

2013 share (%)

Y-o-y vol change (%) -0.64 -1.86 -2.36 116.83

1.84 1.21 1.51 0.31

Y-o-y share change (%) 2.79 1.68 0.67 138.46

C4 1900-2230 Channel

2012 vol (000s)

E4 More 4 Film 4 4seven

442.20 278.00 356.90 28.50

2012 share (%) 1.81 1.14 1.46 0.11

2013 vol (000s) 452.40 274.70 361.50 60.50

2013 share (%)

Y-o-y vol change (%) 2.31 -1.19 1.29 112.28

1.91 1.16 1.52 0.25

Y-o-y share change (%) 5.52 1.75 4.11 127.27

CHANNEL 5 0600-2600 Channel

2012 vol (000s)

5USA 5*

111.50 60.90

2012 share (%) 0.99 0.54

2013 vol (000s) 110.20 61.00

2013 share (%)

Y-o-y vol change (%)

Y-o-y share change (%)

1.01 0.56

-1.17 0.16

2.02 3.70

2013 share (%)

Y-o-y vol change (%)

Y-o-y share change (%)

1.08 0.59

-8.70 -1.34

-6.09 1.72

Y-o-y vol change (%)

Y-o-y share change (%)

CHANNEL 5 1900-2230 Channel

2012 vol (000s) 280.60 141.80

2012 share (%) 1.15 0.58

2013 vol (000s) 256.20 139.90

SKY 0600-2600 Channel

2012 vol 2012 2013 vol 2013 (000s) share (%) (000s) share (%)

Sky 1 Sky Atlantic Sky Living Pick Sky 2

107.20 27.80 69.30 101.30 25.30

0.95 0.25 0.62 0.90 0.22

105.90 28.20 71.50 99.80 19.80

-1.21 1.44 3.17 -1.48 -21.74

0.97 0.26 0.65 0.91 0.18

2.11 4.00 4.84 1.11 -18.18

SKY 1900-2230 Channel

ITV 1900-2230 Channel

Channel

5USA 5*

BBC 1900-2230 Channel

C4 0600-2600

2012 vol 2012 2013 vol 2013 (000s) share (%) (000s) share (%)

Sky 1 Sky Atlantic Sky Living Pick Sky 2

310.60 67.40 151.90 179.00 48.00

1.27 0.28 0.62 0.73 0.20

307.20 76.30 178.30 181.90 36.70

Y-o-y vol change (%)

1.29 0.32 0.75 0.77 0.15

-1.09 13.20 17.38 1.62 -23.54

Y-o-y share change (%) 1.57 14.29 20.97 5.48 -25.00

audience data system

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Analysis DIVERSITY TRANSGENDER

Trans people need a voice The portrayal of transgender people in the media is usually inaccurate, and often offensive. Broadcasters and indies need get to know us if the industry is to change, says Paris Lees

PARIS LEES PHOTO BY VIKTOR VAUTHIER FOR ATTITUDE MAGAZINE

I

n a BBC office in late 2011, Jon Plowman, the man behind many hit BBC comedies of the past 20 years, was eyeing me with suspicion. I knew what he was thinking. He’s been dragged to another of those pointless diversity workshops. He has better places to be, more important things to do; the next Ab Fab to crack on with, the next Psychoville to develop. Radio 4’s Dixi Stewart sat beside Chantal Badjie, the brains behind BBC2’s mixed-race season. Radio 1 commissioning editor Piers Bradford was next to Jon and BBC head of creative resources Ian Critchley. The BBC’s diversity department had gathered everyone together to talk about transgender representation. I was the only transgender person in the room. There was some robust discussion that day, yet here I am, just over two years later, and I’ve still not met a single transgender person at a broadcaster, indie or regulator. Media diversity is back on the agenda, following Ed Vaizey’s recent discussions with industry leaders, and Lenny Henry’s speech on the decline of ethnic minorities in the creative industries. It’s clear that there’s a problem with racial diversity, but what about some of the smaller diversity strands? Research conducted in 2009 revealed that 78% of British transgender people felt that the media portrayals they saw were either inaccurate or highly inaccurate. It’s hardly surprising. Industry insiders get their information about transgender people from things they’ve seen or heard in the media. In other words, from shows produced by people like themselves. It’s an important point, but one few industry insiders wish to hear. People switch off when you criticise them. They may well agree with what you have to say, but they’ll want to forget about it as soon as you leave the room. Occasionally, TV gets it right. Waterloo Road consulted with Mermaids, a group for families of transgender www.broadcastnow.co.uk

My Transexual Summer: Drew appeared in the C4 series that followed seven people undertaking gender affirmation procedures

‘You realise that the problem is not with being trans, it’s the level of sheer ignorance of the existence of trans people’ Nathalie McDermott, On Road

people, for a sensitive storyline. But Channel 4’s My Transexual Summer, while good on the whole, still made a fuss about surgery and fed into a clichéd documentary view of ‘look, here’s some transgender people’. Netflix’s Orange Is The New Black has a trans character but Sky’s Hit And Miss (below) was absurd, genitally obsessed and missed an opportunity to cast a trans actor. Nathalie McDermott runs not-for-profit organisation On Road, which works with marginalised social groups. She got in touch with trans campaigners in 2011 after witnessing a woman die after she was pushed in front of a train. “It was a traumatic experience for me and in the days that followed I was naturally very interested in who that person was,” McDermott recalls. She was immigration lawyer Sonia Burgess, who happened to be transgender. Nathalie had never knowingly met a transgender person, but she was uneasy with the prurient way Sonia’s death was reported by the press

and decided to do some research. “I was surprised by how ignorant I was about this tiny minority, which is at the brunt of some horrific treatment,” she says. “Pretty quickly, you realise the problem is not with being trans, it’s the level of sheer ignorance of the existence of trans people and their experiences. I run an organisation that celebrates diversity and inclusion but knew little about it – your average Joe is probably going to know even less.”

Lack of awareness I doubt Channel 4 director of creative diversity Stuart Cosgrove will thank me for saying this, but when we met he asked: “What’s the difference between a drag queen and a transgender woman?” Stuart is far from stupid, or alone in his initial lack of awareness, but he admits the past few years have been a journey for him, having only worked with one trans creative. Nathalie was keen to help the transgender community and, with Stuart’s help, she secured seed funding from C4 and the BBC to hold a brainstorming day at C4’s HQ, inviting journalists, ➤ 28 February 2014 | Broadcast | 25


Analysis DIVERSITY TRANSGENDER producers, commissioners and people from the transgender community. Ideas flowed. One was the trans-comedy award, a writing competition to find a transgender comedy script that isn’t offensive to transgender people. Led by Plowman and Ian Critchley, it looks likely to bear fruit: “You don’t usually have a competition and end up with two really good scripts,” says Critchley. “Both of these have gone off for further editing and a full read through, which we financed. Jon is serious about this. We’d like to see it on BBC1.” Ian understands why people get frustrated, but says that anger is often counterproductive: “I get frustrated with how the BBC portrays gay people sometimes. But there’s no point in getting all aggressive about it as that just pushes people into corners.”

Building connections I agree. Last year, I helped Nathalie and her team devise the project All About Trans, which connects young trans people with media professionals in informal settings but – and here’s the crucial bit – not to lecture them, to have fun. We took the BBC’s comedy department to the aquarium for the day. We had tea with Channel 4 news presenter Cathy Newman at the Charles Dickens Museum. We arrived at The Observer with muffins. “The difference between an interaction and a diversity workshop is that after an interaction you go away with a trans person’s phone number in your phonebook,” says Nathalie. It’s not about influencing specific content, nor telling anyone what to say, but creating empathy: “If you look at how dramatic the change has been towards gay and lesbian people over the past 20 years, the main thing is that everyone now knows a gay person. So with All About Trans we try to expedite that process. I think it’s fair to say that 99% of the people we’ve worked with have never knowingly met a trans person.” We’re now going nationwide. We’ve met the Emmerdale ideas people and we’re looking forward to meeting the creative teams at EastEnders and Coronation Street. It’s a top-down approach, which aims to influence scriptwriters and production companies by converting the people who pay their wages. 26 | Broadcast | 28 February 2014

Waterloo Road: Martin Dunbar as trans teenager Matt Greenwood with teacher Eleanor Chaudry (Poppy Jhakra); below: Orange Is The New Black’s trans character Sophia Burset

‘We are genuinely keen to work with trans communities as they can improve our understanding’ Stuart Cosgrove, Channel 4

