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www.broadcastnow.co.uk

29 November 2013

RATINGS FEATURE

INTERVIEW

BEHIND THE SCENES

Page 20

Page 24

Page 36

BBC1 and ITV’s daytime battle

Adam MacDonald on Sky 1’s new lease of life

Liberty of London: inside a retail icon

BBC prepares to spend £85m on consultants

Battle begins for Broadcast Awards 2014

BY JAKE KANTER

BY ALEX FARBER

The BBC is prepared to spend up to £85m on consultants over the next two to four years, amid growing pressure over its use of external support. Broadcast has learned that the corporation expects to accept between 60 and 215 management consultancy firms onto what is effectively a preferred suppliers list, giving them access to a plethora of contracts across the BBC. The framework agreement will be put in place by the BBC for a minimum of two years. After that, the corporation has the option to extend the arrangement for two 12-month periods, potentially taking its duration to four years. The BBC has estimated that it will spend between £75m and £85m on consultancy services over this period, which is just shy of BBC3’s budget in the 12 months to the end of March 2013. The BBC has listed eight areas where consultants’ assistance may be required. These include changemanagement projects, technology programmes and finance and human resources support, as well as high-level business policy, economics and strategic analysis. A BBC spokeswoman said: “This framework estimates the upper end of potential BBC spend over the next four years on specialist areas such as essential upgrades to business systems. By establishing preferred suppliers through this process and not having in-house teams, the BBC

Indies Big Talk Productions and Twofour lead the nominations for the Broadcast Awards 2014 after being shortlisted in multiple categories, including Best Independent Production Company. Big Talk is in the running to collect prizes for Chickens, A Young Doctor’s Notebook and Youngers, while Twofour has been shortlisted for Educating Yorkshire, Bradley Wiggins – A Year In Yellow and Born To Kill. Both will also compete in the Best Independent Production Company category against rivals ITN Productions, Kudos Film and TV, Mentorn Media and Wall To Wall. Rise Films’ Roman sitcom Plebs, Studio Lambert’s Gogglebox and Dragonfly’s The Plane Crash won multiple nominations and the flagship Channel of the Year Award pits BBC1, BBC2 and BBC3 against ITV, Channel 4 and Sky 1. The Broadcast Awards 2014 take place on 5 February.

I am not an easy ride when it comes to consultants Tony Hall, BBC

secures savings that benefit the licence fee-payer.” BBC director general Tony Hall told the cross-party Culture, Media and Sport Committee last month that he wanted to cut the corporation’s spend on external support. “I want to reduce the amount of money that we pay on consultants. I am not an easy ride when it comes to consultants,” he said. Questions were raised after Hall involved McKinsey & Company in

one of his first major projects at the BBC, which is aimed at radically simplifying the organisation. McKinsey has produced recommendations on cutting duplication and decision-making hurdles, including halving the number of decision-making boards. Hall told MPs the BBC had spent £10m over the past year with third-party management firms. But it is understood that Hall’s £10m figure was purely for consultancy advice, as opposed to the £85m budget encompassing implementation costs for major projects, such as upgrading finance and HR systems. Consultants have been told to submit their requests to participate in the scheme by 12 December.

Plebs: nominated for three awards £4.99

BBC: establishing a preferred suppliers list of management consultants


Editor’s Choice

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

Online this week www.broadcastnow.co.uk

Lisa Campbell, Editor

Top News

Does the BBC need consultants? DG Hall must be transparent about bringing in external experts

“I

n the current economic climate, when our licence fee-payers are facing tough economic circumstances themselves, when we are making programme cuts and we are asking our staff to do more with less, we have to limit the size of these payments.” That is the BBC’s Tony Hall (below) talking about the £150,000 cap on severance pay in July, earning the new director general applause for acting quickly to

‘Hall is going to have to prove the precise and measurable benefits of his £85m spend on consultants’ prevent more of the wastage that has so irked press and public. So when Broadcast uncovered a procurement document this week showing the corporation plans to spend up to £85m on external consultants over the next two to four years, it came as something of a surprise. Although the value is smaller than a similar deal struck four years ago, it is still a BBC3-sized sum, and sits awkwardly in the current climate when, as Hall states, both licence fee-payers and programme budgets are being squeezed. While we don’t want to join the growing chorus of BBC critics, Hall is going to have to deliver the transparency he has been championing for the decision to feel justified, not least because hiring consultants instinctively provokes negativity. There’s an overriding sense that consultants are expensive; we get to know little about their work, their value, or 2 | Broadcast | 29 November 2013

è Carl Hall is to leave Sky and set up indie Warehouse 51 Productions. Jane Millichip has been named Sky Vision managing director following his exit.

è The Scottish government plans to their impact. Except perhaps, through fiction, but series such as House Of Lies, a dark US comedy-drama currently airing on Sky Atlantic, are hardly a great advert. The series is based on a book – House Of Lies: How Management Consultants Steal Your Watch And Then Tell You The Time – and it’s written by, guess who, a former consultant. The BBC has been under fire in the past for its consultancy bill – not least when Tony Hall was last in office – and it always raises the question of why, among the BBC’s legions of senior, well-paid staff, there aren’t the strategists and experts who can do this work for it. Of course, we are not so naïve as to think consultants don’t have a role to play. In today’s climate of fast-moving technology and rapidly changing viewing habits, the argument for specialists with a deep level of insight and experience of a range of businesses is perhaps stronger than ever. But in this new era of transparency, Hall is going to have to prove the precise and measurable benefits of this £85m spend. He knows only too well that as the corporation heads into the delicate period of Charter Renewal, it is paramount that public trust is preserved.

A reason to celebrate At least there’s been of cause for celebration this week, with the Children’s Baftas on Sunday, which celebrated the work of the great Biddy Baxter; British success at the International Emmys; the inaugural Young Talent Awards from our spin-off title Broadcast TECH; and all the nominees for the Broadcast Awards 2014. Congratulations to all.

create a Scottish Broadcasting Service using £320m of licence fee cash if the nation votes for independence next year.

è Jason Thorp has left Fox International Channels after 10 years heading its UK business. After joining FX in 2004, he was responsible for acquiring series including The Wire, Dexter (right) and True Blood.

Ratings Top Five Panorama’s Amazon exposé on Monday drew 3.6m, the strand’s best ratings since its controversial North Korea investigation. 1

2 I’m a Celebrity’s series 13 debut has become the second-biggest TV show of the year after recording a consolidated audience of 13.5m. 3 Doctor Who biopic An Adventure In Space And Time (below) transported 2.2m to BBC2 on Thursday. 4 BBC2’s doc about comedy duo Morecambe and Wise performed to 2m on Sunday. 5 Last Tango In Halifax grew its audience to reach 6.3m on Tuesday.

Talking TV podcast è Visit broadcastnow.co.uk or iTunes to download the latest edition of our podcast. This week, we get to grips with the Doctor Who 50th anniversary, discuss Derren Brown and review Broadcast and Screen’s diversity conference with Adil Ray.

www.broadcastnow.co.uk


News & Analysis

C4 under nations pressure C4 has told Ofcom that it intends to grow its volume of spend and hours in the nations to 9% by 2020

BY Jake Kanter

Channel 4 is facing mounting pressure from the Scottish, Welsh and Northern Irish governments to significantly ramp up the amount of programming it commissions from the nations. As part of its White Paper on independence this week, the Scottish National Party (SNP) said that it wants C4’s “level of original production in terms of both value and hours” to reflect the size of Scotland’s population. The demand turned up the volume on a debate that has been rumbling on for several months as part of the commercial broadcaster’s licence renewal process, which will come to a head next year. C4 has told Ofcom that under a new 10-year licence, it intends to grow its volume of spend and hours in the nations to 9% by 2020, which it said was a “sustainable and proportionate” target, helping to build creative partnerships in the nations, while not having an impact on its other commercial and creative obligations.

Location, Location, Location: one of Channel 4’s key Scottish shows

The broadcaster invested a record 5.4% of its £608m content budget in the nations last year, according to its most recent annual report. However, the Scottish government’s submission to Ofcom’s consultation on C4’s licence renewal said the timeframe for the 9%

target means it falls “well short of what we believe is a fair settlement for Scotland”. It would like to see an 8.6% quota introduced much earlier, by 2016. In addition, the Welsh government wants C4 to achieve its 9% target in three years’ time, rather

than the seven years the broadcaster has proposed. Northern Ireland culture minister Carál Ní Chuilín has also called on C4 to increase its volume of spend and hours in the nations to 17% by 2020, as well as introducing a “stated sub quota” for the nation specifically. C4 declined to comment. Separately, the SNP unveiled its blueprint for a Scotland without a BBC if the nation votes for independence next year. It has proposed to establish a distinct Scottish Broadcasting Service, which will operate a new channel and radio station and be majority funded by £320m of licence fee income generated in Scotland.

London Live strikes first deals with major indies We don’t want to do the same as everyone else. There’s so much derivative lifestyle programming

BY Peter White

London Live has commissioned its first factual entertainment shows from established UK indies, including a food series from Fresh One and a Facebook-influenced gameshow from Nerd TV. The local broadcaster has ordered Food Junkies and The Anti Social Network from the producers respectively, as well as sport lifestyle series F2 Kicks Off from nascent indie Renowned Films. “We don’t want to do the same as everyone else; there’s so much derivative lifestyle programming out there at the moment,” said London Live head of programming Jonathan Boseley. Food Junkies is a 30 x 30-minute series that will follow Londonbased foodies uncovering the hottest snack spots. It will feature www.broadcastnow.co.uk

Jonathan Boseley, London Live

Anti Social Network: German pilot

a cast of young food stars, but Fresh One founder Jamie Oliver will not appear. The Anti Social Network is a hidden-camera gameshow that was originally piloted by German broadcaster Prosieben, the parent company of UK indie Nerd TV.

The 6 x 60-minute series was developed in association with creative agency Holler and will show its participants handing control of their Facebook and Twitter profiles to a group of comedy writers, who will script how they spend a week in the capital. F2 Kicks Off is a 16 x 30-minute series following freestyle footballers Billy Wingrove and Jeremy Lynch as they pull off tricks on London

streets. It will feature guest appearances from Premier League footballers and pop stars and is produced by Renowned Films, the TV and film production division of a hip hop management firm that looks after artists including Wretch 32. London Live pays up to £20,000 per hour and Boseley said it is flexible on rights and hopes to give quick answers to indies. Boseley added that this is his first wave of commissions and he is still looking to fill many hours for the channel’s launch next year. In particular, he is searching for series around property, fashion and technology. London Live is also keen to find new faces to front shows rather than existing talent. “We’re turning away names,” said Boseley. “There is a wealth of creative talent that hasn’t yet been showcased.” 29 November 2013 | Broadcast | 3


News & Analysis

Woolcock examines dog-fighting for C4 BY ANDREAS WISEMAN

Channel 4 has green-lit a Cutting Edge documentary about illegal dog-fighting in the UK from One Mile Away director Penny Woolcock. Going To The Dogs (working title), which recently finished shooting and is now in edit, explores the underworld of contemporary dog-fighting in Birmingham. It is being made through social enterprise Latimer Creative and will draw on interviews with dog-owners, historians, academics and criminologists. Woolcock began shooting in late summer and aims to complete the edit by the end of January. It is her third Cutting Edge film and was ordered by C4 commissioning editor, documentaries, Emma Cooper, who told Broadcast: “Penny is one our foremost filmmaking talents and once more she has secured the most exceptional access to a secretive, hidden world.” Birmingham was also the setting for Woolcock’s previous documentary One Mile Away, about the city’s gangs. It won the Edinburgh Film Festival’s 2012 Michael Powell Award for Best British Feature Film before airing on C4.

One Mile Away: Woolcock’s previous doc told story of Birmingham gangs

One Mile Away protagonist and former gang-member Dylan Duffus has worked on Going To The Dogs as interviewer and researcher. Woolcock said: “We have a long tradition of blood sports in this country – we’re apparently a nation of animal lovers, but so many things we do totally contradict that. “People express horror when they hear I’m making a film about dog-fighting, which is partly a class thing. Dog-fighting is associated with poor people and the ghetto, which in their eyes

makes it worse than hare-coursing or hunting.” She stressed that she was against dog-fighting, but added: “The reality is that many more horses die from horse-racing every year than dogs from dog-fighting. My perception of the pit-bull terrier has completely changed through doing this film. I think it’s a much-maligned animal”. No animal rights groups are interviewed in the film but Woolcock said that point of view was clearly represented.

Britespark wins first commission with crime series Britespark Films, the Argononbacked indie set up by former Cineflix head of documentaries Nick Godwin, has scored its first commission. The company is making a 10-part crime series for Discovery in the US. Britespark’s 10 x 60-minute Handsome Devils is being made for US cable channel Investigation Discovery and Canadian broadcaster Slice. The show, which is a co-production with Canadian indie Saloon Media, explores real-life crimes of passion. It tells the story of 10 notorious men who charmed, lured and entrapped women before conning them out of all of their money or killing them. Godwin set up Britespark Films at the start of the year. It operates out of Argonon’s London office but is focused on developing international co-productions. He said: “Handsome Devils demonstrates our ambition to develop and produce highquality international programming with compelling storytelling at its core.” Godwin, who joined Cineflix from Wag TV in 2007, has previously produced series including History’s Air Aces, Cold Blood for Discovery ID and feature-length doc Manson.

Hayley Valentine joins Mentorn as director of current affairs Mentorn recently produced a fastturnaround doc on Oscar Pistorius and is keen to do more

BY PETER WHITE

Mentorn Media is beefing up its current affairs programming with the appointment of BBC Scotland’s Question Time executive editor Hayley Valentine. She will become director of current affairs, a new role at the company, and will take primary responsibility for shows including Question Time and The Big Questions, as well as looking to deliver documentary series and fast-turnaround single docs. Mentorn recently produced single fast-turnaround doc Oscar 4 | Broadcast | 29 November 2013

Hayley Valentine: leaving the BBC

Pistorius: What Really Happened? for BBC3 and is keen to do more in the genre. Before becoming executive editor of Question Time, Valentine was head of news for BBC Radio 5 Live and assistant editor of Breakfast.

“Hayley is the perfect person to head up Mentorn’s current affairs programming,” said Mentorn chief executive John Willis. “She has extensive knowledge and experience and we are delighted she will be responsible for developing even more programming from our everexpanding Glasgow office.” Steve Anderson was previously exec producer for Question Time and The Big Questions, as well as holding a wider role as editorial director of Mentorn owner Tinopolis. Anderson left earlier this year to set up NBC News’ factual division Peacock Productions in the UK. www.broadcastnow.co.uk


News & Analysis

BBC moves Coast to Cardiff Bristol remains an important production base delivering high-end output

BY jake kanter

The BBC is planning to move Coast to Cardiff in 2014 – little more than a year after the programme was relocated to Bristol. Series 10 of BBC2’s Neil Oliverfronted factual brand will be produced out of BBC Wales from March next year in a move that is understood to have frustrated some staff. Coast was originally part of a swathe of programmes, including Countryfile and Hairy Bikers, that were shifted from Birmingham to Bristol in August 2012. Only a single series of the show has been produced from the south-west city and around 20 employees have now been told to prepare for another relocation. It is understood that the BBC has been attempting to establish a factual stronghold in Cardiff for some time and it was announced in September that long-running daytime show Bargain Hunt will move from Bristol to the Welsh capital in 2014. A BBC spokeswoman said Coast’s move was “part of the BBC’s ambition to strengthen

BBC spokeswoman

Coast: only a single series of the show has been produced from Bristol

existing and new creative partnerships between Bristol and Cardiff ”. However, one insider claimed it was an effort to “plug a hole” in the BBC’s national quotas. “There’s massive disruption for the people involved. It’s counter­productive and extra money will need to be allocated to moving the production,”

said the source, adding: “There is little regard for show-making; it takes people’s eyes off the ball.” While the production will be housed in Cardiff, the BBC spokeswoman stressed that resources will continue to be shared with Bristol as part of plans to strengthen relations between the two hubs.

“Bristol remains an important multigenre production base delivering high-end and popular factual output across features, arts, docs and natural history,” she added. The news comes after BBC director general Tony Hall pledged a £23.5m investment in Birmingham last week. The strategy, which follows pressure from MPs on the BBC to deliver a “fair share” of investment in the Midlands, will involve creating a digital innovation centre in the city and making it the home of Arts Council project The Space, as well as some BBC Academy staff. Hall was understood to have been visibly taken aback by the empty desks when he visited the Mailbox last week and told staff that the decision to deplete output in the city was “wrong”.

Mia Lane joins Comedy Central as UK indie link Mia Lane will be responsible for boosting Comedy Central’s original commissions

BY peter white

Comedy Central has hired Wall to Wall executive Mia Lane as its head of development to help link the pay-TV broadcaster to the UK indie community. The Viacom-owned broadcaster has also unveiled two UK scripted developments, including a medical sitcom from Misfits producer Clerkenwell Films, to form part of its multimillion-pound drive to produce up to five sitcoms a year. Lane joins Comedy Central from the Shed Media-owned indie, where she was senior entertainment development producer. She will be responsible for boosting Comedy Central’s original commissions, both scripted and nonscripted, and will report to www.broadcastnow.co.uk

Mia Lane: development role

Lourdes Diaz, vice-president of development and production. Lane’s previous roles include spells at Gogglebox Entertainment, ITV Studios and Endemol, developing shows including The Million Pound Drop and Pointless. Her first task will be shepherding two new projects: Clerkenwell’s

Medics and Operation Slut, which is being adapted by Pramface and Threesome writer Tom Edge. Medics follows medical student Simon Denham, played by Nick Hendrix, who is struggling in his second year of university, having just scraped through his exams. The show is written by The Midnight Beast writer Mark Grimmer and a pilot will be shot in December. Separately, Comedy Central has optioned US script Operation Slut to

be adapted for its UK channel and international networks. The show follows a do-gooder who had been desperate to get married but realises she is not ready to settle down. It was originally created by Taii Austin, who has written on series including Scrubs, Ugly Betty and Nurse Jackie, and is now being adapted by Edge. Both shows join Big Talk Productions’ 8 x 30-minute Mummy’s Boys, which Comedy Central ordered earlier this year as part of an aggressive move into multicamera comedy. Comedy Central UK managing director Jill Offman said: “Medics is a laugh-out-loud sitcom that combines adolescent humour with fast-paced drama, while Operation Slut is a hilarious satire of modernday relationships.” 29 November 2013 | Broadcast | 5


News & Analysis

Hall: be bold in BBC defence There’s more support for the licence fee now than there was 10 years ago – people can see the money on the screen

BY jake kanter

Tony Hall has argued that the BBC must be “more aggressive” in explaining its value to audiences amid increasing hostility towards the licence fee. The director general told the Voice of the Listener and Viewer conference that the corporation currently provides better value for money then it has done in the past 20 years, but must be bolder in communicating this to viewers and listeners. Hall said the case will be made across the BBC’s airwaves, with a team working on messages that could ultimately help shape its position in 2016 charter renewal negotiations. Listing a range of services the BBC provides for “just 40p a day”, including TV and radio channels and online services, Hall said: “We’ve got to get aggressive about making the case to people.” His comments come against a backdrop of escalating questions from Westminster and other commentators about the BBC’s right to the licence fee and the way it prioritises the use of public funds across its output. Hall pointed out that the licence fee has reduced from more than £147 in today’s money in 1993 to its current level of £145.50, but audi-

Tony Hall, BBC

Tony Hall: making the case for BBC’s value in run-up to charter renewal

ences get four times the number of tele­vision channels and twice as many national radio stations. He added that 20 years ago, the BBC received nearly 40% of all broadcasting revenues, but the proportion has reduced as the likes of BSkyB have grown, and the corporation now accounts for around a quarter of all income in the market. “We are delivering more without costing more and will

continue to do that. In fact, as the licence fee is frozen – with no account taken of inflation and its paying for more things – it will cost you less,” Hall said. “And people notice. I think that’s why there’s more support for the licence fee now than there was 10 years or even 30 years ago. To use a Hollywood term, people can see the money on the screen.”

However, as the former Royal Opera House chief executive tasks the corporation with saving £100m on top of the £700m Delivering Quality First cuts by 2016, he warned: “We must not stretch the elastic too thin.” Hall hinted that certain areas of output may be prioritised in the mission for quality, but the voice of audiences will be “pre-eminent” in the debate about “what the BBC should or shouldn’t do”. Asked about calls from former BBC editorial director Roger Mosey and Question Time presenter David Dimbleby for the corporation to slim down its tele­vision output, Hall said he was mindful of the backlash around the proposed closure of 6 Music in 2010. He stressed that the corporation is currently going through budgets in detail to gain a clearer understanding of where the BBC spends its money.

Leopard execs exit to launch indie Brown Bob Daytime is a five-days-aweek, 52-weeksa-year business. There is still a big schedule to fill

BY Alex Farber

Leopard Films execs Jacqueline Hewer and Nicki Gottlieb have left the business to set up their own indie, Brown Bob Productions. Brown Bob, named after its founders’ hairstyles, will focus on daytime formats and access-led documentaries as the duo tap into their experience of producing shows including BBC1’s Robbed, Raided, Reunited and Street Patrol UK, and BBC3 doc Tourettes: Let Me Entertain You. Gottlieb was Leopard’s head of production for five years, while 6 | Broadcast | 29 November 2013

Jacqueline Hewer

Hewer: opportunities in daytime

former BBC daytime commissioning editor Hewer has worked as the Argonon-owned indie’s head of daytime since 2011.

The pair have dubbed their relationship a “creative and business partnership”, as they share creative skills and a practical understanding of how to deliver a show on time and to a tight budget.

Hewer is confident that significant opportunities remain in the space despite the BBC’s decision to cut back its daytime hours. “Daytime is a five-days-a-week, 52-weeks-a-year business. There is still a big schedule to fill,” she said. One target is creating a 5pm show for Channel 4, which she described as the “holy grail”. She added that daytime was increasingly being viewed by broadcasters as a nursery slope for shows such as Rip Off Britain and The Great British Food Revival, which could be moved into peak. www.broadcastnow.co.uk


Expert Women

EXPERT WOMEN

CAMPAIGN TAX BREAK

CAMPAIGN

Room to improve on the road Women are more visible in the studio – but on location it’s a different story, says Lis Howell

W

ith 62 male and 21 female experts, the week beginning 7 October was a good one for Channel 4 News. This ratio of 3:1 male to female experts is more respectable than the TV news average of more than 4:1, which has been pretty consistent across all the programmes we have monitored over the past 18 months. On average, C4 News has more studio discussions than other programmes, and this is significant because evidence suggests that when a studio discussion is cast, women may feature more than in VT packages or material recorded ‘on the road’. Perhaps the lack of expert women has entered the consciousness of news editors and programme producers back at base, who cast contributors for the studio, but it has failed to register with reporters. Reporters are notoriously anxious to get speakers ‘in the can’ as fast as possible, but the ratio of women experts is just as important for hard news stories on location as it is for studio guests. This seems to be the downfall of Sky News, where, appallingly, there were 57 male experts and only five female experts across the five days monitored – a ratio of nearly 6:1 is as bad as when we started these snapshots in 2011.

Audience factor One possible factor is that we monitored Sky News at 10pm rather than a random hour in the day. This bulletin is very much based on VT packages, which means, sadly, that there are more men than usual. There is evidence that producers will set up female guests on daytime shows or lunchtime bulletins, for a female audience, but as soon as there is a general audience with a large number of men, male experts tend to dominate. This situation seems common across all news organisations. Once men enter the audience mix in www.broadcastnow.co.uk

C4 News: high number of studio discussions helped the programme achieve a ratio of 3:1 male to female experts

The ratio is just as important for stories on location as it is for studio guests appreciable numbers, the women are downgraded. Programmes watched by men tend to include more sport news too, a black spot for women experts. Over on Radio 4, Today has improved very slightly over the past 18 months. It used to average about 4:5 male to female experts; in the week we monitored, it used 45 male and 11 female experts – just slightly over 4:1, but not as bad as it used to be. But what is really heartening is that the number of female presenters and correspondents has improved noticeably. Of the 53 items featuring correspondents in the week monitored, 36 were men and 17 women. Back in July 2012,

there were 36 news packages in the week monitored, only three of which came from women reporters. But despite this improvement, there is still a significant gender gap in reporters across broadcasting. There is no reason why there shouldn’t be near equal numbers of male and female reporters or correspondents. Only a small fraction of the population are mothers with young children, and even that doesn’t automatically count them out from a job ‘on the road’. The employers who say women don’t want to be reporters because it interferes with domestic life should come and interview the students at City University. There are plenty of women here who want the job, and would be very good at it. Finally, the good news. BBC Breakfast had a ratio of 2:1 male to female experts in a programme that has a lot more studio guests and relatively fewer packages. If executives are genuinely concerned to make their programmes

Male/female ratio BBC Breakfast 2:1 Today 4:1* Channel 4 News 3:1 Sky News 6:1 Period covers week beginning 7 Oct *monitored between 6am and 7am

more reflective of the audience, they need to ensure a balanced mix of interviewees in VT packages. Our figures for vox pops on VT over the past 18 months show there is almost always a 50:50 split between male and female interviewees, so women are quite happy to be interviewed in the street with their hair blowing about. No one offers hair and make-up for a vox pop – yet the women are there in the same numbers as the men. Maybe women aren’t quite as worried about how they look as some people like to think. 29 November 2013 | Broadcast | 7


Commissioning News

Sky 1 books leftfield global trek 50 Ways To Test Your Mammy will be funny, scary, irreverent and moving

BY Peter White

Sky 1 is going on a travel adventure with an Irishman and his mother in its latest fact ent commission, 50 Ways To Test Your Mammy. The pay-TV broadcaster has ordered the 6 x 60-minute series from Burning Bright Productions, which produces Richard E Grant’s Hotel Secrets for Sky Atlantic and ITV’s Poaching Wars With Tom Hardy. The series is one of Adam MacDonald’s first major commissions since taking over as director of Sky 1 this summer. MacDonald told Broadcast that the show, which will air in 2014, is a leftfield and irreverent adventure series, similar in tone to Sky 1’s Karl Pilkington: The Moaning Of Life. It follows Irish comedian Baz Ashmawy, host of RTÉ reality series Fáilte Towers, and his mother Nancy as they travel the world, taking in Africa, Asia and the US. Nancy, a 70-year-old pensioner, has watched her son gallivant around the world for the past 10 years and the series finally gives

her the chance to join him. Her mettle will be tested with tasks such as sky-diving and alligator wrangling. The series is exec produced by Burning Bright’s Clive Tulloh and

series produced and directed by Barry Egan. MacDonald said the show was part of a fresh and innovative factual slate. “50 Ways To Test Your Mammy will be funny, scary,

C4 goes French for daytime wheeler-dealers show

produced by Reef head of popular factual Alex Dundas.

CBeebies sets up ballet collaboration for Little Pigs

Channel 4 has ordered a Frenchflavoured wheeler-dealer daytime series from indie Reef Television. In the 15 x 60-minute French Collection, three amateur vintage dealers travel to flea markets in France to buy items before returning to the UK to attempt to sell them on for a profit. The contestants will be given three days to buy, renovate and sell their items, with the contestant who makes the most money taking all the profits. The French Collection is hosted by Mark Franks, presenter of Reef ’s Put Your Money Where Your Mouth Is. It was commissioned by daytime commissioning editor David Sayer and executive 8 | Broadcast | 29 November 2013

Adam MacDonald, Sky 1

irreverent and moving, showing that the joy of family doesn’t stop when the kids leave home,” said MacDonald. Tulloh added: “Burning Bright is excited to be working with Sky 1 and to be a part of its new raft of programming. Baz and Nancy make a hilarious double act – they have the sort of motherand-son relationship we all wish we had.” ➤ For more on Sky 1, see Adam MacDonald interview, page 24 50 Ways To Test Your Mammy: Nancy and Baz Ashmawy travel the world

Operation Ouch! twins secure Horizon slot The twin brothers who present Bafta-winning CBBC medical show Operation Ouch! (pictured) are taking their double act to primetime for the BBC’s Horizon strand. Dr Chris and Dr Xand van Tulleken will investigate the impact of extreme diets for an edition of the BBC2 science series, set to air in January. Chris has subjected himself to a month-long high-fat diet dominated by meat and cheese for the programme, while Xand has eaten foods high in carbohydrates. The pair will also meet experts and proponents of the diets in the UK and US.