For Cosgrove, collaborations like this make sense as diversity is a key part of C4’s remit: “Engaging with minority groups, both as creatives and contributors, is a vital part of our modernity as a broadcaster. C4 commissions content from independent producers and as signatories to the Creative Diversity Network pledge, we are leading supporters of diversity on and off camera.” C4 currently has two or three projects from trans talent, but the industry has not been responsive to new transgender entrants. “We are genuinely keen to work with trans people as they can access what is a very difficult to reach community and improve our understanding of what works best,” Cosgrove says. Last year, I debuted as Radio 1’s first transgender presenter and I’m working on my third documentary for the channel. Through All About Trans, trans film-makers Raphael Fox and Lewis Hancox are working with C4 on a series of short films about trans people. “C4 is curious about difficult-toreach communities and how we can understand British society from its edges,” says Cosgrove. “Look at the asylum community, who are suspicious of the media and unsure of the benefits of working with broadcasters. What is important is getting access to remarkable people and challenging stories.” It’s a sentiment Critchley shares: “We should be telling stories about all sorts of different people; extraordinary stories about ordinary people. Isn’t that what it’s all about?” ➤ Paris Lees is Radio 1’s first transgender presenter

ALL ABOUT TRANS CHALLENGING VIEWS “It was useful in challenging perceptions. What surprised me most was that there is no need to define trans people by their surgery or lack of surgery.” Cathy Newman Presenter, Channel 4 News “I thought that it might have been a bit preachy and that there would be an agenda. But that was not the case. The most useful part was meeting people in a relaxed environment and just hearing their amazing stories.” Sean Hancock Executive commissioning producer, BBC Entertainment “I expected to be lectured but this was an opportunity to have an open and honest chat with some trans people. I found it very insightful, and it’s led to several programme ideas that have made it on air.” Piers Bradford Commissioning editor, BBC Radio 1 and 1Xtra “I found the most useful aspect to be hearing directly from trans people and I realised that I, a gay person, can improve my use of language. The newsroom as a whole could learn a huge amount.” Jane Hill Presenter, BBC News

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Behind the Scenes 37 DAYS

Illuminating the road to war We didn’t have the luxury of a drama budget, says Justin Hardy, but Northern Ireland was great value as a location – and the strength of our script attracted some top acting talent 37 DAYS

Production company Hardy Pictures TX 9pm, 6, 7 and 8 March, BBC2 Length 3 x 60 minutes Commissioner Martin Davidson Co-funders BBC Worldwide; Northern Ireland Screen Producers Sue Horth; Lucy Bassnett-McGuire Director Justin Hardy Writer Mark Hayhurst Editor Adam Green Post house Yellow Moon Summary Drama tracking the events of the 37 days leading up to World War I.

Justin Hardy Making drama on a specialist factual budget ■ The location manager is

the unsung hero. Pick your location and shoot the hell out of it. Make sure the owners are experienced in filming and keep up an exchange of views. ■ Have ‘economy of scale’ as your buzz phrase. With three hours of repeated cast, locations and crew, you can budget to have a grip and dolly for the entire shoot. ■ Hit the schedule. Every week, every day, every hour of the day. If you do this, as a rule, every department can trust the central machine. They stop hiding money for the overruns. Every prop, every costume can go back on time. ■ Cast high, but not too high. Execs ask for stars that will make the head too large for the body. Instead, look for actor catchers whose agents bring in others of a similar standard. And make sure they have fun.

Justin Hardy Director

T

he proposal was intimidating from the off. “We were thinking about how we ever got into the First World War, and none of us really knew,” mused Janice Hadlow, then supremo at BBC2. And if she didn’t know, nobody did. “Make it clear but comprehensive,” she went on. “All those countries, all that diplomacy that had held Europe together for 100 years – all gone in a matter of weeks. How many weeks was it?” “37 days,” came the reply from our writer, Mark Hayhurst. “One month, one week, one day,” noted Martin Davidson, BBC head of history. Then silence. Producer Sue Horth and I waited for the judgement to come down. “Good. Three-parter, full drama, tx February 2014.” Eighteen months of outlines and scripts followed for Mark and Sue, a challenge better described by Mark (see box, right). When the scripts landed on my desk, my response was twofold. First, Mark and Sue had truly clarified what I hitherto believed could not be made clear to the average viewer, myself included: the scripts fitted the one month, one week, and one weekend (if not one day) structure. They followed one office clerk in the foreign office, and his German counterpart, all the way to the Western Front. Second, this is not the traditional language of TV. Mark had written some long speeches. He had not pandered to the sound-bite

28 | Broadcast | 28 February 2014

generation, but written dialogue between people who really cared about the power of argument, of persuasiveness. Davidson, far from sucking his teeth and talking about audience’s short attention spans, clapped Mark on the back. It was a script made for actors. Sure enough, Lou Cross, our casting director, was not surprised when we reeled in one great actor after another: Ian McDiarmid, Tim Pigott-Smith, Bill Paterson, Nicholas Farrell and Sinead Cusack. We didn’t have the financial

‘This is not the traditional language of TV but dialogue between people who really care about the power of argument’ Justin Hardy

clout that the drama department might have given us but, frankly, with a cast like this, you wouldn’t notice. The script also worked its magic with the Germans. We had all agreed early on that German actors should play the German characters, to emphasise the difference between London and Berlin. I can’t claim the casting process was easy. This was a highly sophisticated script, full of nuance. Most German actors, who speak English well, found it challenging. In the end, we went with those whose fluency was to the fore. Rainer Sellien (the Kaiser) was word perfect. Interestingly, General Moltke, the villain of the piece, was played by an east German who struggled with the language. But we felt that we could accept him as more

of an alien to our ear, as a more aggressive and oddly isolationist Prussian, looking to expand his own Weltanshauung at the expense of others. Ludger Pistor, who plays Chancellor Theobald von Bethmann-Hollweg, is known to UK audiences from Casino Royale, and practically cast himself. We gathered this international cast in Belfast for a crash course in European diplomacy. Hardy Pictures has operated here for more than five years, managed by Lucy BassnettMcGuire and generously supported by Northern Ireland Screen. We set about shooting the famously glorious summer of 1914 in the rainiest quadrant of the UK. But 2013 was the hottest, driest, sunniest on record – God was on our side. Northern Ireland is a great place to film. The crews are skilful, industrious and sardonic. Its locations are great value. Ballywalter, a country mansion stuffed with props, made for a plausible 10 Downing Street. Methody College, a private school in Belfast, delivered all the wood-panelled majesty of the foreign office. A few miles south, in the Orange headquarters of Lurgan, we found a good fit for Teutonic minimalism. We imported very few heads of departments. We took Doug Hartington, our long-standing director of photography, who has shot almost every Hardy Pictures drama, but most were local. They came with training on Northern Ireland-based series including Game Of Thrones, The Fall, Occupation and series two of Line Of Duty. For the post-production, we used Yellow Moon. It’s a dominant force in Northern Ireland, and you can see why. From a row of Victorian terraced houses in scenic Holywood, the firm juggles Game Of Thrones and all the aforementioned hits that emanate from this small corner of the UK. All of a sudden, the whole process of making the most complex story in recent history into something that will hopefully hold an audience seemed a great deal less intimidating. www.broadcastnow.co.uk


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

Gearing up for war: Alec (James McArdle) at the Foreign Office

37 DAYS UNDERSTANDING THE POLITICS From top: Ian McDiarmid (Sir Edward Grey) with Tim Pigott-Smith (Prime Minister Asquith); director Justin Hardy with Nicholas Farrell (Sir Eyre Crowe); James McArdle (Alec); scene in which Winston Churchill (Nicholas Asbury) and Asquith wait for Grey’s response to the Austrian ultimatum; left: Farrell and McDiarmid

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Mark Hayhurst Writer

It’s a story whose ending we all know. Wisdom does not prevail. No one saves the day. Efforts for peace all fail. As a writer, I’m not bothered by that. Apollo 13 is one of the most tense movies you’ll ever see, and you need to have been born on the far side of the moon not to know how it ends. I think that’s because tension comes from process, not outcome. It’s not ‘what happens?’ that makes an audience tense, it’s ‘is this problem real?’. The key thing to remember is that unfolding stories always have contingency built into them. This one certainly does. There are so many points during those 37 days when the European train might have rattled off in a different direction. That’s where the tension comes. I wanted to eliminate hindsight. When writing about the Great War, at every turn you’re met with the awful shadow of the Somme, Verdun and Passchendaele. But, of course, none of my characters knew about the carnage to come. Perhaps they ought to have considered the likely consequences more than they did, but no one – not even those who talked of ‘catastrophe’

or ‘cataclysm’ – could have anticipated the Somme. So I tried to avoid stuff that my characters couldn’t possibly have known about and not use it against them, otherwise everybody in the story would look like a fool or a villain, and 37 Days would become a simple morality tale. The aim, instead, was to get into the heads of Sir Edward Grey, Theobald von Bethmann-Hollweg (below) and the rest, and allow the audience to empathise with them – if not their decisions, then at least their predicaments. These men faced genuine dilemmas, they had faulty information and were often hamstrung by circumstances beyond their control. We had to show that. I think you have to like politics – the process of politics – to be able to write this story. This doesn’t mean respecting every politician that comes your way. But if you find the whole business contemptible, and see all politicians as frauds or blowhards, then it’s unlikely you’ll write an interesting political story. Politics is a great subject for drama. It contains cunning, idealism, deceit, honour, lust for power and the application of principle – often in a single character. Martin Davidson told us to embrace the complexity of the story but avoid being opaque. Throughout the process, we were encouraged to thicken the truth, rather than serve a thin gruel.