CBeebies is lining up a multi­ platform series of programming for Easter 2014 based around the story of The Three Little Pigs. The project, which will feature key CBeebies presenting talent, is the channel’s second collaboration with the Northern Ballet, which is staging a production across theatres in the North from 11 March. The company’s first ballet for children, Ugly Duckling, toured in Easter 2013, with CBeebies airing a performance fronted by presenter Mr Bloom, alongside interactive games and stories on the channel’s website.

C4 takes behind-the-scenes look at Gok Wan in panto Channel 4 has greenlit a behindthe-scenes pantomime special that will follow Gok Wan as he appears in Snow White And The Seven Dwarfs. The show, Oh No He

For details of this and all of the latest commissions, visit

http://greenlight.broadcastnow.co.uk

Didn’t! Gok In Panto (working title), is a 60-minute, one-off from Maverick Television focusing on the C4 star’s preparations to play the ‘Man in the Mirror’ at the Birmingham Hippodrome this festive season. Together with costars John Partridge, Stephanie

Beecham and Gary Wilmot, Maverick will track Wan (above) through rehearsals as he learns his lines and masters flying through the air on a wire. Oh No He Didn’t! Gok In Panto was ordered by features commissioner Nick Hornby. It will be exec produced by Maverick’s Ben Gale. www.broadcastnow.co.uk


Find out what’s happening on Twitter during your programme. 61.30% neutral

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04/11/2013 16:01


For more projects in development and the latest commissions, visit

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Commissioning News

Q&A Kim Shillinglaw Kim Shillinglaw BBC commissioning editor for science and natural history What’s your most recent commission and why? Castles In The Sky, about British scientists who cracked radar just in time for the Battle of Britain.

How much has the programme changed from what was initially pitched? Any drama goes on a fairly substantial journey in the hands of writers, director, producers and commissioners.

What was it that grabbed you? It’s an emotional story about class and science, and also the talent: Gillies McKinnon directing, with Eddie Izzard and Laura Fraser of Breaking Bad on screen. Plus, the determination of Hero Film and TV’s Simon Wheeler to work with us to pull the money together. What would you like more of? We’ve been doing well in the tough 8pm specialist features territory with shows like Wonder Of Dogs, Trust Me I’m A Doctor and Harvest 2013. I want to keep being ambitious in this competitive space. What’s a definite no for you? Niche passions, with the exception of BBC4, where we can revel in bringing the unexpected to life in surprising ways. We’ve done it there with subjects including logic, statistics, infinity, guts, decay and ants. What’s your riskiest commission and why? Something I hope to be announcing early next year that is form-busting for science. People will either love it, or laugh. I’m scared and excited.

What’s the best line you’ve ever heard in a pitch? “Next, the presenter gets swallowed whole by an anaconda…” Which TV character/personality would you most like to be? Beryl Vertue. What’s your guilty pleasure? Dreaming about not having a to-do list. What is the most important lesson life as a commissioner has taught you? Find the best creative minds, and everything else follows. How would you like to be remembered? By that stage, I won’t care. How quickly do you aim to respond to an idea? We’re not always as quick as we’d like, but we’re trying. Who has final sign-off? The channel controllers and myself. How should producers pitch to you? Email me, Tom McDonald or Marcus Herbert, and e-commissioning at the same time. What’s your top pitching tip for producers? Come to briefings and talk to us, that’s how Dragonfly’s The Burrowers and Windfall’s Wonder Of Dogs came about. And watch the output.

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

The killer Pitch

Animal Odd Couples

Hidden Kingdoms

Production company Oxford Scientific Films Length 2 x 60 minutes TX November, BBC1 Summary Wildlife biologist Liz Bonnin goes on a journey to find out why animals of different species make friends with each other, and even humans. What sold it to you? The images of unusual animal combinations and unlikely relationships felt like a winner, and Oxford Scientific Films came up with a good way of pulling it all together with revealing science and a great title.

Production company BBC Natural History Unit Length 3 x 60 minutes TX 2014, BBC1 Summary Stephen Fry casts light on life for some of the smallest creatures in the natural world. What sold it to you? I immediately loved the idea of seeing the world from the little guy’s perspective – so that a crack becomes a canyon, a falling acorn feels like a meteor. I like shows that make you see the familiar with new eyes.

www.broadcastnow.co.uk

29 November 2013 | Broadcast | 11


International News

C5 lines up next Aussie drama C5 viewers love compelling, character-led drama packed with twists and turns. Secrets & Lies ticks those boxes

BY PETER WHITE

Channel 5 is hoping that Australian thriller Secrets & Lies can replicate the success of prison drama Wentworth after acquiring the series from Cineflix Rights. The Northern & Shell-owned commercial broadcaster will air the 6 x 60-minute series next year after its Australian debut. C5 found success with Fremantle Media’s Wentworth earlier this year and the show consolidated with nearly 2 million viewers across its 10-episode run. Secrets & Lies is a whodunnit mystery that tells the story of a family man who discovers the body of a young boy and subsequently finds himself as the prime suspect. It is produced by Hoodlum, the Australian multiplatform indie set up by Tracey Robertson and Nathan Mayfield that produces dramas including The Strange Calls and Slide for Network Ten. It is written by author Stephen Irwin and stars The Ring’s Martin Henderson and The Slap’s Anthony Hayes.

Katie Keenan, Channel 5

Secrets & Lies: C5 is hoping to repeat success it has had with Wentworth

The drama is the first series to come out of Cineflix Rights’ move into scripted third-party programming, which it started earlier this year. The deal was struck by Cineflix senior vice-president of programme sales Sandra Piha and

senior vice-president of acquisitions Noel Hedges, with Channel 5 head of acquisitions Katie Keenan. Secrets & Lies is also being remade in the US by ABC. The Disney-owned broadcaster has ordered a 10 x 60-minute straightto-series adaptation from Kaplan

Entertainment and ABC Studios, in association with Hoodlum. “Channel 5 viewers love compelling, character-led drama packed with twists and turns. Secrets & Lies ticks all those boxes and we’re thrilled to add it to our 2014 drama line-up,” said Keenan. Cineflix Media chief executive, rights, Chris Bonney added: “Secrets & Lies fits perfectly with the demand in the UK for highquality, character-driven miniseries and we’re really pleased that Channel 5 will be making it a cornerstone of its schedule next year.” He predicted further international sales for the series in the near future.

Sky Arts to air Ridley Scott’s homage to the Boss BY PETER WHITE

Sky Arts has acquired Springsteen & I, the Ridley Scott-produced feature documentary about rock star Bruce Springsteen. Springsteen & I, which was released in cinemas earlier this year, features contributions from fans of the Born To Run singer, who provide accounts of how Springsteen’s music has affected their lives. Contributors include: Rachel from Newcastle, who was plucked from the crowd at a show in Hyde Park to dance with Springsteen during his performance of Dancing In The Dark; busker John Magnusson, who busked with the star in Copenhagen in 1988; and Nick Ferraro, an Elvis impersonator who sang with Springsteen in Philadelphia after he saw his Can The King Sing With The Boss sign. 12 | Broadcast | 29 November 2013

This beautifully crafted film provides a unique insight into the powerful bond between an artist and his fans Ridley Scott

Springsteen & I: Sky Arts has exclusive UK TV rights to Scott Free film

The film was inspired by Scott’s digital documentary Life In A Day and was directed by Baillie Walsh, who directed Daniel Craigfronted feature film Flashbacks Of A Fool. It was produced by Scott Free Productions and Black Dog Films.

Scott said: “This beautifully crafted film provides a unique insight into the powerful bond between a recording artist and those who connect so profoundly with his music.” It previously aired on US cable network Showtime following its

cinema run and Sky Arts will air the 124-minute film at the end of December. Sky acquisitions manager Sophie Judge struck the deal with music distributor Eagle Vision. Sky Arts channel director James Hunt said: “He is one of the greatest recording artists of all time and this astonishing homage demonstrates Bruce Springsteen has inspired total infatuation with his fans.” www.broadcastnow.co.uk


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

Blakeway to teach China about branding BY PETER WHITE

Chinese broadcaster CCTV has ordered an eight-part documentary series from UK indie Blakeway Productions. The Ten Alps-owned firm will produce 8 x 50-minute factual series The Secrets Of Branding for the state broadcaster, which will air it on CCTV2, the country’s equivalent to BBC2. As China struggles to produce a major global brand, CCTV developed the idea of a documentary series looking at how Western brands such as Gucci, Disney, Starbucks and Burberry have become so well known. The broadcaster wanted to work with a UK production company as it believed it would have better access to the brands. It then brought in BBC Worldwide to put together a tender, which was won by Blakeway. The indie, which produces Channel 5’s Benidorm ER and BBC4’s Disowned & Disabled, had previously produced Life In The West for CCTV9.

We cannot wait to show audiences this inspired insight into some of the world’s most exclusive brands Suzanne McKenna, BBCW

The Secrets Of Branding: eight-part series will be distributed by BBCW

The Secrets Of Branding, which was commissioned by deputy director Li Yong, will examine case studies of more than 30 top brands. It will also include interviews with, among others, Starbucks chief executive Howard Schultz, former Burberry boss Angela Ahrendts, who recently joined Apple, and inventor James Dyson.

Ten Alps creative director Fiona Stourton, who will exec produce with Joanna Bartholomew and series producer Matt Hill, said: “It’s great that alongside making documentaries for UK commissioners we are becoming an indie of choice for foreign broadcasters.” Stourton said Chinese licence fees are comparable to prices paid

Sky 1’s Moone Boy scoops International Emmy

NBC to adapt Bwark comedy 30 And Counting

BBC4 buys Mad Men-esque Scandinavian crime thriller

Sky 1 comedy Moone Boy (below) was among the winners at the International Emmys, where UK shows picked up three awards. The Baby Cow-produced comedy, which stars Chris O’Dowd, won Best Comedy after debuting on Sky to more than 400,000 viewers last September. A second series is due to launch early next year, ahead of a third run, which was greenlit in March. Meanwhile, Sean Bean won Best Performance By An Actor for RSJ Films’ BBC1 drama Accused, and Eagle Rock Entertainment’s doc about rock band Queen, Freddie Mercury: The Great Pretender, shared the Best Arts Programming prize with Korean series Hello?! Orchestra.

US network NBC is adapting Bwark Productions’ comedy 30 And Counting, which aired on Sky Living earlier this year as part of its Love Matters strand. The show follows a group of 30-year-old friends as they attempt to find a date for a single pal. It was written by Tom Vinnicombe, Chris Little and Isy Suttie. Bwark is part of Zodiak Media. The oneoff, 60-minute show recorded 110,000 consolidated viewers (0.44%) when it aired in March 2013. The US version will be written by Samantha Who? writer Justin Adler and directed by Meet The Parents and Zoolander writer John Hamburg. Iain Morris, co-founder of Bwark and former Channel 4 commissioning editor, will exec produce.

The BBC has acquired Scandinavian drama Crimes Of Passion, a crime thriller described as Mad Men meets The Killing. The broadcaster has struck the deal for the 6 x 90-minute drama with Swedish distributor Svensk Filmindustri International and is expected to air it next year on BBC4. Crimes Of Passion was produced by Swedish indie Pampas Production for TV4 and is based on the novels of Maria Lang. Each episode of the period drama is a separate whodunnit mystery. The deals were struck by SF International sales manager Peter Torkelsson.

www.broadcastnow.co.uk

Yesterday targets CIA Declassified UKTV’s Yesterday has acquired documentary series CIA Declassified from World Media Rights. The series,

by UK broadcasters, adding: “Hopefully we’ll do more on the back of this.” BBC Worldwide will distribute the documentary internationally. BBCW head of science, history and documentaries Suzanne McKenna said: “We are delighted to be involved in this exciting project, having grown strong working relationships with both CCTV and Ten Alps over the years. “This series brings together a hugely talented and respected producer with a key co-producer, and we cannot wait to show audiences across the globe this inspired insight into some of the world’s most exclusive brands.”

which airs in the US on Discoveryowned cable network The Military Channel, tells the real-life stories of the CIA’s covert operations, including the way a group of female agents found Osama Bin Laden’s hiding place. Based on declassified documents, the 10 x 60-minute series features interviews with Watergate journalist Bob Woodward (pictured) and CIA agents including Felix Rodriguez, who ordered the killing of Che Guevara, plus Michael Scheuer, the agent in charge of finding Bin Laden. The deals were struck by UKTV acquisitions and co-production manager Emma Sparks, UKTV general manager of factual Adrian Wills and World Media Rights chief executive Alan Griffiths. 29 November 2013 | Broadcast | 13


Multiplatform News In Brief Twitter targets TV talk Twitter has launched a service that allows advertisers to reach UK viewers discussing TV shows. Brands can send promoted tweets, across more than 20 channels, to users talking about specific programmes. Revenue product manager Oliver Young said: “Advertisers can easily reach Twitter users exposed to integrations, sponsorships and other innovative TV tie-ins for an additional touch point or message expansion.”

Food Tube reaches 500k Jamie Oliver’s Food Tube channel (left), hosted on YouTube, has passed 500,000 subscribers. The Broadcast Digital Award-winning service, produced by Fresh One Productions and Spirit Digital Media, was among the original content providers to secure investment from the VoD platform last year.

Mass Relevance in UK US social media agency Mass Relevance is preparing to open a UK office. The business, which has previously worked with Channel 4 and MTV UK, helps broadcasters to feature real-time data collated from Facebook and Twitter on screen in engaging ways. The Texas-based business is seeking a UK managing director to enable it to form closer ties with UK broadcasters.

Crossover at Doc/Fest Training organisation Crossover is to host a digital strand at Sheffield Doc/Fest in June. Led by newly hired director of programming and partnerships Chris Dymond, Crossover is developing an Interactive At Sheffield programme that will include talks from crossplatform producers, a showcase of emerging technologies and Q&As with developers. Interactive At Sheffield ticket-holders will also receive a discounted entrance to the event.

For the latest breaking news www.broadcastnow.co.uk 14 | Broadcast | 29 November 2013

Sundog online shorts to highlight energy poverty BY Alex farber

Sundog Pictures is to produce a series of online shorts about energy poverty as part of a wider branded documentary commission from global wind-energy firm Vestas. A feature-length film, Wind For Prosperity, will be supported by a series of short-form docs available via a dedicated YouTube channel, to be launched next year. Sundog, which was established by Sam Branson, son of entrepreneur Sir Richard Branson, in 2009, will also take responsibility for driving interest in the films via social media once they have been released. The films will focus on Vestas’ plans to sell old, refurbished turbines to undeveloped countries, providing affordable electricity to more than 1 million people over the next three years. The shorts will show viewers the realities of living in energy poverty, as well as focusing on the mission to create the first ‘Wind for Prosperity’ turbine and the impact it will have on people’s lives following installation. Sundog managing director Johnny Webb said the commission fitted with the indie’s goal of

Wind For Prosperity: Sundog shorts will support the feature-length film

Wind For Prosperity is about showing the world that business can be profitable and socially rewarding Johnny Webb, Sundog Pictures

producing, “authentic stories around brands”. “The project combines longform documentary, short films for

online release and social management. Wind For Prosperity is, at its heart, about showing the world that business can be both profit­ able and socially rewarding.” The film was announced this week at an event in New York. Sundog has previously worked with brands including AOL on a series of short films featuring some of the world’s most creative thinkers, and with Virgin Media for its Pioneers Project, in which it follows 10 young entrepreneurs challenged with putting on an event at the Royal Opera House.

Web watch BBC Playlister

T

he BBC has released the first full version of its Playlister service, which includes presenter playlists and iPlayer Radio app integration. The service allows users to collect songs they hear on BBC shows to a playlist, before exporting the tracks to stream via Spotify, Deezer or YouTube. It was launched in beta by BBC multiplatform controller Mark Friend in October. The revamped version includes playlists curated by BBC presenters including Annie Mac, Nick Grimshaw and Zane Lowe, enabling visitors to add a number of tracks in a single click. For the first time, the BBC has also enabled users to log in to their BBC iD account via an app, allowing iPlayer Radio users to add tracks to their list direct from mobile. BBC Future Media executive product manager Chris Kimber said: “The advantage with this is that we are now on track to start making the app more personalised, and allowing that personalisation to work across devices.”

URL http://www.bbc.co.uk/music/playlister Developer In-house

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21/11/2013 15:56


Technology & Facilities

Broadcast rolls out tech roadshows BY George Bevir

Broadcast has teamed up with Visual Impact and Root 6 for a nationwide series of technology roadshows. The Look, Listen, Experience roadshow will tour the country in March, visiting venues in London, Bristol, Cardiff, Salford and Glasgow. The event will cover a wide range of production and post tech­ nology, with the emphasis on visi­ tors getting hands-on with kit. Broadcast will host several sem­ inars and panel sessions involving the regions’ leading production and post firms. “If you are inter­ ested in seeing the latest cameras and post technologies, and hearing from industry leaders, you need to attend this road­ show,” said Broadcast conference director Charlotte Wheeler. Visual Impact hosted its own roadshow in 2012, which was attended by 1,000 people, and will build several sets showcasing cameras in different production environments, along with dedi­ cated audio and lighting areas. “Partnering with these two industry heavyweights made

roadshow venues and dates Glasgow Science Centre Tuesday 11 March

Open Centre, MediaCityUK, Salford Thursday 13 March

Ashton Gate Stadium, Bristol Tuesday 18 March

Millennium Stadium, Cardiff Thursday 20 March

London (venue TBC) Glasgow Science Centre: the roadshows will visit venues across the UK

We are delighted to be joining with Visual Impact and Broadcast perfect sense,” said Visual Impact group business manager Rob Newton. “Both are leaders in their respective fields and they will

bring a wider and more compre­ hensive coverage of the industry for the visitors.” Root 6 will demonstrate the latest post-production software and technology, with leading vendors including Avid, Adobe, Front Porch Digital and Amulet showcasing cloud-based produc­ tion technology. Using real-world workflow examples, an accompanying seminar programme will examine use of

Crewing Company opens up in United Arab Emirates

David Boyle joins Lime Pictures as operations head

DPP calls for change to quality control process

The Crewing Company is setting up a new division at the Twofour54 media campus (pictured) in the United Arab Emirates. The Abu Dhabi arm of the company will provide opportunities for the talent currently on the Crewing Com­ pany’s books, but the long-term aim is to establish a talent pool across the Middle East and North Africa region. “About a third of our business is on projects in the Middle East, so it makes sense for our first inter­national office to be in the region,” said The Crewing Company joint managing director Stuart Hatton.

Lime Pictures has recruited former ITV Studios director of post-production David Boyle. He will join the indie in January as its new head of operations, working across all of Lime’s output. Boyle will report to managing direc­ tors Claire Poyser and Kate Little. Poyser said: “It’s a given that David has an excellent technical knowledge in developing and providing production solutions. However, what really sets him apart is his fantas­ tic ability to understand people. This is a rare skill, particularly within the operational arena, and we are delighted that he’s joining Lime.”

The Digital Production Partner­ ship (DPP) has confirmed that it wants production companies and their post-production part­ ners to take responsibility for running QC checks instead of broad­casters, as tipped by Broadcast last year (25.10.12 issue). Speaking at a UK Screen event last week, DPP technical stand­ ards lead and Channel 4 chief technology officer for broadcast and distribution Kevin Burrows said the DPP’s aim is for broad­ casters to perform spot checks to ensure programmes are correct and complete.

16 | Broadcast | 29 November 2013

John Harris, Root 6

WRN Broadcast and CSC Media sign multi-year deal WRN Broadcast (pictured above) has signed an exclusive multi-year contract with CSC Media to provide playout and media man­

Tuesday 25 March the cloud for editing and logging, storage and archive, QC and delivery, and remote operations. “We are delighted to be joining with Visual Impact and Broadcast,” said Root 6 director John Harris. “Visitors will experi­ ence all-encompassing workflows from camera to multiplatform delivery.” ➤ Look, Listen, Experience is free to attend. To register your interest, visit: looklistenexperience.com

agement services for a bouquet of 18 channels, including Chart Show TV, Tiny Pop, True Entertainment and social media TV channel BuzMuzik. WRN Broadcast will be responsible for delivering 15,000 hours of television for CSC Media every month across Sky, Virgin Media, Freesat and inter­ national affiliate partners includ­ ing DSTV/Multichoice.

Pinewood Shepperton turns away TV and film projects Pinewood Shepperton is turning away high-end TV productions and films due to a lack of capacity, www.broadcastnow.co.uk


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

Rebrand for Deluxe 142 to align with US and Canada BY george bevir

Deluxe 142 will be rebranded as Encore from next week to bring the UK facility into line with its US and Canadian counterparts. Encore is Deluxe Entertainment Group’s brand for its broadcast post-production operation. Deluxe group companies Rushes, Method, Editpool and Company 3 will retain their own branding. The team and structure at the post facility will remain in place, with director of operations Johnny Whitehead continuing to lead the Soho-based company. Executive vice-president for television Bill Romeo will head up the global Encore operation. Whitehead said Encore would look to increase the level of collab­ oration between its UK, US and Canadian facilities, which have joined forces to work on recent productions including Starz’ Da Vinci’s Demons and Hat Trick’s Episodes for BBC2 and Showtime. “With the increase in coproductions and the buoyancy of

Luther: Deluxe 142 carried out post-production on the BBC1 crime drama

the TV market, the timing for this exciting development is perfect,” he added. “By sharing expertise and resources, we can ensure our place at the top in terms of technical support and infrastructure. This is essential with the forthcoming implementation of file-based deliveries for UK broadcasters, and other technologies such as 4K starting to make an impact.”

The rebrand follows the Febru­ ary restructure of Deluxe. Half a dozen of the group’s businesses were rebranded as Deluxe Media as part of the formation of a con­ tent-management group. Those companies included ITFC and the media-management arm of the soon-to-be-rebranded Deluxe 142. Deluxe 142’s recent credits include Broadchurch, Mr Selfridge, Luther and Fresh Meat.

as revenue from both sectors con­ tinues to rise. Revenue from film for the six months to September increased by 4% to £19.6m, while TV income was up by 28% to £3.2m. Pinewood Shepperton chief executive Ivan Dunleavy said: “The UK, and Pinewood Shepperton in particular, contin­ ues to be in great demand from international content producers. In order to continue growing the UK’s market share, we will need more studios and related facili­ ties.” The public inquiry into Pine­ wood’s latest expansion plans began last week.

monitor and regulate average loudness levels over the duration of a programme. Another addition to the software is the ability to store arrangements of modes on the surface panels.

BVE 2014 to look at content delivery and platforms

Calrec Audio upgrades its Apollo and Artemis consoles

Content processing business Re:fine has invested £300,000 in a major infrastructure update at its west London HQ. The company has upgraded its storage with an additional half a petabyte of spin­ ning disk storage by PixitMedia, from reseller CCS.

Calrec Audio has released a soft­ ware upgrade for its Bluefin2 range of consoles. The Apollo (pic­ tured above right) and Artemis platforms now contain features including loudness meters to www.broadcastnow.co.uk

Re:fine increases storage capacity by half a petabyte

Next year’s BVE will focus on content delivery and new plat­ forms. Organisers of the trade show and conference said that almost a fifth of the 15,000 visitors to this year’s show expressed a desire to understand the ‘con­ nected world’ and BVE’s Con­ nected Theatre and dedicated exhibition space will be bolstered as a result. Headlining BVE’s Con­ nected Theatre will be the British Film Institute’s director of digital Edward Humphrey, who will speak about the BFI Player, the VoD platform for access to the BFI’s archive.

Loft London Solutions appoints Harlow as MD Loft London Solutions, the systems integration division of Loft London, has appointed Roger Harlow as its new managing

Flix to open facility next to MediaCityUK Manchester post firm Flix is opening a 24,000 sq ft facility next to MediaCityUK. The facility on Broadway will house a mixture of 15 offline and online edit suites, production office space and three studios ranging in size from 3,500 sq ft to 1,500 sq ft. It will also house edit suites for use by indie True North, with which Flix recently partnered. The space is in addition to the company’s planned move into the White Tower on the MediaCityUK campus and its current sites at the Pie Factory and in the centre of Manchester. “One of key things for us is mitigation of risk,” said Flix joint owner Paul Hardman. “We want to spread our offering and the range of genres we work on, and we are looking to invest in our own IP. “Nothing is off the table, be it raising funds for IP or working as co-producers or as jointventure partners.” Flix Broadway will open on 16 December.

director. He will replace James Gibson, who will become Loft London Group chief technology officer. Harlow joined Loft London as director of business develop­ ment in February.

Comux launches local-TV centre in Birmingham Comux has launched its Birming­ ham-based local-TV Network Operations Centre (NOC) to provide the infrastructure for local television companies to broadcast on Freeview. The NOC became operational with the launch of Estuary TV in Grimsby this week, the first local-TV licence holder to broadcast on the network. Meanwhile, IPTV systems provider Techex has deployed products from media transport provider Nevion, including TVG450 JPEG 2000 encoders/decoders, to support Comux’s broadcast network. 29 November 2013 | Broadcast | 17


Comment

Sky 1 is about enjoyment. We want to celebrate people who bring enjoyment to life in this tough old world Adam MacDonald, Interview, page 24

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18 | Broadcast | 29 November 2013

MCNs need to find their hook Standing out is key, whether in LA or Grimsby, says Kate Bulkley

I

’ve never been to Grimsby (not a normal way to start a TV business column, I grant you) but I do seem to be spending a lot of time on multi-channel networks (MCNs) recently. Why are the two linked? Well, the TV industry has many destinations these days, and all of them are fighting for our attention. The fishing port of Grimsby in Lincolnshire is, of course, the site for this week’s launch of the UK’s first local-TV licensee. It is called Estuary TV and has actually been available on Virgin Media’s cable system for the past 15 years, giving it a built-in audience and significantly improving its prospects. The big question for all the local TV stations is the economics. It helps that the usual rules of TV advertising have been suspended, so these channels can put in spots and sponsorships to their heart’s content. Plus, I think local news/events/coverage is something that audiences do want. But the bigger question for me is whether these audiences want it packaged in a linear TV channel. If you lived in Grimsby and were able to enjoy bundles of local TV news, why would you visit the web? Yahoo! thinks it has the answer. This week it announced it had hired Katie Couric (pictured), the former ABC, CBS, NBC (let’s face it, she’s worked on every major US TV news desk) as its first “global anchor”. Yahoo!, like a lot of other online sites, is starting to promote tent-pole talent like Couric to drive viewership. Every network – TV or online – is upping its recognisable faces to drag in the audience from other distractions, be they sites, TV channels or video games. Even print media is adding moving pictures to make it more sexy. Why else is The Times offering

online Premier League clips to newspaper subscribers? Plus, The Guardian is increasingly asking reporters to be more multimedia. Simon Hattenstone’s job, for example, has changed from a traditional print feature writer to producing regular video interviews, like the one I just saw with Daniel Radcliffe. The Guardian also employs the services of multichannel network operator Rightster to add video content – from ITN, for example – to its online site. It’s all about making the site more lively, more engaging – and more like TV. MCNs are popping up all over the place – most recently, Endemol announced it would put E30m (£25m) into building an MCN, called Endemol Beyond. Its new president is Will Keenan, who until last week was working at rival MCN Maker Studios, ironically headed since May by former Endemol chief exec Ynon Kreiz. MCNs are the new online versions of niche cable TV channels and they are attracting a lot of attention both online and from investors (though the business model is still a work in progress). For his part, Keenan says he looks forward to helping Endemol, a traditional TV producer, “disrupt” the digital world. As TV, newspapers and online sites all shuck and jive to capture our attention, the need for a hook of some kind has never been greater. That could be a great piece of content or a recognisable anchor – irrespective of whether you’re based in California or Grimsby. ➤ Kate Bulkley is a print and TV journalist and awards secretary of the Broadcasting Press Guild. Follow her on Twitter @katecomments