28 February 2014 | Broadcast | 29


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30 | Broadcast | 28 February 2014

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28 February 2014 | Broadcast | 31


Ratings Mon 17 Feb – Sun 23 Mth

Brits not a hit with viewers Awards show falls 2 million short of 2013, as Sunday drama battle becomes even closer BY Stephen Price

Where was the parent-jarring madness? Gone, it seems, are the days of rock stars mooning or machine-gunning on the Brit Awards stage, or an anarchist band hurling water over the deputy prime minister. In the aircraft hangar that is the O2, One Direction’s Harry went to the toilet and, wait for it, Arctic Monkey lead singer Alex Turner dropped the microphone – deliberately and everything. Steady. Mind you, he did ask for the invoice so will probably pay for any damage. His mum would be proud. Elsewhere, The Voice UK faced its first proper challenge in 2014 as Ant and Dec returned; the swordsmen and the shopkeeper rejoined battle on Sunday; and peering over the edge, Heaven was rather obscured. On Monday, the final part of BBC1’s Britain’s Great War quartet achieved 3 million/13%, the lowest of the series’ live ratings. Opposite, ITV’s DCI Banks won easily enough, with its lowest live rating of 5.6 million/ 24% (233,000 +1). Moved from the previous week, Channel 4’s Benefits Britain: The Live Debate managed 2.8 million/12% (468,000 +1); some revenge after last week’s thunder-stealing turn from Channel 5 – which this week averaged 800,000/4% (48,000 +1) for its debate show The Big British Immigration Row: Live from 8pm. On Tuesday, ITV’s coverage of the Uefa Champions League: Manchester City V Barcelona match averaged 5.7 million/23% 32 | Broadcast | 28 February 2014

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 21 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50

Title

Day

Start

Viewers (m) (all homes)

Share %

Broadcaster/ Producer*

Call The Midwife Coronation Street Coronation Street Coronation Street Coronation Street EastEnders EastEnders The Voice UK Emmerdale EastEnders Countryfile Emmerdale Emmerdale Emmerdale Coronation Street Ant & Dec’s Saturday Night Takeaway Death In Paradise DCI Banks Emmerdale Uefa Champs Lge: Man City V Barcelona Dancing On Ice BBC News At Six Top Gear Inspector George Gently BBC News BBC News At Ten The National Lottery: Who Dares Wins BBC News At Ten BBC News At Ten BBC News At Six Six Nations Rugby: England V Ireland BBC News At Six Holby City BBC News At Six BBC News At Six BBC News Casualty The Musketeers BBC News At Ten The One Show Mr Selfridge BBC News All Star Family Fortunes Six Nations Rugby: Wales V France The Brit Awards 2014 Student Nurses: Bedpans And Bandages The One Show Dancing On Ice: The Skate-Off BBC News BBC News At Ten

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

20.00 19.30 19.30 20.30 19.30 20.00 19.30 19.00 19.00 19.30 19.00 19.00 19.00 19.00 20.30 19.00 21.00 21.00 18.45 19.30 18.15 18.00 20.00 20.30 17.55 22.00 20.30 22.00 22.00 18.00 15.30 18.00 20.00 18.00 18.00 18.10 21.20 21.00 22.00 19.00 21.00 22.00 19.45 19.55 20.00 20.00 19.00 20.30 22.10 22.00

8.92 8.66 8.04 7.93 7.87 7.85 7.48 7.25 7.23 6.98 6.88 6.70 6.68 6.55 6.50 6.48 6.42 5.85 5.79 5.71 5.61 5.61 5.59 5.44 5.40 5.39 5.37 5.25 5.24 5.16 5.15 5.12 5.03 5.02 4.87 4.84 4.83 4.79 4.77 4.72 4.71 4.70 4.66 4.57 4.56 4.54 4.49 4.48 4.46 4.41

32.18 37.60 36.43 32.89 34.91 32.41 31.61 31.17 33.07 30.45 28.94 32.39 31.51 30.68 28.22 27.80 25.92 24.93 26.48 23.28 24.69 29.88 20.19 24.15 28.97 28.22 25.51 27.01 27.69 26.38 33.58 27.39 20.34 26.80 26.25 22.59 23.39 20.36 24.94 22.09 20.02 23.90 17.65 20.76 20.02 21.15 20.53 15.93 23.27 23.79

BBC1/Neal Street Productions ITV ITV ITV ITV BBC1 BBC1 BBC1/Wall to Wall ITV BBC1 BBC1 ITV ITV ITV ITV ITV BBC1/Red Planet Productions ITV/Left Bank Pictures ITV ITV ITV BBC1 BBC2 BBC1/Company Pictures BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 ITV BBC1 ITV BBC1 ITV ITV/Twofour BBC1 ITV BBC1 BBC1

Figures include HD and +1 where applicable

Ant & Dec’s Saturday Night Takeaway

Benefits Britain: The Live Debate www.broadcastnow.co.uk


All BARB ratings supplied by: Attentional

Source: BARB

51 52 53 53 53 56 57 58 59 59 61 62 63 64 65 66 67 67 69 69 71 72 73 74 75 76 77 78 79 80 81 81 83 83 85 86 87 88 89 90 90 92 93 94 95 96 97 98 99 100

Title

Day

Start

Viewers (m) (all homes)

Share %

Broadcaster/ Producer*

Pointless Celebrities Blandings The Graham Norton Show The One Show ITV News & Weather The One Show ITV News & Weather Take Me Out Outnumbered Inside Out Mrs Brown's Boys The One Show Pound Shop Wars Room 101 ITV News & Weather A Great Welsh Adventure… Griff Rhys Jones Match Of The Day Pointless The Chase ITV News & Weather University Challenge Pointless The Chase BBC News At One Pointless Benefits Britain: The Live Debate Pointless The Chase The Chase ITV News & Weather Pointless Celebrities The Jonathan Ross Show Dragons’ Den The Great British Sewing Bee ITV News & Weather The Chase Britain’s Great War BBC News At One Winter Olympics: Closing Ceremony Pointless Waterloo Road Panorama: Britain Underwater Match Of The Day 2 Winter Olympics: Today At The Games Benefits Street: The Last Word Edge Of Heaven The Hairy Bikers’ Asian Adventure BBC News At One BBC News At One The Cube: Celebrity Special

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

18.15 18.30 22.35 19.00 18.30 19.00 18.30 20.20 21.00 19.30 21.30 19.00 19.30 19.25 18.30 20.00 22.30 17.15 17.00 18.30 20.00 17.15 17.00 13.00 17.15 21.00 17.15 17.00 17.00 18.00 17.20 21.50 21.00 20.00 18.15 17.00 21.00 13.00 16.00 17.15 20.00 20.30 22.25 19.00 20.30 21.00 20.00 13.00 13.00 18.00

4.33 4.04 3.96 3.96 3.96 3.92 3.90 3.87 3.85 3.85 3.83 3.82 3.75 3.68 3.64 3.53 3.51 3.51 3.48 3.48 3.46 3.42 3.38 3.30 3.28 3.25 3.20 3.19 3.18 3.14 3.11 3.11 3.08 3.08 3.06 3.04 3.02 2.91 2.88 2.86 2.86 2.82 2.81 2.78 2.77 2.73 2.71 2.70 2.69 2.66

21.84 18.28 28.14 18.51 20.05 18.48 19.19 18.24 15.87 16.71 16.31 18.49 16.66 16.81 18.11 14.60 26.08 22.60 21.56 17.66 14.30 20.49 22.51 38.48 20.18 13.83 20.65 21.45 20.25 15.42 16.34 16.49 13.09 12.46 15.63 19.81 12.86 35.14 15.47 18.09 12.83 11.68 20.80 12.37 11.49 12.55 11.84 33.00 32.19 13.57

BBC1/Remarkable Television BBC1/Mammoth Screen BBC1/So Television BBC1 ITV BBC1 ITV ITV/Thames BBC1/Hat Trick Productions BBC1 BBC1/Boc-Pix/RTÉ BBC1 BBC1/Nine Lives Media BBC1/Hat Trick Productions ITV ITV/Modern Television BBC1 BBC1/Remarkable Television ITV ITV BBC2 BBC1/Remarkable Television ITV BBC1 BBC1/Remarkable Television C4/Mentorn BBC1/Remarkable Television ITV ITV ITV BBC1/Remarkable Television ITV/Hot Sauce BBC2 BBC2/Love Productions ITV ITV BBC1 BBC1 BBC2 BBC1/Remarkable Television BBC1/Shed Productions BBC1 BBC1 BBC2 C4/Love Productions ITV/Hartswood Films BBC2 BBC1 BBC1 ITV/Objective Productions

*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.

The Great British Sewing Bee www.broadcastnow.co.uk

Edge Of Heaven

(31,000 +1) from 7.30pm. Opposite at 8pm, BBC1’s Holby City achieved 5 million/20% against BBC2’s The Great British Sewing Bee’s 3.1 million/12%. The latter was more than all the episodes in last April’s short debut series. At 9pm, BBC1’s winning Death In Paradise achieved 6.4 million/26%, its lowest of this run by a fraction. ITV’s coverage of The Brit Awards on Wednesday averaged 4.2 million/18% (359,000 +1) from 8pm, nearly 2 million short of 2013. Opposite, BBC1’s Waterloo Road was reduced to 2.9 million/13% at 8pm, while Outnumbered’s 3.9 million/16% at 9pm was its lowest of this series. It’s a good consolidator, so that won’t be a worry.

‘The Voice fetched up against the return of ITV’s Saturday Night Takeaway and won’ A Mrs Brown’s Boys repeat at 9.30pm achieved 3.8 million/16%. ITV’s coverage of the Uefa Europa League: Swansea V Napoli game averaged just 2.4 million/11% (52,000 +1) on Thursday from 7.45pm. BBC1’s Inspector George Gently achieved its steady 5.4 million/24% at 8.30pm after an hour-long EastEnders (7 million/30%). On Friday at 9pm, ITV launched comedy drama Edge Of Heaven to a modest 2.6 million/12% (168,000 +1), fewer than 8pm’s Student Nurses: Bedpans and Bandages (4.3 million/20%; 214,000 +1). BBC1’s coverage of Six Nations Rugby: Wales V France averaged 4.6 million/21% from 8pm. On Saturday, the final audition show of BBC1’s The Voice UK fetched up against the return of ITV’s Ant And Dec’s Saturday Night Takeaway. The former won with its lowest of this run: 7.3 million/31% against ITV’s 6.1 million/26% (427,000 +1), which in turn was 600,000 short of its 2013 opener. BBC1’s Musketeers returned on Sunday after a Bafta week off. The 9pm tussle is getting ever tighter as its 4.8 million/20% played against ITV’s Mr Selfridge which, with +1, got uncomfortably close: 4.4 million/19%; 288,000 +1.

See over for digital focus, plus channel and genre overviews 28 February 2014 | Broadcast | 33


Ratings Mon 17 Feb – Sun 23 Feb Channel Overview

The Taste falls to new low BY Stephen Price

The sliding-about-a-lot has ended and GB won four medals, the best return since 1924; the year Mallory and Irving were lost trying to ascend Everest for the first time. Nowadays, there’s a queue and winter pursuits have more Lycra and fewer fur-lined anoraks, but BBC2 will have been delighted. Meanwhile, The Taste’s struggles continued, while the Dragons remained steady. With its lowest live audience yet, C4’s The Taste (800,000/3%; 58,000 +1) lost on Tuesday at 9pm to BBC2’s How China Fooled The World – With Robert Peston (1.8 million/7%) and Channel 5’s Holiday Love Rats Exposed (1.4 million/6%; 122,000 +1). On Wednesday, BBC2’s returning drama Line Of Duty ticked up on last week with 2.2 million/9%, still 800,000 short of 2013’s series overnight average but ahead of C4’s 24 Hours In A&E opposite (1.8 million/7%; 365,000+1). On Sunday, BBC2’s Dragons’ Den achieved 3.1 million/13% following chart-topping Top Gear’s 5.6 million/20% at 8pm. C4 film Bridesmaids drew 2 million/10% (309,000 +1) from 9pm. BBC2’s coverage of The Winter Olympics Closing Ceremony averaged 2.9 million/15% from 4pm on Sunday, slightly more than Friday 7 February’s daytime coverage of the opening ceremony’s 2.5 million/16%.

Source: BARB

WEEK 8 Average hours per viewer Daytime share (%) Peaktime share (%) w/c 17.02.14 Peaktime share (%) w/c 01.10.07 Year to date Average hours per viewer Audience share (%) Audience share (%) 2013

BBC1 5.99 18.89 23.67 21.85 BBC1 6.29 22.14 21.66

BBC2 2.74 13.12 9.29 7.32 BBC2 2.17 7.64 5.83

ITV1 4.12 11.76 20.36 22.34 ITV1 4.36 15.36 16.28

C4 1.48 4.74 5.78 5.71 C4 1.69 5.94 6.18

Start

Viewers (m) (all homes)

34 | Broadcast | 28 February 2014

Total 27.89 100.00 100.00 100.00 Total 28.41 100.00 100.00

Top 30 bbc2, channel 4 and channel 5 Title

Day

Share %

Broadcaster

1

Top Gear

Sun

20.00

5.59

20.19

BBC2

2

University Challenge

Mon

20.00

3.46

14.30

BBC2

3

Benefits Britain: The Live Debate

Mon

21.00

3.25

13.83

C4

4

Dragons’ Den

Sun

21.00

3.08

13.09

BBC2

4

The Great British Sewing Bee

Tue

20.00

3.08

12.46

BBC2

6

Winter Olympics: Closing Ceremony

Sun

16.00

2.88

15.47

BBC2

7

Winter Olympics: Today At The Games

Tue

19.00

2.78

12.37

BBC2

8

Benefits Street: The Last Word

Mon

20.30

2.77

11.49

C4

9

The Hairy Bikers’ Asian Adventure

Thu

20.00

2.71

11.84

BBC2

10

Winter Olympics: Today At The Games

Thu

19.00

2.60

11.73

BBC2

11

Winter Olympics: Today At The Games

Mon

19.10

2.52

11.13

BBC2

12

Winter Olympics

Wed

16.15

2.49

14.97

BBC2

13

Winter Olympics

Sat

18.00

2.32

11.60

BBC2

14

Film: Bridesmaids

Sun

21.00

2.27

11.96

C4

15

Line Of Duty

Wed

21.00

2.21

9.26

BBC2

15

Winter Olympics

Fri

16.30

2.21

13.50

BBC2

17

24 Hours In A&E

Wed

21.00

2.14

8.98

C4

18

Winter Olympics: Today At The Games

Wed

19.30

2.13

9.45

BBC2

19

8 Out Of 10 Cats Does Countdown

Fri

21.00

2.06

9.49

C4

20

Mastermind

Fri

20.00

1.95

9.07

BBC2

21

Food & Drink

Mon

20.30

1.92

7.96

BBC2

22

Winter Olympics

Mon

15.45

1.91

12.07

BBC2

23

Winter Olympics: Today At The Games

Fri

19.00

1.88

8.81

BBC2

23

Winter Olympics

Thu

16.30

1.88

11.67

BBC2

25

How China Fooled The World… Robert Peston

Tue

21.00

1.80

7.27

BBC2

25

Hunt Vs Lauda: F1’S Greatest Racing Rivals

Sun

19.00

1.80

7.56

BBC2

27

Winter Olympics

Sun

14.30

1.76

13.59

BBC2

28

An Island Parish

Fri

20.30

1.72

7.47

BBC2

29

The Restoration Man

Wed

20.00

1.69

7.57

30

Winter Olympics

Tue

16.00

1.68

11.16

C4 BBC2

Figures include HD and +1 where applicable

Multichannel 37.58

C5’s The Big British Immigration Row failed to steal the thunder from C4’s Benefits debate (8pm, Mon)