‘Every network – TV or online – is upping its recognisable faces’

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YOUR SAY

IN MY VIEW cost any more than the rent being poured away at The Mailbox and could be a good halfway house between London and Salford. Can they pay reverse relocation payments – and reduce wear and tear on the M5? Anonymous

Jackson: ‘brave commissioner’

Responses on broadcastnow.co.uk to our story ‘Tabitha Jackson exits C4 for Sundance’ (Broadcast, 15.11.13) Without doubt one of the most fantastic, brave and enabling commissioners I have ever worked with. She will be sorely missed. C4 staffer Congratulations Tabitha, you are an amazing commissioner, a passionate advocate for the independent voice in film-making and a truly wonderful person. Sundance is incredibly lucky to have snagged you! Anonymous Responses on broadcastnow.co.uk to our story ‘BBC Birmingham set for boost’ This makes both creative and business sense and is extremely welcome news. The production community and the city will support the BBC initiative wholeheartedly. Finally, some joined-up thinking. Anonymous Good call, but how about rebuilding Pebble Mill as a state-of-theart broadcasting centre? It couldn’t

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Responses on broadcastnow.co.uk to our story ‘TV and film fail on diversity’ (Broadcast, 15.11.13) TV just isn’t an aspirational industry to go into any more. Freelancing, coping with unexpected weeks without work and not minding about having a non-existent pension is really just for rich kids – or people married to bankers who pay for the childcare. Perhaps BAMEs are just a bit more sensible about their futures. Indie exec I am setting up a charity to kick this thing along – fair BAME representation in the on-screen and offscreen workforce. Thirteen years of moving backwards is too long. More news soon. Get up, stand up: stand up for your rights! Get up, stand up: don’t give up the fight! Simon Albury, chief executive, RTS Response on broadcastnow.co.uk to our story ‘Xbox One offers viewers VoD and personalised EPG’ Cable customers in the US often suffer from a substandard EPG experience, but in the UK there’s been a lot of investment in the EPG from Sky, Virgin, Freesat and YouView. The chances of these platforms giving up control of the UI to Microsoft must be very slim. Digital executive

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Media must keep mental health issues front of mind Awards highlight the good work being done in dispelling the myths, says Alison Kerry

I

f you asked someone in the street to name a time when they had seen mental health in the media in the past few years, they might say Carrie Mathison in Homeland or Stephen Fry speaking about his experience of bipolar disorder. However, behind every positive news story or depiction, a sensationalist headline or stereotypical portrayal still lurks. The Mind Media Awards, held last week, celebrate the good representations of mental health in the media in a bid to encourage more sensitive and accurate reporting that dispels the ‘mad’ and ‘bad’ mental health myths. This year marked the event’s 20th anniversary. Winning an award is not just a pat on the back from media peers, but recognition from the mental health community that programme-makers and journalists are getting it right and making a real difference in changing societal attitudes towards mental health. The event has grown in stature too, from humble beginnings 20 years ago, with no shortlist of entries to choose from and just three certificates handed out, to today’s event at the BFI, with more than 300 entries and a star-studded ceremony hosted by Scott Mills from BBC Radio 1 and guest presenters such as Olivia Colman. This year’s winners ranged from Casualty and The Village to Radio 1Xtra and Newsnight. Broadcaster Tim Samuels received this year’s Making a Difference Award, a sort of lifetime achievement for an individual who consistently shines a light on mental health. Tim has been relentless in covering mental health, from last year’s BBC2 Culture Show special Art For Heroes, which explored art therapy for war veterans with posttraumatic stress disorder, to this year’s Newsnight feature on male

suicide. He has also shown a real commitment to featuring mental health on his Radio 5 Men’s Hour programme. His sensitive interview style ensures his contributors feel safe and comfortable talking about their experiences. For me, the highlight of this year’s awards had to be the standing ovation for Speaking Out Award-winner Joyce Salter, who took part in comedian Jon Richardson’s Channel 4 documentary A Little Bit OCD. On the show, she

‘It’s recognition that programmemakers are making a difference in changing attitudes’ candidly told of her experiences of OCD, as well as those of her father and her son Martin, who took his own life after feeling he could no longer live with the condition. We need to see more people like Joyce on TV talking about the reality of living with a mental health problem, and Mind is urging commissioners and editors to give the green light to more mental health content. BBC3’s mental health season earlier this year offered encouraging signs with programmes such as Diaries Of A Broken Mind, a collection of handheld video films from teenagers experiencing different mental health problems, and Failed By The NHS, fronted by young schizophrenic Jonny Benjamin. We have also had hard-hitting fly-on-the-wall documentaries such as Channel 4’s recent series Bedlam, which gave viewers a raw and compelling insight into life at South London and Maudsley NHS Foundation Trust. So with more and more mental health hitting our screens, it looks like our judges already have a tough job on their hands in 2014. ➤ Alison Kerry is head of media at Mind 29 November 2013 | Broadcast | 19


Ratings Analysis DAYTIME BBC1 vs ITV

Daytime prize is up for grabs While ITV’s Daybreak continues to underperform, there is better news for the broadcaster elsewhere in daytime as it pulls neck and neck with rival BBC1. Stephen Price reports

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n the ever-deepening com­ petition for viewers’ eyeballs, daytime provides important ratings to boost all-time share. BBC1’s overall lead over its chief rival ITV (21% to 16%, 0600-2600, 2013 to date) has often been down to the big lumps of share the channel gets in daytime. The value of a funded and original daytime schedule is clearly demonstrated by its absence; BBC2’s peaktime is strong, but its all-time share has struggled this year without an afternoon daytime schedule of Flog it, Escape To The Country and so on, not to mention the effect it may be having on the 6pm-7pm slot. For ITV, meanwhile, trading under the CRR mechanism brought in after the merger 10 years ago means the broadcaster must maintain a volume of impacts – the stuff advertisers buy. Therefore, daytime’s good health remains very important. The broadcaster’s recently refitted daytime team is having to revamp breakfast show Daybreak again as it continues to bump along, having never quite recovered from its 2010 launch. As 2014 looms, ITV’s new director of daytime knows that keeping share strong remains vital. Recently, ITV has commissioned into Sunday mornings with modest success: Stephen Mulhern’s Sunday Side Up at 10.30am (300,000/4% in live ratings for the first three weeks) and Sunday Scoop, hosted by Kay Adams, at 11.30am (500,000/5%). Opposite for three weeks at 10am, BBC1’s Sunday Morning Live is averaging 1 million/12%. At 11am, Sunday Politics is averaging around 700,000/8%. But it’s weekdays where the prizes are really won. Daybreak continues to be a thorn in ITV’s side. So far in 2013, the show, which runs from 6am to 8.30am, is averaging 645,000/16% – that’s 5% behind the same period in 2012. BBC1’s Breakfast (060020 | Broadcast | 29 November 2013

‘ITV knows it has to address the Daybreak problem and make the strong afternoon schedule work even harder’ together better than its rival. Between 9.25am and 1.30pm, ITV share is 18%, down 2.7% on 2012 to date, while BBC1 is down 4% to 26%. In 2011, BBC1’s share was higher at 28%, while ITV’s was the same as it is today: 18%. With the lack of CBBC The Chase: strong performer for ITV shows on the main channel in 2013, BBC1’s The extent of share between 1.30pm 0915), while still miles ahead (1.5 BBC1’s share of the ITV’s loss since and 6pm (17.9%) has million/35%), is slipping, but only post-breakfast GMTV is evident: moved ahead of ITV’s slightly: 1.7% down on 2012 so far. schedule from in its last full year (16.2%). However, with A silver lining for Daybreak is that 9.15am to 6pm (2009), GMTV avertwo schedules aimed at the important metric housewives aged 878,000/25% for grown-ups, the channels with children (HWCH) is levelling individuals and 31% for are fighting for the same audiout, with 22% share so far this year, ence. Everything is up for grabs fractionally up on the same period in HWCH; Daybreak is 30% below that for HWCH and 35% behind and it’s currently neck and neck. 2012. And after BBC1’s post-GMTV for individuals. boost for that audience, Daybreak is Happily for ITV, the rest of its close to level (113,000/22% vs Loss turns to gain morning schedule is holding 114,000/20% year to date). Between 3pm and 5.15pm in 2013, BBC1 is currently averaging 14.2% share for individuals, almost twice TOP 20 ITV DAYTIME PROGRAMMES YTD 2013 CBBC’s 7.8% in 2012. However, between 3pm and 5pm, while not Rank Programme Date Day Start Volume Share time (m) (%) experiencing such vertiginous 1 The Chase 21 Jan Mon 17.00 4.42 24.29 increases, ITV is slightly in front 2 Tipping Point 21 Feb Thu 16.00 2.63 22.34 of BBC1 with 14.8%. ITV’s line-up 3 Take On The Twisters 22 Jul Mon 17.00 2.33 19.68 includes Alan Titchmarsh at 3pm 4 The Making Of Les Miserables 1 Jan Tue 16.50 2.13 10.50 (1 million/13% across its two 5 Dickinson’s Real Deal 18 Jan Fri 15.00 1.92 15.78 outings in 2013 so far) and Dickin6 The Jeremy Kyle Show 21 Jan Mon 09.25 1.90 25.07 son’s Real Deal, the best of which 7 Britain’s Got Talent 27 May Mon 17.30 1.89 10.94 was 1.9 million/16% in January. 8 This Morning 3 Oct Thu 11.30 1.78 33.48 BBC1 has incorporated some 9 Elizabeth: Queen, Wife, Mother 1 Jan Tue 15.45 1.71 9.76 BBC2 titles, such as Escape To 10 Ade In Britain 8 Arp Mon 16.00 1.69 16.54 The Country (the best being 1.9 11 Loose Women 21 Jan Mon 12.30 1.64 16.39 million/16% in January at 3pm) 12 All Star Family Fortunes 1 Apr Mon 14.45 1.63 13.09 and Flog It (best: 2.3 million/17% 13 Storage Hoarders 18 Jan Fri 14.00 1.53 13.12 at 4.30pm in January). BBC1’s 14 The Alan Titchmarsh Show 21 Jan Mon 15.00 1.41 13.17 14 Lorraine 18 Feb Mon 08.30 1.41 22.59 new quiz Pressure Pad, which 16 Film: Pride And Prejudice 1 Jan Tue 13.25 1.29 9.09 launched on 4 November, is aver17 The Jeremy Kyle Show USA 11 Feb Mon 09.25 1.18 18.55 aging 800,000/11% live audience; 18 Daybreak 1 Mar Fri 07.25 1.12 18.32 opposite, ITV’s Alan Titchmarsh 19 Dinner Date 8 Mar Fri 14.00 1.11 13.82 is ahead with 1 million/14% 19 Cornwall With Caroline Quentin 1 Apr Mon 15.30 1.11 8.60 live ratings (59,000 +1).

21%

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Data supplied by Attentional

Source. BARB

ITV DAYBREAK INDIVIDUALS VS HOUSEWIVES WITH CHILDREN 0600-0830

2013 YTD volume (m)

2013 YTD share (%)

2012 volume (m)

2012 share (%)

Individuals

0.65

16.24

0.67

16.94

HWCH

0.11

21.60

0.12

21.44

BBC BREAKFAST INDIVIDUALS VS HOUSEWIVES WITH CHILDREN 0600-0915

2013 YTD volume (m)

2013 YTD share (%)

2012 volume (m)

2012 share (%)

Individuals

1.50

34.61

1.51

35.02

HWCH

0.11

19.98

0.13

21.27

Pointless: breakout hit for BBC1

At 4pm, ITV quiz Tipping Point is averaging 2 million/21% in consolidated ratings this autumn, ahead of BBC1’s 4.30pm rival quiz Put Your Money Where Your Mouth Is, which averaged 1.7 million/15% across the same period before it ended on 1 November. BBC1’s replacement, Antiques Road Trip, returned on 4 November and is averaging 2.1 million/17% live ratings. As viewing climbs, 5pm is an important slot with potentially big ratings, and for ITV a consistent and high number of impacts. Here, BBC1 and ITV battle it out in a right royal quiz off. ITV’s The Chase at 5pm (3 million/23% consolidated this autumn so far) and BBC1’s Pointless (3.1 million/22% consolidated at 5.15pm) share the spoils. On Monday 11 November, the quiz war was rested as ITV brought back The Paul

O’Grady Show. The first three episodes averaged 2.7 million/18% – good, but The Chase is faring better. Overall in the post-breakfast schedule between 9.15am and 6pm, BBC1 maintains its longheld position of market leader with 21% share compared with ITV’s 17%. It’s not an insurmountable job for ITV but the stakes are high. The new BBC1 controller’s examination of peak has begun and BBC1’s job as reliable ratings fodder has never been more important. Meanwhile, ITV knows it has to address the Daybreak (below) problem and make the strong afternoon schedule work even harder. There are significant prizes up for grabs and 2014 will test the mettle. The margins across all the segments are narrow, but the stakes are high.