Others 12.58 47.80 37.58 39.18 Others 12.73 44.80 45.99

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

daytime share (%) w/c 17.02.14

peaktime share (%) w/c 17.02.14

895k

C5 0.97 3.69 3.33 3.59 C5 1.17 4.11 4.06

BBC1 23.67

ITV 20.36

C5 3.33 C4 5.78

BBC2 9.29

BBC1 18.89

Multichannel 47.80

1.4m Channel 4 doc Sexting Teacher overcame a low inheritance from The Taste (10pm, Tues)

ITV1 11.76

C5 3.69

BBC2 13.12

C4 4.47

www.broadcastnow.co.uk


All BARB ratings supplied by: Attentional

Genre Overview

Source: BARB

Top 10 children’s programmes 1 2 3 4 5 6 7 8 9 10

Top 10 Factual programmes

Title

Day

Start

Viewers (Age 4-15)

Share (%)

Channel

Topsy And Tim My Story Horrid Henry The Lingo Show Old Jack’s Boat Tree Fu Tom Tree Fu Tom Tree Fu Tom The Dumping Ground Raa Raa The Noisy Lion

Fri Fri Fri Thu Fri Fri Sun Tue Fri Thu

17.30 17.15 09.25 09.35 17.40 16.55 09.15 16.55 17.30 09.20

215,800 213,800 213,300 204,100 202,200 200,700 196,400 195,800 192,800 192,200

11.29 11.91 19.62 19.44 10.18 11.85 15.30 12.62 9.83 19.04

CBeebies CBeebies CITV CBeebies CBeebies CBeebies CBeebies CBeebies CBBC CBeebies

Title

1 2 3 4 5 6 7 8 9 10

Countryfile Top Gear The One Show Student Nurses The One Show The One Show The One Show The One Show Pound Shop Wars A Great Welsh Adventure…

Day

Start

Viewers (millions)

Share (%)

Channel

Sun Sun Tue Fri Mon Thu Wed Fri Wed Mon

19.00 20.00 19.00 20.00 19.00 19.00 19.00 19.00 19.30 20.00

6.88 5.59 4.72 4.54 4.49 3.96 3.92 3.82 3.75 3.53

28.94 20.19 22.09 21.15 20.53 18.51 18.48 18.49 16.66 14.60

BBC1 BBC2 BBC1 ITV BBC1 BBC1 BBC1 BBC1 BBC1 ITV

➤ Horrid Henry helped CITV register a rare entry in the children’s table and helped break up CBeebies’ stranglehold. The pre-school channel scooped up eight places in half-term week, with Topsy And Tim topping the pile. CBBC could only manage one place.

➤ Student Nurses performed well for ITV, but it could not break up the Countryfile and Top Gear monopoly. The One Show registered five entries and Pound Show Wars retained its place in the line-up, despite slipping to ninth.

Top 10 Drama programmes

Top 10 Entertainment programmes

Title

1 2 3 4 5 6 7 8 9 10

Call The Midwife Death In Paradise DCI Banks Inspector George Gently Holby City Casualty The Musketeers Mr Selfridge Waterloo Road Edge Of Heaven

Day

Start

Viewers (millions)

Share (%)

Channel

Sun Tue Mon Thu Tue Sat Sun Sun Wed Fri

20.00 21.00 21.00 20.30 20.00 21.20 21.00 21.00 20.00 21.00

8.92 6.42 5.85 5.44 5.03 4.83 4.79 4.71 2.86 2.73

32.18 25.92 24.93 24.15 20.34 23.39 20.36 20.02 12.83 12.55

BBC1 BBC1 ITV BBC1 BBC1 BBC1 BBC1 ITV BBC1 ITV

➤ The trio of dramas at the top of the table was unchanged, despite both Death in Paradise and DCI Banks losing viewers. Comedy drama Edge of Heaven featured for ITV, but it was BBC1 efforts that dominated, including The Musketeers.

UP Call The Midwife grows 490,000

DOWN The Voice drops 410,000

1 2 3 4 5 6 7 8 9 10

Uefa Champs Lge: Man City V Barca Six Nations: England V Ireland Six Nations: Wales V France Match Of The Day Match Of The Day 2 Winter Olympics Winter Olympics Winter Olympics Winter Olympics Europa League: Swansea V Napoli

The Voice UK Ant & Dec’s Sat Night Takeaway Dancing On Ice National Lottery: Who Dares Wins All Star Family Fortunes The Brit Awards 2014 Dancing On Ice: The Skate-Off Pointless Celebrities The Graham Norton Show Take Me Out

Day

Start

Viewers (millions)

Share (%)

Channel

Sat Sat Sun Sat Sun Wed Sun Sat Fri Sat

19.00 19.00 18.15 20.30 19.45 20.00 20.30 18.15 22.35 20.20

7.25 6.48 5.61 5.37 4.66 4.56 4.48 4.33 3.96 3.87

31.17 27.80 24.69 25.51 17.65 20.02 15.93 21.84 28.14 18.24

BBC1 ITV ITV BBC1 ITV ITV ITV BBC1 BBC1 ITV

➤ The Voice UK won the battle with Ant & Dec’s Saturday Night Takeaway, with the two shows going head to head on Saturday. Dancing On Ice’s woeful form took a turn for the better, but there was not good news for The Brit Awards, which was the worst-rated since at least 2006.

UP Holby City finds 50,000

DOWN Death In Paradise drops 770,000

UP Dancing On Ice up 640,000

Top 10 Current affairs programmes Day

Start

Viewers (millions)

Share (%)

Channel

Tue Sat Fri Sat Sun Tue Fri Thu Mon Thu

19.30 15.30 19.55 22.30 22.25 19.00 13.45 19.00 19.10 19.45

5.71 5.15 4.57 3.51 2.81 2.78 2.64 2.60 2.52 2.50

23.28 33.58 20.76 26.08 20.80 12.37 28.28 11.73 11.13 11.15

ITV BBC1 BBC1 BBC1 BBC1 BBC2 BBC1 BBC2 BBC2 ITV

➤ FC Barcelona’s comfortable 2-0 win against Manchester City was the most-watched sport programme of the week, narrowly beating two Six Nations games. There was a healthy performance from the Winter Olympics, while Match Of The Day perform well as usual. next week Comedy and Music & arts www.broadcastnow.co.uk

1 2 3 4 5 6 7 8 9 10

DOWN My Story loses 23,300

UP Countryfile adds 630,000

Top 10 Sport programmes Title

Title

Title

1 2 3 4 5 6 7 8 9 10

Inside Out Benefits Britain: The Live Debate Panorama: Britain Underwater Benefits Street: The Last Word Question Time The Andrew Marr Show The Agenda Dispatches: A&E’s Missing Millions The Big British Immigration Row Newsnight

Day

Start

Viewers (millions)

Share (%)

Channel

Mon Mon Mon Mon Thu Sun Mon Mon Mon Mon

19.30 21.00 20.30 20.30 22.40 09.00 22.35 20.00 20.00 22.30

3.85 3.25 2.82 2.77 2.58 1.50 1.00 0.94 0.88 0.71

16.71 13.83 11.68 11.49 21.35 19.58 7.37 3.90 3.70 5.33

BBC1 C4 BBC1 C4 BBC1 BBC1 ITV C4 C5 BBC2

➤ Channel 4’s controversial Benefits Street took two of the top spots in current affairs with spin-off shows, while Channel 5’s attempt to crossschedule made up the numbers. Inside Out’s text detectives doc was the most-watched current affairs show of the week.