DAYTIME ITV VS BBC 0925-1800 2013 YTD 2013 YTD vol (m) share (%)

2012 vol (m)

2012 share (%)

Change in vol (%)

Change in share (%)

ITV

1.31

16.99

1.29

16.03

1.57

5.99

BBC1

1.60

20.81

1.48

18.52

7.74

12.37

TOP 20 BBC DAYTIME PROGRAMMES YTD 2013 Rank 1 2 3 4 5 6 7 8 9 10 11 12 13 14 14 16 17 18 18 20

Programme One O'clock News Wimbledon Pointless The Princess And The Frog Funeral Of Baroness Thatcher Mary Poppins Bargain Hunt Antiques Road Trip Ratatouille Put Your Money Where Your… Father Brown Doctors Flog It! Tennis: Australian Open Breakfast Homes Under The Hammer Sister Act 2: Back In The Habit Wanted Down Under Nigel Slater’s Simple Suppers You’ve Been Scammed

Date

Day

Start time

Volume (m)

Share (%)

18 Jan 3 Jul 18 Jan 1 Jan 17 Apr 1 Jan 21 Jan 18 Jan 29 Mar 8 Mar 18 Jan 18 Jan 2 Jan 25 Jan 28 Oct 1 Apr 1 Apr 21 Jan 17 Apr 1 Apr

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

13.00 13.45 17.15 16.00 09.15 13.45 12.15 16.30 16.55 16.30 14.15 13.45 16.30 12.15 06.00 09.45 15.30 09.15 12.50 10.45

4.62 4.39 4.34 3.52 3.28 2.91 2.85 2.80 2.59 2.52 2.47 2.39 2.32 2.21 2.19 2.17 2.11 1.99 1.99 1.97

39.86 34.97 21.59 18.67 41.97 19.72 30.69 17.00 14.60 19.33 21.30 20.21 16.62 28.76 39.50 25.19 14.89 26.70 26.82 21.00

audience data system

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Broadcast Awards 2014 Shortlist Best Documentary Series - A frica, BBC Natural History Productions for BBC One -C  lose Up, BBC Arabic for BBC Arabic - E ducating Yorkshire, Twofour for C4 -H  ow to Get a Council House, Studio Lambert for C4 - Inside Claridges, The Garden for BBC Two - T he Iraq War, BBC CA London/Brook Lapping for BBC Two Best Children’s Programme Sponsored by Dock10 -M  r Stink, BBC Productions in association with Bert Productions for BBC One -O  peration Ouch!, Maverick Television for CBBC - Room on the Broom, Magic Light Pictures for BBC One - Strange Hill High, FremantleMedia and CBBC in association with Factory Transmedia for CBBC - The Snowman and The Snowdog, Lupus Films for C4 - Wolfblood, CBBC Productions/ZDF/ZDFE for CBBC Best Music Programme Sponsored by NEP Visions - Barclaycard Mercury Prize Sessions, Mercury Music Prize for C4 - Bollywood Carmen Live, BBC Music TV/BBC North/Asian Network/BBC Learning: pan-BBC event for BBC Three - Glastonbury 2013, BBC – Glastonbury Festivals for BBC Two, BBC Three and BBC Four - Later with Jools Holland, BBC Music TV for BBC Two - Songs of Praise: The Coastal Path of Wales, Avanti Media for BBC One - T he Big Dirty List Show: 50 Years of Sex and Music, Shiver for C4 Best Comedy Programme Sponsored by Pinewood Studios - A Touch of Cloth II: Undercover Cloth, Zeppotron for Sky 1 -C  hickens, Big Talk Productions for Sky 1 -D  erek, Derek Productions for C4 - P layhouse Presents… Psychobitches, Tiger Aspect Productions for Sky Arts 1 - P lebs, Rise Films for ITV2 -S  ome Girls, Hat Trick Productions for BBC Three

Best Daytime Programme - Country Show Cook Off, STV Productions for BBC Two - Jamie’s 15 Minute Meals, Fresh One Productions for C4 - Moving On, LA Productions for BBC One - Operation Hospital Food with James Martin, Splash Media for BBC One - Pointless, Remarkable Television for BBC One - The Sheriffs are Coming, Screenchannel Television for BBC One Best News & Current Affairs Programme Sponsored by SIS Live - Exposure: The Other Side of Jimmy Savile, ITV Studios for ITV - Hillsborough: How They Buried the Truth – Panorama, BBC Panorama for BBC One - T he Hunt for Britain’s Sex Gangs – C4 Dispatches, True Vision for C4 - ITV News at Ten, ITN for ITV - Plebs, Lies and Videotape – C4 Dispatches, Blakeway for C4 - Syria: Across the Lines – C4 Dispatches, Quicksilver for C4 Best Drama Series or Serial Sponsored by 3 Mills Studios - Broadchurch, Kudos for ITV - T he Fall, Artists Studio for BBC One - In The Flesh, BBC Drama Production North for BBC Three - L ast Tango in Halifax, Red Production Company for BBC One - Mrs Biggs, ITV Studios and February Films for ITV - Top of the Lake, SeeSaw for BBC Two Best Entertainment Programme Sponsored by Fountain Studios - A League of Their Own, CPL Productions for Sky1 - Ant and Dec’s Saturday Night Takeaway, ITV Studios/Mitre Television for ITV - Big Reunion, Potato for ITV2 - The Graham Norton Show, So Television for BBC One - Strictly Come Dancing, BBC Entertainment Production for BBC One - Through the Keyhole, Talkback for ITV

Best Pre-School Programme -H  enry Hugglemonster, Brown Bag Films for Disney Junior UK -M  agic Hands, Remark! Media for CBeebies -M  ike the Knight and the Sneezing Reindeer, HIT Entertainment for CBeebies -O  ld Jack’s Boat/The Pearl Earring, CBeebies Production for CBeebies  astamouse, The Rastamouse Company -R for CBeebies - Toby’s Travelling Circus, Komixx Entertainment for C5 Milkshake! Best Multichannel Programme -B  radley Wiggins – A Year in Yellow, Twofour for Sky Atlantic - E dwardian Insects On Film, Mentorn Scotland for BBC Four - A Young Doctor’s Notebook, Big Talk Productions for Sky Arts 1 - Plebs, Rise Films for ITV2 - The Call Centre, BBC Cymru Wales for BBC Three - Youngers, Big Talk Productions for E4 Best Original Programme -G  ogglebox, Studio Lambert for C4 - Insect Dissection: How Insects Work, BBC Scotland for BBC Four - T he Last Leg, Open Mike Productions for C4 - The Plane Crash, Dragonfly Film and Television Productions for C4 - Playhouse Presents… Psychobitches, Tiger Aspect Productions for Sky Arts 1 - Plebs, Rise Films for ITV2 International Programme Sales - Born to Kill, Twofour Rights for C5 - Broadchurch, Shine International for ITV - Dangerman: The Incredible Mr. Goodwin, BBC Worldwide for Watch - Doctor Who, BBC Worldwide for BBC One - T he Great British Bake Off, BBC Worldwide for BBC Two - Mr Selfridge, ITV Studios Global Entertainment for ITV Best Soap / Continuing Drama Sponsored by Procam - Casualty, BBC Productions for BBC One - Coronation Street, ITV Studios for ITV - EastEnders, BBC Productions for BBC One - Emmerdale, ITV Studios for ITV - Holby City, BBC Productions for BBC One - Hollyoaks, Lime Pictures for C4


Best Popular Factual Programme Sponsored by The Hospital Club

Best Documentary Programme Sponsored by Halo Post Production

- First Dates, Twenty Twenty Television for C4 - The Great British Bake Off, Love Productions for BBC Two - Gogglebox, Studio Lambert for C4 - Long Lost Family, Wall to Wall for ITV - Naked and Marooned With Ed Stafford, Tigress Productions for Discovery Channel - Paul O’Grady: For the Love of Dogs, Shiver for ITV

- Dogging Tales, Minnow Films for C4 - The Murder Trial, Windfall Films West for C4 - The Murder Workers, CTVC for C4 - The Plane Crash, Dragonfly Film and Television Productions for C4 - Richard III: The King in the Car Park, DSP for C4 - The Unspeakable Crime: Rape, Gold Star Productions for BBC One

Best Single Drama Sponsored by Elstree Studios

Best Sports Programme - The 2012 Ryder Cup, Sky Sports for Sky Sports and Sky 3D - Isle of Man TT Races, North One Television for ITV4 - Royal Ascot Day 3, IMG Productions for C4 - Sports Personality of the Year, BBC Sport for BBC One - The Grand National, IMG Productions for C4 - Wimbledon Men’s Final – Murray v Djokovic, BBC Sport for BBC One

- Black Mirror – Be Right Back, Zeppotron for Channel 4 - Burton and Taylor, BBC Drama Production for BBC Four - The Challenger, BBC Productions, Science for BBC Two - The Girl, Wall to Wall for BBC Two - Mary and Martha, Working Title Television for BBC One - Our Girl, BBC Drama for BBC One

Best Post Production House Sponsored by Avid - Clear Cut Pictures - Deluxe - Envy Post Production - Films at 59 - Halo Post Production - Splice TV Best Independent Production Company Sponsored by The London Studios - Big Talk Productions - ITN Productions - Kudos - Mentorn Media - Twofour - Wall to Wall Channel of the Year Sponsored by Harris Broadcast - BBC One - BBC Two - BBC Three - Channel 4 - ITV - Sky 1

@BroadcastAwards #broadcastawards To book your table, contact Hannah Grix T 020 3033 2889 E hannah.grix@mb-insight.com

broadcastawards.co.uk

For sponsorship contact Sonya Jacobs T 020 3638 5057 E sonya.jacobs@mb-insight.com


The Broadcast Interview ADAM MACDONALD Sky 1

‘Give me more energy’ The Sky 1 controller tells Chris Curtis he wants a schedule that will ‘quicken the pulses of viewers’ and is packed with shows that can’t be found on its free-to-air competitors

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ncoming channel controllers can be a ruthless bunch. Keen to stamp their identity on their new network, they weed out old favourites or nip first series in the bud with the message that “refreshing the slate is an important part of the creative process”. So, should existing Sky suppliers be braced for a shake-up by Adam MacDonald, four months into his tenure as controller of Sky 1? Not really. The axeman, in this case, has not cometh. MacDonald explains: “Over the years, I’ve seen controllers take over and get rid of everything, and wondered: ‘Is that in the best interests of the channel? Or the viewers?’.” Instead, he wants to build on Sky 1’s consistency and raft of returning series, and bring greater clarity to the schedule. Got To Dance is a good example. After four series, rumours of its demise have been doing the rounds – but MacDonald has recommissioned Princess Productions’ show, rejigging it to add fresh impetus. “I love the show,” he declares. “It’ll come back as a summer event – when other channels tend to turn their back – and the semis and final will be stripped across a single week. Sky 1 is in a mature phase balancing returners with fresh ideas, and Got To Dance is a show that’s hugely valued by our customers. I’ve identified shows that are the spine of the channel.” The tone of Got To Dance also fits his vision for Sky 1’s second phase as a creator of original content, which he plans to “fast-forward”. It is already, he says, a “warm-hearted, optimistic channel that is about scale”, but the big push is adding “energy”. It’s not the easiest concept to define, but he wants both individual shows and the channel as a whole to have a greater sense of pace and urgency. “It has this in places: A League Of Their Own, Strike Back and The Simpsons are fast, quick-witted shows and I want that to be a consistent theme across Sky 1’s personality, even the interstitials between the shows.” The aspiration is that customers’ pulse will quicken when they switch to 24 | Broadcast | 29 November 2013

Sky 1 – and he turns to its flagship panel show to illustrate his point. “When I close my eyes and think about Sky 1, I think about James Corden leaning forward and bellowing with laughter. It’s contagious and I want our comedy to feel like that.” It’s the genre that is furthest along the path, with MacDonald hoping to broaden the channel’s range with studio shows or some physical comedy and sight gags, potentially wrapped up in pre-watershed ideas.

A family affair “We’re shooting The Kumars, which is now as much sitcom as it is chatshow, and has a real sense of energy from the studio audience. And I like humour similar to The Simpsons, where kids, parents and grandparents all get it. Yonderland [below] does that in spades on a Sunday night.” The latter is clearly a favourite show, seemingly for two reasons. First, it is different. “When you arrive at Sky, you hear a lot about being close to our customers. The big thing you hear is ‘they pay for us’ – and they pay with the expectation that they get something that free TV doesn’t offer.” Second, it’s a good example of MacDonald’s new take on family viewing. “Families are absolutely critical for Sky 1 – but that doesn’t just mean thinking about kids. Modern families are dispersed – sometimes it’s people in their 20s living with their parents. We get feedback about series like Strike Back that reveals people watch it with their dads, and that’s so important for me.” In other words, indies developing ideas for Sky 1 should not take ‘family viewing’ simply to mean shows that skew for children. “To me, it also means grandparents. Sky 1 needs to be a channel with multi-generational appeal – it sets us apart from Sky’s other channels.

FACT FILE Career 2013-present Director of Sky 1 2011-2013 Vice-president of programming, A+E UK 2010:2011 Creative director, IWC 2008-2010 Director of daytime and digital factual, ITV 2004-2008 Head of daytime, Channel 4 2002-2004 Director of programme development, Lion Television 1995-2002 Scheduling roles for BBC1 and BBC2; BBC head of scheduling 1988-1995 Audience research, BBC Lives North London Family Married with two children Wishes he’d commissioned Life On Mars; Harry Hill’s TV Burp Guilty pleasure All TV viewing comes guilt-free Away from TV An obsession with furniture design

The Yonderland guys don’t think about making shows for kids. The puppets and fantastical world bring in the kids, who appreciate that they don’t get all the jokes, and that adds a frisson.” Yonderland’s Sunday 6.30pm slot has been made a priority for investment, as has 8pm on weekdays, where MacDonald’s scheduling background has helped him spot an opportunity. “I have a real sense that 8pm has become quite settled, that channels have relaxed into what’s working for them. There are more soaps and longrunning drama on BBC1 and ITV, so BBC2, Channel 4 and Channel 5 have settled in to appealing to non-soap viewers. There’s a lot of shows that have been on for years, and are working okay, so channels are looking elsewhere and have forgotten about them. I smell that it’s right for some fresh thinking.” He suspects that something different will work at 8pm and that it might come from people’s passions, getting away from 8pm’s “domesticity” of cooking and interior design. “I want entertainment and fact ent at 8pm, different fresh things that the audience is ready to grab hold of,” he says. There’s also the chance to freshen up the traditional ob doc with some light formatting – but rather than be too prescriptive, he’s hoping to be surprised by the indie community. Other factual plans revolve around tone. MacDonald was “intrigued” to see how Harrow: A Very British School played out so soon after Greggs: More Than Meats The Pie, and says the school doc’s success demonstrated there is “a big, broad Sky 1 audience out there after diverse experiences”. He is a huge fan of Karl Pilkington: The Moaning Of Life and filming has just begun on Fifty Ways To Test Your Mammy (see Commissioning News, page 8), which has a similarly irreverent, leftfield approach to travel. “We’re not poking fun at people. We’re celebrating the wonder of life – it sounds overly grand but I’m very keen on it,” he says. “Put big groups or different people together and they get on. I love shows that show that we’re all the same.” www.broadcastnow.co.uk


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

I have a real sense that 8pm has become quite settled. I smell that it’s ripe for some fresh thinking Adam MacDonald

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29 November 2013 | Broadcast | 25


The Broadcast Interview

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

ADAM MACDONALD Sky 1 But not, he stresses, shows that are the same as his free-to-air rivals’ offerings. In entertainment, he’s lukewarm about ordering a singing competition, for example. “You never say never, but my first instinct is to develop in areas that other people aren’t. We are looking to be a bit more innovative, to dial up the freshness. Entertainment had the big burst a decade ago, and now it’s waiting for the next iteration.” The next major entertainment show on air is scientific entertainment format Duck Quacks Don’t Echo, in which one of the experts is a graduate of Broadcast and the BBC Academy’s Expert Women training days. It was filmed over the summer and is just being delivered, with plans to give it a significant marketing push. And that’s what Kudos’s forthcoming eight-part drama The Smoke is receiving. Its huge (read expensive) fires and explosions look amazing, MacDonald says, but it “mixes the epic and intimate, and has a love story at its heart”. Its values echo much of what MacDonald has already discussed – heart and high energy – as does Jed Mercurio’s Critical, which is being made by Hat Trick Productions.

Keeping pace MacDonald has just read the “amazing” scripts, in which every hour-long episode is told in real time in an A&E department. “It’s hugely ambitious. All the aspects of drama story arcs – the politics in the hospital, the relationships – are told in a glance, as the characters are running around saving lives. It’s got energy, it’s sharp and lean – in some ways it’s quick, quick, quick, like The Simpsons. It flatters the audience by expecting them to keep up – and they will.” Sky 1 has a “fair few” dramas in development but has space for more over the next three to four years, and MacDonald is not scared to go high concept. “Quick-witted science fiction plays well with Sky audiences, and I’m intrigued by fantasy worlds that have layer upon layer of lore,” he says. The latter is likely to be more Game Of Thrones than Merlin, but whether its sci-fi or fantasy, there is still an emphasis on everyday heroes, albeit in extraordinary circumstances. There were plenty of those around when MacDonald landed the Sky 1 controller job this year. Liam Keelan had accepted the role in December 2012 before changing his mind to take a job at BBC Worldwide in 26 | Broadcast | 29 November 2013

The Smoke: eight-part drama has the heart and energy MacDonald wants

February. Forced to think again, the Sky bosses had MacDonald signed up just a month later, and he joined in August. MacDonald is phlegmatic: “I was working for a partner channel when the call came, and it all happened very quickly. [The circumstances] are kind of irrelevant to me – I don’t see any issues. I think I’m just right for the job and Sky 1 is just right for me.” It would sound like a classic stonewall answer if it wasn’t delivered so nicely. Being effectively second choice might bruise some of TV’s larger egos, but MacDonald could hardly be more different. Instead, he is up for a challenge and talks up the relationships he has quickly developed with Sky’s genre controllers and his predecessor,

‘My first instinct is to develop in areas that other people aren’t’ Adam MacDonald

now director of entertainment channels, Stuart Murphy. Indies should approach Sky’s genre heads with their ideas, he says, but he insists there’s no danger of a communication or strategy breakdown. “There’s no need for a commissioner to second guess my view when they can ask me so easily,” he chuckles. “Plus I’ve known Stuart for a long time, and was desperate to work with him and be inspired by him – and hopefully he will be by me. We sit together, talk all the time and Stuart’s been brilliant at saying ‘get stuck in’. There may be some things that’ll go into development that he might not know about specifically, but we’re all clear about what’s happening.” Making sure the indie community does as well is now the top priority.

ADAM MACDONALD ON... The reality cable revolution in the US “I’ve seen at A&E how that genre has transformed the US market and we are talking to indies about it. I don’t just want Duck Dynasty [pictured] UK, but the idea of doing something with larger-thanlife characters so they can return year after year is interesting.”

Lighter drama “I like the idea of a big adventurous romp and we have a couple of things in development. I’d like shows with thrills that you can

have a laugh with. UK drama is going through a renaissance at the moment, but a lot of it is earnest, serious and dark.”

Taking risks “The stuff that has really broken through over the years has been new ideas and you have to take the rough with the smooth if

you’re going to try out fresh ideas.”

Real people’s passions “I’m calling it heart, but Sky 1 is about enjoyment. We want to celebrate people who bring enjoyment to life in this tough old world. Where do people go to get their mojo? What are their passions? I’m interested in that both in factual and entertainment.”

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Analysis Broadcast Greenlight 10 jun 2013 - 10 sep 2013

GroupM tops list as orders fall The latest data from the Broadcast Greenlight index shows commissions falling, but new shows breaking through as broadcasters shy away from reorders. Maria Sell reports

D

uring the long, hot summer, commissioning announcements slowed to a total of 252 from 300 the previous quarter, despite the Edinburgh International Television Festival providing a platform for commissioners to set out their stalls. Still, more of these orders were for new shows – recommissions accounted for just 13% compared with 20% in the previous quarter. Among the renewals were ITV’s comedy double of Brown Eyed Boy/ Kudos’s Vicious and Big Talk’s The Job Lot, despite mixed fortunes for the shows’ first runs. ITV director of television Peter Fincham said at the time that he “didn’t want to commit the first and most obvious sin in the genre and bail out before they are established”. One significant shift, however, is The Job Lot’s move to what feels like a more natural home on ITV2. Channel 4 made the most announcements this quarter and ordered the most hours of original programming thanks to several new strands, including its Campaign For Real Sex season, designed to tackle the way in which pornography is affecting the lives and sex lives of Britons in 2013.

C4 commissions Also in the mix was mini-rig season Up All Night, exploring what happens late at night in taxi firms, karaoke pubs and nightclub toilets. In mid-October, its opening film, The Nightclub Toilet, beat C4’s 12-month slot average, reaching 1.3 million. The channel’s documentaries commissioning editor, Emma Cooper, is one of the top five commissioners for the quarter, with seven programmes under her belt. The broadcaster also revealed the latest comedy pilots for its 4Funnies strand, including Scrotal Recall, created by Tom Edge, whose credits include Midnight Beast and Pramface, as well as The Revengers!, from Jack and Harry Williams, the writers of animated series Full English. 28 | Broadcast | 29 November 2013

commissions by genre 2% 3%

1%

1%

1%

3%

4% 33%

6%

8%

11% 17% 11%

n Factual n Factual ent n Comedy n Drama n Popular factual n Entertainment n Sport n Children’s n Specialist factual n Daytime n Arts n Current affairs n Advertiser-funded programmes

ITV: Vicious

Top 5 production companies 1 GroupM Entertainment Commissions 13 Hours 66 GroupM almost doubled the number of programmes in which it is involved, while extending its funding and producing partnership by winning its first commission for Sky 1 – an as-yet-untitled studio-based factual series. 2 Twofour Commissions 8 Hours 46 Profiled separately (see box opposite) 3 Lion Television Commissions 5 Hours 10.75 Lion TV scooped five new commissions including one for China’s CCTV-10 about 5th century philosopher Confucius. Among its other orders was Mary Beard-fronted Caligula for BBC2.

E4:Youngers

4 Shiver Commissions 5 Hours 28 The indie has jumped into the top five, with all of its content supplied to ITV with the exception of South Africa: 28 Up, which Al Jazeera ordered and co-produces.

5 Big Talk Productions Commissions 4 Hours 9.5 With one less commission under its belt than in the previous quarter, all of the programmes bar one were renewals, including a second outing for E4 teen series Youngers (pictured).

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Plus there was a new batch of First Cut docs, which C4 moved to a post-watershed slot and increased in length to 60 minutes. These included Mentorn Media’s My Perfect Body, in which The Last Leg presenter Alex Brooker explores male obsession with weight. Body image and weight also proved a popular topic with other broad­ casters. Channel 5 greenlit an entire season dedicated to obesity, consisting of six documentaries. With IWC Media winning three of the six orders for C5’s obesity strand (Saving Britain’s 70 Stone Man, After They Were Thin and Losing Weight, Losing Love), and Bwark picking up a commission from BBC3 for comedy Siblings, parent company Zodiak racked up 10 commissions in the quarter, more than any other holding company.

Docs agenda Overall, BBC3 announced 27 com­ missions (74 hours of programming) in the quarter, putting it third among the channels in terms of orders. Among its orders were documentaries for the Fresh strand, covering subjects from cannabis to webcams and modern-day knights. BBC3 is also set to launch a justice season that includes Lambent’s Dead Behind Bars and Mentorn’s Stacey Dooley On Teen Domestic Violence. Dooley was in demand this quarter, with her Stacey Dooley Investigates also receiving another series order. In drama, Danny Boyle will return to TV for the first time in 12 years to direct C4’s police comedy-drama Babylon (w/t), written by Peep Show’s Sam Bain and Jesse Armstrong.

‘Zodiak racked up 10 commissions, more than any other holding company’ C5 is back in the drama game with Evidence, a 10-part crime thriller in which three detectives investigate a different case each week. C5 director of programmes Ben Frow said of its commission: “We could mess around and do lots of pilots, but this is a very good opportunity to just jump in head first.” ITV announced a third series of DCI Banks and has hired Sherlock producer Hartswood Films to produce B&B sitcom Edge Of Heaven, to be written by Robert Evans, who created the Bafta-nominated CBBC series Sadie J and has penned episodes of Sky 1 comedy Stella. Of the non-PBS channels, Discovery was the busiest, with five orders plus another three for its TLC channel. Commissions included a fast-turnaround film about Spain’s Santiago de Compostela train crash, which aired from late September across its international channels. However, overall commissions by UK indies for non-UK channels halved from the previous quarter, falling to six programmes.

For a full list of shows and credits, visit

http://greenlight.broadcastnow.co.uk

Indie focus Twofour Twofour was the busiest indie of the quarter, with eight commissions (46 hours of programming), two of them in co-production with top investor GroupM Entertainment. The commissions span all of the public service broadcasters and include ITV doc Harry’s South Pole Heroes, the indie’s third Prince Harry doc for the channel. Some of Twofour’s tried-andtested formats, such as The Hotel Inspector and Holiday Hit Squad, were also renewed. It was certainly a busy six months for the Plymouth-based indie. In July, it secured a long-term deal with Abu Dhabi Media, through its Arabic production arm, to make factual and features programming for the channel’s relaunch. The first set of commissions, announced earlier this month, includes 13-episode series The Story Of Abu Dhabi. In October, Twofour announced its merger with Welsh indie Boom, creating one of the UK’s largest nations and regions producers. Additionally, Twofour’s fixed-rig Channel 4 school doc format Educating… won its first international version with a series for the Netherlands, Educating Amsterdam. The format has been a ratings success in the UK, with latest instalment Educating Yorkshire averaging an overnight audience of 3 million (14%) in a Thursday 9pm slot in September, almost doubling the broadcaster’s 1.7 million (7.5%) slot average.

Twofour commissions The Hotel Inspector (series 10) Length 10 x 60 minutes Channel Channel 5 Commissioner Ian Dunkley More from Alex Polizzi, who faces challenges from hygiene to family feuds as she attempts to transform the businesses. Tom Daley Takes On The World (w/t) Length 6 x 60 minutes Channel ITV Commissioners Kate Maddigan, Angela Jain After collaborating with the diver on ITV Saturday night show Splash!, Twofour follows Davey and his best friend Sophie as they pack their bags and head around the world. Nurses To Be Length 8 x 30 minutes Channel ITV Commissioner Katy Thorogood Ob-doc focusing on students at different stages in their training to give an insight into the lives of nurses-to-be, in the classroom and on the wards. The Alpine Games (w/t) Length 10 x 60 minutes Channel Channel 4 Commissioner Liam Humphreys Live from a European mountain, a dozen celebrities will train for, and then take part in, events such as skiing, slalom and ski jumping. Co-produced with GroupM. Harry’s South Pole Heroes Length 2 x 60 minutes Channel ITV Commissioner Katy Thorogood Doc series following Prince Harry and a group of wounded servicemen and women as they compete in the South Pole Allied Challenge 2013.