See over for demographic and digital focus 28 February 2014 | Broadcast | 35


Ratings Mon 17 Feb – Sun 23 Feb Demographic Focus Channels

Source: BARB

Individuals Share (%)

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

21.60

26.01

48.56

12.85

10.18

21.95

46.27

21.31

53.73

ITV

15.04

13.61

36.51

12.61

14.36

12.86

38.93

16.85

61.06

BBC2

10.00

13.21

53.29

8.70

14.90

10.76

48.98

9.36

51.02

C4

5.21

5.46

42.19

7.70

25.27

4.67

40.81

5.66

59.18

C5

3.71

3.30

35.86

2.94

13.56

3.13

38.39

4.20

61.61

ITV2

2.40

2.06

34.61

4.34

30.94

1.83

34.60

2.89

65.41

ITV3

2.35

2.05

35.15

0.61

4.47

1.87

36.19

2.75

63.81

E4

1.90

1.73

36.63

5.29

47.51

1.89

45.16

1.92

54.87

Film 4

1.59

1.34

33.98

1.84

19.82

2.00

57.49

1.24

42.52

Dave

1.39

1.32

38.23

2.39

29.34

1.80

58.91

1.05

41.09

BBC3

1.33

1.24

37.53

3.11

39.86

1.46

49.83

1.23

50.16

Sky Spts 1

1.19

1.40

47.44

1.62

23.42

1.85

70.94

0.63

29.07

More 4

1.16

1.30

45.41

0.95

14.11

1.07

42.23

1.23

57.78

Sky 1

1.01

0.96

38.69

1.77

30.19

1.15

52.10

0.88

47.85

ITV4

0.94

0.73

31.16

0.73

13.26

1.31

63.37

0.63

36.60

5 USA

0.79

0.65

33.02

0.63

13.63

0.77

44.38

0.81

55.66

BBC 4

0.72

1.02

56.92

0.32

7.58

0.84

52.97

0.63

47.09

Drama

0.63

0.54

34.72

0.29

7.86

0.58

42.23

0.67

57.79

Yesterday

0.59

0.47

32.45

0.17

4.82

0.73

56.88

0.46

43.09

31%

ITV’s live coverage of The Brit Awards more than doubled the channel’s average midweek 8pm of 25-34s – 30.55% vs 13.38%. The demographic accounted for 17.3% of ITV’s audience at the time, which was up on the 7.5% 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

Knox doubles with repeats BY Stephen Price

One day in 1989, I came home to my shabby flat and even shabbier flatmates to be confronted with the sight of a gently listing bin spewing its contents, mostly the previous night’s curry, across the living room floor. I moved out soon after. So BBC4’s parasites programme rang some bells, even if dissecting a hand had me reaching for a stiff drink. Out of BBC4’s parasites and dissections, the former initially did the best – Infested! Living With Parasites achieved 598,000/2.5% on Wednesday at 9pm, with another 42,000 for the late-night repeat. On Tuesday, Dissected: The Incredible Human Hand averaged 450,000/1.8%, but two repeats added another 185,000. BBC3’s Is Amanda Knox Guilty? drew 710,000/3% on Monday at 9pm; four repeats added another 976,000. The best multichannel performer of the week was ITV2’s Celebrity Juice: Saturday Night Take­ away Special (on, confusingly, a Thursday) with 1.5 million/8%. 36 | Broadcast | 28 February 2014

Source: BARB

digital homes

Top 30 multichannel programmes Title

1 2 3 4 5 6 7 8 9 9 9 12 13 14 15 15 17 18 19 19 21 21 23 23 25 25 27 28 29 30

Celebrity Juice Live Ford Super Sunday Live Ford Sat Night Football Lewis Live Uefa Champs League How I Met Your Mother Hollyoaks Little Fockers Hollyoaks The Only Way Is Essex Hollyoaks Live Ford Super Sunday Hollyoaks Europa Lge: Dnipro V Spurs Live Uefa Champs League The Big Bang Theory Midsomer Murders Hollyoaks The Big Reunion 2014 Doc Martin The Big Bang Theory The Big Bang Theory Vera Ant & Dec’s Sat Night… The Big Bang Theory The Big Bang Theory Salamander Storage Hunters The Big Bang Theory Is Amanda Knox Guilty?

Figures include HD and +1 where applicable

Day

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

Start

22.00 15.30 17.00 20.00 19.00 20.30 19.00 21.00 19.00 22.00 19.00 12.30 19.00 17.30 19.30 18.30 20.00 19.00 21.00 20.00 18.00 20.00 21.00 15.50 18.30 18.30 21.00 20.30 18.30 21.00

Viewers (millions)

Share (%)

Channel

1.49 1.29 1.16 1.08 1.06 1.03 1.02 1.00 0.97 0.97 0.97 0.93 0.90 0.86 0.84 0.84 0.83 0.81 0.80 0.80 0.79 0.79 0.78 0.78 0.77 0.77 0.76 0.74 0.72 0.71

8.36 7.48 5.72 4.66 4.70 4.53 4.80 4.90 4.53 5.58 4.67 8.09 4.23 4.29 3.65 4.17 3.37 3.70 3.57 3.58 4.23 3.44 4.03 4.87 3.90 3.74 3.64 2.95 3.53 3.02

ITV2 Sky Spts 1 Sky Spts 1 ITV3 Sky Spts 1 E4 E4 BBC3 E4 ITV2 E4 Sky Spts 1 E4 ITV4 Sky 1 E4 ITV3 E4 ITV2 ITV3 E4 E4 ITV3 ITV2 E4 E4 BBC4 Dave E4 BBC3

Channels

Share (%)

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

21.60 15.04 10.00 5.21 3.71 44.44 2.40 2.35 1.90 1.59 1.47 1.39 1.33 1.19 1.16 1.02 1.01 0.94

Figures include HD and +1 where applicable

694k

E4’s My Mad Fat Diary returned up on series one’s 498,000 debut (Mon, 10pm) 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 Saturday Night Football Live Uefa Champions League Live Ford Super Sunday Live Uefa Champions League Storage Hunters Dynamo: Magician Impossible Live Chelsea V Everton Storage Hunters Modern Family Hawaii Five-0 The Walking Dead Storage Hunters Stella Modern Family Criminal Minds Elementary QI XL Storage Hunters Bones NCIS Storage Hunters The Smoke Dynamo: Magician Impossible Gillette Soccer Saturday Mock The Week Storage Hunters The Simpsons The Simpsons Storage Hunters The Simpsons Storage Hunters Castle The Simpsons Dynamo: Magician Impossible Storage Hunters Storage Hunters QI XL Storage Hunters Hairy Bikers’ Cookbook Arrow The Simpsons Storage Hunters The Simpsons Ross Kemp: Extreme World UK Border Force Grimm Fast & Furious 6 The Simpsons QI XL

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

15.30 17.00 19.00 12.30 19.30 20.30 21.00 12.00 20.00 20.00 21.00 21.00 19.30 21.00 20.30 21.00 21.00 21.00 19.00 21.00 21.00 19.30 21.00 15.00 12.00 21.40 19.00 19.30 18.30 19.00 19.00 19.30 21.00 19.00 18.00 19.00 19.30 20.00 16.30 20.30 20.00 18.30 19.30 17.30 21.00 17.00 21.00 20.00 18.30 21.00

1,287,000 1,155,900 1,058,300 934,500 839,700 743,700 638,500 624,900 593,400 447,900 441,700 426,200 424,100 422,900 418,600 404,600 389,400 386,100 379,600 377,600 372,900 372,000 371,400 358,400 353,400 346,200 345,400 341,400 337,400 332,900 329,800 328,500 327,100 326,900 326,100 322,800 318,100 316,000 314,200 311,000 310,800 305,500 303,600 298,600 297,100 296,800 295,200 295,000 291,300 286,000

Sky Sports 1 Sky Sports 1 Sky Sports 1 Sky Sports 1 Sky 1 Dave/T Group Dave/Inner Circle Films/Phil McIntyre BT Sport 1 Dave/T Group Sky 1 Sky 1 Fox Dave/T Group Sky 1/Tidy Productions Sky 1 Sky Living Sky Living Dave/Talkback Dave/T Group Sky Living Fox Dave/T Group Sky 1/Kudos Film & TV Dave/Inner Circle Films/Phil McIntyre Sky Sports News Dave/Angst Productions Dave/T Group Sky 1 Sky 1 Dave/T Group Sky 1 Dave/T Group Alibi Sky 1 Dave/Inner Circle Films/Phil McIntyre Dave/T Group Dave/T Group Dave/Talkback Dave/T Group Dave Sky 1 Sky 1 Dave/T Group Sky 1 Sky 1 Pick Watch Sky Movies Premiere Sky 1 Dave/Talkback

Figures include HD and +1 where applicable

The Smoke www.broadcastnow.co.uk

Doll & Em

7.48 5.72 4.70 8.09 3.65 2.95 2.94 6.86 2.45 1.85 1.88 1.82 1.88 1.94 1.74 1.72 1.57 1.65 1.83 1.58 1.71 1.69 1.66 2.69 2.97 1.72 1.51 1.55 1.66 1.52 1.59 1.43 1.46 1.53 1.67 1.52 1.35 1.31 1.89 1.37 1.36 1.52 1.33 1.58 1.20 1.62 1.24 1.36 1.48 1.15

261k Sky Atlantic’s latest HBO drama True Detective smashed the 46,000 slot average (9pm, Sat)

Low launch for Moone Boy BY Stephen Price

As a nipper, I lived opposite Cardiff City striker and local hero Johnny Vincent, and then in Northampton in the same street as cricketing wizard Mushtaq Mohammad. So when Sky 1’s Moones stumbled across Irish World Cup hero Patrick ‘Packie’ Bonner’s house while on holiday, I understood. The reality was less goalie, more old geezer, but the dream of heromeeting lived briefly. Elsewhere in a busy week on Sky, Doll & Em made it up while The Smoke blew in. After an on-demand preview, Sky 1’s Moone Boy returned on Monday at 9pm and achieved 188,000/0.8%, with 97,000 for the Friday 11pm repeat – less than half of series one’s launch of 400,000/1.9% and shy of that series’ overnight average of 271,000/1.3%. Sky Living’s improvised show Doll & Em achieved a slim 96,000/0.5% on Tuesday at 10pm; three repeats added 72,000. Sky 1’s fire-fighter drama The Smoke launched on Thursday at 9pm to 371,000/1.7%, while on Friday, the fifth episode of Stella, now in its third Sky 1 series, achieved 423,000/1.9% at 9pm. The top non-football show was Dave’s Storage Hunters with 744,000/3% on Tuesday at 8.30pm. A repeat of Dynamo: Magician Impossible came next with 639,000/2.9% on Friday at 9pm. 28 February 2014 | Broadcast | 37


Ratings Mon 10 Feb – Sun 16 Feb

All BARB ratings supplied by: Attentional

Consolidated Ratings

Sky 1’s Stella holds steady BY Stephen Price

In A Streetcar Named Desire, Marlon Brando’s bad boy Stanley stands at the foot of the steamy New Orleans apartment’s stairs and screams “Hey Stella!”. Stella’s languid descent ends in a slightly sweaty tryst; Romeo and Juliet it ain’t. But maybe one day something similar could happen in Sky 1’s Stella, though it would probably be “Hey Stella! What’s occurin’? Sling us a pully, its freezing out here.” The third series of Ruth Jones’ comedy drama continues consistently in its Friday slot, slot while it seems Thursdays are a boon for Birds sticking together. Elsewhere, the Belgians held together and Channel 5’s edgy new crime drama got off to a promising start.

Source: BARB

Sky 1: Stella The fourth episode of the third series of Sky 1’s Stella on 14 February achieved 1.1 million/4.6% after more than 650,000 recorded and watched. This is the best performance of this series, which is averaging 1.05 million/4%. The 2013 series averaged 1.18 million/4.4%, while the opening series in 2012 came in at 1.23 million/4.5%. The best ever episode remains the opening of series one with 1.42 million/5%.

ITV: Birds Of A Feather The latest episode of ITV’s Birds Of A Feather achieved 5.7 million/24% on 13 February at 8.30pm. After 1.2 million recorded and watched, it ended on 6.9 million/25%, on par with last week. The Sunday 16 February repeat at 10.15pm added a whopping 2.2 million. The best of the run remains the launch episode with 9.5 million/ 35%, the repeat of which remains the best of the catch-ups: 2.4 million/12% on 12 January at 10.15pm. So far, the ABC1 adult average is 24%, 10 points above

the slot average, and 16-34 share is at 24.5%, 12 points above the slot average.

Channel 5: Suspects Channel 5’s new home-grown police drama Suspects launched at 10pm on Wednesday 12 February with 900,000/5%. After 684,000 recorded and watched, it finished on 1.63 million/8%. This was enough to take it past its 9pm lead-in NCIS, which began larger – 1.1 million/4.5% – but was recorded less and ended on 1.58 million/5.4%.

BBC4: Salamander The best episode of BBC4’s latest foreign language caper, the Belgian thriller Salamander, was at 9pm on Saturday 15 February with 1.2 million/4.9% after 358,000 recorded and watched. Slightly more (402,000) recorded the 9.50pm episode but couldn’t prevent it from being the lowest yet for the series, 1.1 million/5%. The best remains the opening episode, with 1.3 million/ 5.6% at 9pm on 8 February.

Top 30 Consolidated Ratings: ranked by gain

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 17 19 20 21 22 22 22 25 26 27 28 29 30

2.7m

Episode one of BBC2’s Line Of Duty series two added 1m via PVR

UP Benidorm up 550,000

DOWN The Voice UK down 640,000

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Title

Day

Start

Viewers (m) (all homes)

Share %

Gain (m)

Gain %

Outnumbered Call The Midwife Death In Paradise DCI Banks Mr Selfridge Birds Of A Feather Top Gear Midsomer Murders Inspector George Gently Benidorm The Voice UK Line Of Duty Casualty Coronation Street EastEnders Mrs Brown’s Boys EastEnders Coronation Street Benefits Street Mrs Brown's Boys Coronation Street Suspects EastEnders Britain’s Great War Stella The Following Hawaii Five-0 Hostages Coronation Street Criminal Minds

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

21.00 20.00 21.00 21.00 21.00 20.30 20.00 20.00 20.30 21.00 19.10 21.00 21.20 20.30 19.30 22.10 19.30 19.30 21.00 21.30 20.30 22.00 20.00 21.00 21.00 22.00 21.00 21.00 19.30 21.00

6.00 10.15 8.84 7.56 6.33 6.89 6.87 7.21 6.63 7.01 8.77 2.74 6.04 8.92 8.10 5.43 8.33 9.48 5.47 4.34 9.77 1.63 8.62 3.88 1.14 0.81 1.06 1.33 9.23 1.09

19.68 32.68 33.63 25.86 23.55 25.22 22.21 25.88 24.53 25.55 35.66 9.46 25.60 34.01 34.28 25.41 36.33 39.38 18.88 15.56 37.80 8.11 33.40 13.40 4.59 4.25 3.95 5.56 37.13 3.74

1.78 1.68 1.64 1.40 1.33 1.24 1.23 1.22 1.14 1.04 1.03 0.99 0.93 0.85 0.83 0.81 0.76 0.76 0.74 0.71 0.70 0.68 0.68 0.68 0.65 0.64 0.61 0.60 0.59 0.56

42.20 19.80 22.70 22.80 26.50 21.90 21.90 20.30 20.80 17.40 13.30 56.30 18.10 10.60 11.40 17.50 10.10 8.70 15.80 19.50 7.70 72.10 8.60 21.10 133.80 374.50 138.30 82.60 6.80 105.90

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

Figures include HD and +1 where applicable

38 | Broadcast | 28 February 2014

www.broadcastnow.co.uk


7-10 April 2014 Palais des Festivals, Cannes, France

F O U R DAYS. 4, 0 0 0 B UYE RS. ALL NE W CONTENT. The truth is MIPTV welcomes more international buyers than any other content market of the new year. 4,000 buyers from 100 countries gather in Cannes to screen and acquire the freshest content for TV, digital platforms and every screen. This April, MIPTV launches the MIP DIGITAL FRONTS, the NEW international screenings showcase for original online video and multiplatform content.

MIP TV.C OM F E E D YO UR PASSIO N FO R FRESH CO NTENT To participate, exhibit, advertise or sponsor please contact Peter Rhodes on 020 7528 0086, peter.rhodes@reedmidem.com

Don’t forget to register for and , the weekend before together, they form the world’s largest gathering for the non-fiction community. experience. Part of the whole

:


Off Cuts

Do you have a story that you’d like to share?

Contact robin.parker@emap.com

AND FINALLY ...

ALL A TWITTER

Harriet Dale Head of production, Encore

Definitely echoes of Eric and Ernie on tonight’s #SaturdayNightTakeaway. I’m looking forward to the one where they half build a grand staircase and Dame Penelope Keith has to climb down. @lucywestITV (Lucy West) Head of news, Granada Reports Popular location: house that cropped up in both Inside No. 9 and TOWIE

Home to heists and TOWIE Location of the week: the ultra-slick modernist house in which Reece Shearsmith and Steve Pemberton attempted to steal a painting in Inside No. 9 was also the backdrop to Gemma and Bobby’s heart-to-heart in TOWIE. Hope they cleaned the blood off the

The funniest thing about this: the quotes were from a PR interview for the Radio Times for School Of Hard Sums. What coverage! What PR!

Bid for last gasp Meanwhile, Pemberton’s fans are taking The Police’s stalker anthem Every Breath You Take literally. A purple balloon filled with the actor’s breath was attracting a bid of £55 on eBay for Sport Relief as Off Cuts went to press…

When he’s not busy parting the Red Sea, there’s nothing Moses likes better than to philosophise about TV production. At a Sparks conference, he bestowed the Ten Commandments of TV upon delegates. Visitors to this week’s BVE got a more pared-down version of the talk, with Zig Zag chief executive officer Danny Fenton (for it is he) forgoing the beard and robes.

@daraobriain (Dara Ó Briain) Comedian (responding to coverage of his panel show comments)

After a day of post-RTS-night chats, seems half the newsroom woke up in their clothes this morning. We’re a classy bunch. @jessbrammar (Jess Brammar) Business news editor, ITV News

Line Of Duty – series 1 was great but series 2 is blowing it out of the water. Hawes is incredible. @MrChrisWrites (Chris Lindsay) Writer, Holby City

Corporate Subscriptions

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Hecri hea rs” bra Productions scale the tio of “creative at BBC at in the size and entrepreneu been related instituspe“creative PAC lar um ity on cific onof two controlbecome “lost in favour scrapped of seniority, . I of a speech ntion will keep g the klevels varying particuof curios a. Th ofein-house”. will te lers. nve Natalie Humphreys management of television toowilllackassemble Durin who Co controller of factual and to ers The director keyno ge her staff to MPs st’s t team r BBC give it to her rid execumanag encourage senior while the corpo- want to small also Tru developmen week, the position, in s a a day at the coalface of ior and produce ing forme wa is om a controller Camb night.daytime people ast e develop sen Pol h for by and Ofc S d recruit spend l to creativ e adc plansat “back-towit RT ration genre. Byfor s to innce ckett, -making in a bro anydea esday said nt. 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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

2013

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walls first – and did anyone tell them it’s in Sussex?

What’s the biggest lie you’ve ever told? That I’m only 28. What is one of your most hilarious faux pas? Asking John Travolta how his jet lag was and then saying “oh but you fly your own plane”, as if that somehow means he’s immune. What is you biggest regret? That I’m not Beyoncé. What’s the worst rejection you’ve ever had? Not being accepted for The X Factor. How do you get your own way? Throw a tantrum. What do you do to relax? The gym or pub – depending on what kind of day I’ve had. Who would you like to play yourself in a movie? Kate Winslet (pictured) could be up for the job. She’d probably win another Oscar. What subject would you choose if you were appearing on Mastermind? US drama Supernatural. What are the best and worst things about working in TV or radio? Best: working alongside creative individuals. Worst: working alongside creative individuals. What’s the one thing you couldn’t live without? A dirty martini. Where’s the best place to network? The coffee bar at Encore.

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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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2013 ber ptem 13 Se

ENES E SC feats ND TH the BEHI eating ompson

cr nic Th Reco.uk stnow. www.broadca Tita of BEHIND THE SCENES 26 Page it INTERVIEW Pandas 3D: why

20 September

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T EC H

August/Septem

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BY JAKE KANTER

Pat Younge role split Younge’s CCO of factual between controller Humand daytime Natalie controller of phreys and a new nt. fiction and entertainme £2m investment into talent, £2m BBC to plough pilots. taster tapes and Creative labels to be freed teams six least At genres. up to work across oor Back to the fl day a the Bosses to spend with t working on a show. risky d” bu Trust k usly ure Stephen Lawrence people “serio struct knee-jer ethnic Black and minority to be ething C is launchpad. som the BB tion on seems but handed career g st, way d cau hearin C Tru dy plan ise as runner BB -floor’hea his in ‘back-to-the on advwork will . “T for the go into back to “take bets Dancing: Cohen to the the Cohen plansthe labels as a tool to Strictly Come reformituary onglabels” TV division. within use overhaul, Pat “creative up wr orms off the end of syouth”, As part of the an obsix ays talent and free post before division said. creative officer can in-house l ref ,” hewill g bythi attract external led berin Younge’s chief naHe it’s alw they hea will be ge“creative geniuses”, who scale said tio sis the year. Productions the of bra rs” at BBC at c cri entrepreneu in the size and institu “creative PAC lar um ity on onof two controlbecome “lost in favour specifi the levels scrapped of seniority, ticu speech ntion will keep ios of a rinvarying g ofein-house”. will te lers. nve k par assemble Natalie Humphreys of cur ersa. Th of television toowill Du who Co controller of factual and keyno ge her CThe director senior staff to lack nag team MPs st’s her rid execuma t mer BB encourage while the corposmall also Tru developmen week, the position, in s a a day at the coalface of produce ing for is ht.daytime om Camb senior and h andtodevelop recruitda controller l for ford waspend e by tt, Pol adcast plansattoOfc “back-towit a st RTS esday nig bro in ration dea genre. s cke -making any sai nt. in BBC (right)don Tru nce rk Bynow, rolesand entertainme Danny Cohen, uld be ie Be tor, dction payoffshows h ex- programme Cohen is taking of fi until wit Ma Wedn e senior hel itw severa “Up Charl the-floor” scheme. n sec on sho eral and s nothe television On o has Both R ns adm ctio will esitwa £1m or genseniority ion which it looks troller strategic point, status nt,on the initiative by spending du the wider lat NTE lead st Lyo a a ideas, wh me con g anc Strictly t with ash gu , on el ect develop pro isboard, Tru E KA been runner din pay tha the “re dir in4 cha related s- projects lar flhas Mi else”. assist govern ued the t the day as a to increase BBC er a bru c tive in the ofmission that willdy then Radio d han BBC BY JAK a feawith Sir managemen particu an to d Dancing. Dancing ebo and rhaul He arg in-house is BBC sai Publi cussed to Come of the tain aft BBtoCcommist be the ll tol initiatives include a partsom pitching developed it. go anddis I want tioasn upcoming the threw mer ma zer unity for migh such chairm t he The future uncer an ove table”. Worldwide, C you rove ho Forsioners. link Lawrence las Kro Other del tha break regulaMusketeers. Da The singly r with (PAC) erning app that with the Stephen sibilit d: “If require gle BBior failnership ting from gov also oversee “inevi el 4 mo not on drama The greater rne BBC1 or Nic into where a sin sen£2m Markwill respon did andectgive enegiving 20 individuals backincrea encounte ittee ernance t the Trust, t wa would remit, thebuBBC’s is to plough and but st dir to minority ethnic Channoption, Cohen mm es creativeinterv om rk, to y tha it om a centralOfciCreate, its e, ing nts Co on’s gov including Tru status t, orc d to black atingand it chance to launch enf fted Cohen eatedl we n. ‘Developme ible developmen ld wo s platform to Ofc route, deep in cultur the reppeople,” that nt couonline and dubbed allo tters rel grounds Accou porati focus. has shi y to ded unit, eratio ued a networke, and BBC’s for thiproduction aningat the MPs is told han cor onlyBroadcast. sets remun will ma l, me argbe used toisfund down to hav ilit offs. BBC, and for all new share ures sharp sation y the which the ossal will careers staff paymasterclass club tionlabels era ent The pilots. bod t suitab irman tiality into board emCentral’, andtha om ideas. source par er and tapes proceding of col ing ariat unera cha ings e conver ten’s contenting its recruitment , the , taster im attract uld or genevery t oth secret high- Ofc reviewed beect the television division. managwever itself, rat Pat C to , and amore Th stand and d it wo iti- rem dir hoping stjoinersueinwhen rd Trust’s body e to prevenand tieslead der a unit. s opeSeparately, Ho Heg isBB twonotyears ses Tru Lo the to cul the y An un to pol the plans fi iss ein to Cohen the 11. dif doe profile an purpo c life. of the failur as to from to pla will h executive tlycollabcould er did ten on the May 20 t establish its overseht wit ility bli nd up res ain ique at least Developmen havet Central curren genres e rem credib ticised s. ed thatoto un ue to pu lity to sta pressu Neith rd Pat chair in n itdifferent fraug orate with the would add off cri Hodg al the

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into to plough £2m The BBC is to free up executives development, genres in “creative work across encourage senior labels” and back to the floor” a managers to “go in-house into t, in a bid to turn production outfi world-leading director of television according to Danny Cohen. on changes the Cohen outlined are He said they Wednesday. down working aimed at breaking BBC Productions structures at and creativity” that “stifle energy corporation the help and will “powerful” emercompete with ix. such as Netfl ging platforms vision feeds into his The move also n across the for greater collaboratio

ng wro l It’s into na has Status utiorelated to go stitbeen back y inmanag theement isis . I tooff c cr headrm to give it to want ecifi refo sp a of

creative people

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

2013

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Lo e” as val an abi Ame rci e tha to ive of ret maratho C pay MPs brief k over Polis, Ofcom ive rol execut a scienc not del sesn.”notoraof com sprint: need after huge BB Marga t mo and e too allpu rpo the ght should OB provide ect onomics and se proactC4. Th ir es. rs for was heA rundown of who “brou cal curren“broke”, l to probe C cha thoThecke Tourtt,ofdirBritain will be unveiling what of EcPage the with st has , which chang a PA was defend ie Be ool nce hat there 7 ws centra s a for Tru

Techn

top products,

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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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