BBC3: Stacey Dooley Investigates... www.broadcastnow.co.uk

➤ 29 November 2013 | Broadcast | 29


Analysis

To make sure your commissions are included, email maria.sell@broadcastnow.co.uk

Broadcast GreenliGht 10 jun 2013 - 10 sep 2013 coMMissioner focus

Greg Barnett Commissioning editor for entertainment, daytime and soaps, Channel 5 Commissions 9 Hours 23

TOP 10 COMMISSIONERS =1 Greg Barnett Commissioning editor for entertainment, daytime and soaps, Channel 5 Commissions: 9

=1 Llion Iwan (pictured) Factual content commissioner, S4C Commissions: 9

=3 Elliot Reed Commissioning editor, features and formats, BBC3 Commissions: 8

=3 Martin Davidson Head of commissioning, history and business, BBC Commissions: 8

5 Emma Cooper Documentaries commissioning editor, Channel 4 Commissions: 7

6 Jo Clinton-Davis Controller of factual, ITV Commissions: 6

=7 Angela Jain Director of digital channels and acquisitions, ITV Commissions: 5

=7 Mark Bell Head of commissioning, arts, BBC Commissions: 5

=7 Lina Prestwood Factual commissioning editor, Channel 4 Commissions: 5

=7 Steve November Director of drama, ITV Commissions: 5

30 | Broadcast | 29 November 2013

Greg Barnett tops the list of commissioners for the first time. Barnett, who joined Channel 5 in 2010 from Twofour, ordered the Supersize season – six one-off documentaries that “afford us the opportunity to look at weight-related issues from different perspectives and tell some fascinating stories”, according to Barnett. The season includes three IWC-produced films: Saving Britain’s Biggest Man, about 70-stone Keith Martin; an investigation into the £2bn dieting industry, After They Were Thin; and Losing Weight, Losing Love, which aims to uncover the reasons why 85% of relationships end within two years of weight-loss surgery. Barnett’s commissioning plan is to develop ideas for soap-avoiders for the 7pm slot. He is also keen to find new shows that can be returners for 8pm, as the currently transmitted series are on seasons five, six or seven. However, he wants to avoid shows about trucks or animals. Barnett also wants ideas with wit and intelligence for 9pm, while for 10pm, he wants to build on the legacy of Big Brother, targeting a younger and “probably slightly femaleskewed” audience.

greg barnett’s commissions Celebrity Super Spa ITV Studios, GroupM Entertainment (GME) – 6 x 60 minutes The Dog rescuers Middle Child Productions, GME – 10 x 30 minutes animal Maternity IWC Media – 6 x 60 minutes Saving Britain’s 70 Stone Man; after They Were Thin; Losing Weight, Losing Love IWC Media, GME – 1 x 60 minutes My Gastric Band ruined My Life Crackit Productions, GME – 1 x 60 minutes 60 Stone Wannabes Barcroft Media, GME – 1 x 60 minutes Too Fat To Fly Zig Zag – 1 x 60 minutes

TOP CHANNELS BY NUMBER OF COMMISSIONS (FOLLOWED BY NUMBER OF HOURS) rank 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

Production company Channel 4 BBC2 BBC3 ITV Channel 5 S4C BBC1 ITV2 BBCW CBBC Discovery BBC4 Sky 1 Discovery TLC More4 Sky Arts Yahoo! Good Food Dave Cbeebies NGC-UK Horses & Country ITV4 Sky Living Travel Channel

number of commissions 48 28 27 26 21 14 13 7 7 5 5 4 3 3 3 3 3 2 2 2 2 2 2 2 2

Hours 151.5 106.5 74.0 140.5 91.50 199.00 80.25 33 18.25 25.25 24 5 26 22 20 14 9 17.5 8 5 5 4 4 2 TBC

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Behind the Scenes LIBERTY OF LONDON

How we beat the Christmas rush at Liberty With just 10 weeks to film, having a strong team and building trust quickly were key to opening up this West End institution, says Katherine Anstey Katherine Anstey Producer

W

hen Liberty Of London was commissioned in June, the premise was a look behind the scenes at one of Britain’s oldest department stores as it prepares for Christmas. In the heat of August, Christmas felt a long way off. But in fact it meant that three films had to be shot in 10 weeks, and cut in seven. Having produced Inside Claridges, which was filmed over a year, I was aware of the stark contrast between schedules and the approach to shooting we had to take. Here, series director Tanya Stephan had three weeks to gather stories and plan the themes and characters of each film. She would shoot the first film and the two other producer-directors (PDs) would each make one of the next two. The team also included two producers and a researcher. Together, we had to plot the stories carefully so that the PDs weren’t treading on each other’s toes. Liberty has more than 400 staff, but it is still a relatively small department store with an armful of wonderful characters that had to be shared. We had to work fast to make sure we were finding the strongest stories. We had a great start with access. Ed Burstell (right), the retailer’s charismatic American managing director, shared with us the open-door policy he has with his own staff. We filmed him at work and at home, once even in 32 | Broadcast | 29 November 2013

his dressing gown as he prepared for Paris Fashion Week. We were given a lot of freedom behind the scenes and in the shop but access had to be negotiated on a character-by-character basis. We needed to build trust quickly and establish who was happy to be part of the series. Some stood out immediately, because of what was going on for them over the course of our filming, like the new starters in the Christmas shop. Others were key because they were an essential part of the Liberty fabric, such as Shukla, now in her 40th year at the store. At 70, she is the oldest member of staff but still one of Liberty’s top sellers. Meanwhile, we had to work carefully to ensure that customers felt comfortable and their privacy was handled sensitively. We had signs around the shop to announce the filming, so we could film customers in the background of the store. The Liberty staff know some of the shoppers incredibly well. We decided to reach out to some of these regulars in the hope of filming them when they were next in the store. We talked carefully with staff about who might be suitable and how best to approach them. Some were obvious, such as one particular VIP who sees Liberty as his local corner shop. To make the fast-turnaround work, Liberty gave us a small office inside its head office. Embedding us in the store often proved very helpful but we were always on duty. We were able to get to know the staff and workings of the store, and keep across stories as they evolved. Due to our timescale, the directors had to be reactive and

‘Rather than a rig or a crew coming in sporadically, we had a highly visible trio of directors shooting intensively over three months’ Katherine Anstey

LIBERTY OF LONDON

Production company Rize USA TX Mondays from 2 December, 9pm, Channel 4 Length 3 x 60 minutes Commissioner Emma Cooper Creative director Sheldon Lazarus Executive producer Emma Loach Series director Tanya Stephan Producer Katherine Anstey Producer/directors Sasha Djurkovic; Vanessa Stockley Location producer Anna-Rosa Coppi Director of production Elaine Day Production executive Lianne Hickey Post-house Envy Summary Behind-the-scenes look at iconic London retailer Liberty as it gears up for Christmas.

Katherine Anstey My tricks of the trade ■ If embedded

on location, take time away now and again to help maintain a sense of perspective ■ Keep a plentiful supply of tea on hand at all times

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shoot while researching their stories and characters. As we were filming almost every day, having a permanent base made all the difference. Nevertheless, with six of us (and our kit) sharing out temporary little office, it was fairly intense at times. We had to work out carefully with the store how to manage this daily presence. Rather than rigged cameras or a crew coming in sporadically, we had a highly visible trio of directors shooting intensively in a shared space over three months. Sometimes issues would arise – mostly around the music having to be turned off in store each time we filmed, which could make a department feel odd after too long a silence. The past four months have been intense and flown past for us all. What we found behind Liberty’s doors was a store full of characters with a great history and at a critical time in its business life. With multiple characters and storylines, making films like this is challenging – especially when timescales are tight. To make it work, we needed our strong team to work in close collaboration, with good access and trust with Liberty, and the wealth of interesting staff and customers at our disposal. www.broadcastnow.co.uk

Clockwise from bottom left: series director Tanya Stephan films a shop assistant; shooting with sales staff; Stephan shoots a Christmas display; the production team; Canon C300; Liberty managing director Ed Burstell

LIBERTY OF LONDON CAPTURING THE QUIRKINESS Tanya Stephan Series director

A programme about Liberty – something of a national treasure, housed in a quirky, iconic building – had to look great on camera. But on an ob-doc budget with self-shooting directors, this presented some challenges. My first decision was to embrace the Canon C300 (pictured) as our main camera. Though it can be awkward for ob docs, it gave us the glossiness that we needed, even in low light. A Canon XF305 was also used, but only occasionally, like at Paris Fashion Week. Here, one of the shooting directors preferred a more versatile camera that could handle unpredictable and fast-changing situations – jumping in and out of cabs with our contributors and capturing the snatched behind-the scenes decisions made in the showrooms. On one occasion, a GoPro was used to shoot Liberty’s maintenance man Tony, searching for

the source of a flood in the ancient tunnels under the building. We squeezed as many days as we could with our talented DoP Patrick Smith, who could give a distinctive look to the non-actuality shots. Shooting on a C300 and using toys like a slider to keep the shots moving, he was able to capture the glitter of the shop floor while we shot the down-to earth inner workings. Our biggest extravagance on a single day was the opening sequence. I wanted the viewer to be taken on a visual journey from the mayhem of Oxford Circus, through the entrance of Liberty, past the florist, to discover the shop and its colourful staff like a box of treasures. To achieve this, I worked with Smith and a Steadicam operator to construct a sequence that would take us from grey rainy streets to the warmly lit shop in one unbroken shot. Shooting in slowmotion and capturing some of the staff going about their daily business, we created a theatrical opening suggestive of the stories about to unfold.

29 November 2013 | Broadcast | 33


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Ratings Mon 18 Nov – Sun 24 Nov

Doctor delivers for BBC1 50th anniversary special pulls in 10 million but I’m A Celebrity wins the week for ITV BY Stephen Price

November is a busy old month. On 19 November some 150 years ago, Abraham Lincoln delivered the Gettysburg Address, which some people insist on trying to return to sender. Then 50 years ago on 22 November came a glut of famous deaths: Aldous Huxley, CS Lewis and John F Kennedy all shuffled off. And 10 years ago on the same date, England won the Rugby World Cup. Oh, and I think the BBC forgot to remind us, but half a century ago on 23 November, an eccentric fictional man in a police box debuted on BBC1’s Saturday night. Usefully, BBC2’s biopic of those early years, An Adventure In Space And Time, reminded us how many watched the show back in 1963. For those who like symmetry, it was around 10 million, much like Saturday’s special. But first, Monday. ITV’s I’m A Celebrity… Get Me Out Of Here! achieved 10.3 million/39% (615,000 +1) at 9pm, a million ahead of last year’s second show and its best of the week, reducing BBC1’s Ripper Street to a low of 3.3 million/13%. From 7.30pm on Tuesday, ITV’s coverage of the England v Germany friendly averaged 6.2 million/26% (57,000 +1), peaking with 7.9 million/31% at 8.30pm. Opposite, BBC1’s Last Tango In Halifax returned at 9pm with 6 million/24%, on par with 2012’s average. On Wednesday, ITV dipped its toe into something new with the first part of Mystery Map, which achieved 4 million/17% (157,000 36 | Broadcast | 29 November 2013

Broadcast/Barb Top 100 network programmes 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50

Title

Day

Start

Viewers (m) (all homes)

Share %

Broadcaster/ Producer*

I'm A Celebrity... Get Me Out Of Here! I'm A Celebrity... Get Me Out Of Here! Strictly Come Dancing Doctor Who: The Day Of The Doctor Strictly Come Dancing: The Results I'm A Celebrity... Get Me Out Of Here! I'm A Celebrity... Get Me Out Of Here! I'm A Celebrity... Get Me Out Of Here! I'm A Celebrity... Get Me Out Of Here! The X Factor Results Coronation Street Coronation Street Coronation Street Coronation Street Coronation Street EastEnders The X Factor Emmerdale Emmerdale EastEnders EastEnders Emmerdale Countryfile EastEnders Emmerdale Emmerdale Emmerdale Int’ Football: England V Germany Last Tango In Halifax BBC News BBC News At Six BBC News At Six BBC News At Six BBC News At Six BBC News At Six Pointless Celebrities Animal Odd Couples The One Show The Paradise Holby City BBC News At Ten Nigel And Adam’s Farm Kitchen Pointless The One Show Pointless Casualty The Graham Norton Show Pointless Pointless Pointless

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

21.00 21.00 18.30 19.50 19.20 21.00 21.00 21.00 21.30 20.00 19.30 20.30 19.30 19.30 20.30 20.00 20.00 19.00 19.00 19.30 19.30 19.00 18.25 20.00 19.00 19.00 20.00 19.30 21.00 18.05 18.00 18.00 18.00 18.00 18.00 17.40 20.00 19.00 20.00 20.00 22.00 20.00 17.15 19.00 17.15 21.05 22.35 17.15 17.15 17.15

10.88 10.64 10.56 10.18 10.03 9.82 9.73 9.57 9.20 9.12 8.93 8.87 8.50 8.26 8.23 8.03 7.67 7.48 7.31 7.26 7.17 7.09 7.01 6.95 6.90 6.89 6.58 6.26 5.97 5.60 5.43 5.28 5.27 5.25 5.10 4.96 4.88 4.79 4.77 4.72 4.66 4.59 4.55 4.54 4.48 4.47 4.40 4.37 4.29 4.26

41.67 42.37 43.71 37.42 38.97 40.35 41.07 41.09 38.94 34.14 39.12 35.63 38.64 37.88 35.17 32.90 28.58 34.49 35.05 33.62 31.13 34.96 30.46 30.95 33.37 32.02 28.80 25.96 24.28 26.15 28.08 29.08 27.85 28.79 27.44 25.03 21.06 22.27 17.86 19.01 24.43 19.88 27.91 20.94 28.55 17.86 27.72 27.10 26.68 27.22

ITV ITV BBC1 BBC1 BBC1 ITV ITV ITV ITV ITV/Thames/Syco ITV ITV ITV ITV ITV BBC1 ITV/Thames/Syco ITV ITV BBC1 BBC1 ITV BBC1 BBC1 ITV ITV ITV ITV BBC1/Red Productions BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1/Remarkable Television BBC1/Oxford Scientific Films BBC1 BBC1 BBC1 BBC1 BBC1 BBC1/Remarkable Television BBC1 BBC1/Remarkable Television BBC1 BBC1/So Television BBC1/Remarkable Television BBC1/Remarkable Television BBC1/Remarkable Television

Figures include HD and +1 where applicable

Doctor Who

Last Tango In Halifax www.broadcastnow.co.uk


All BARB ratings supplied by: Attentional

Source: BARB

51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 65 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 81 83 84 84 86 87 88 89 90 91 92 93 93 95 96 97 98 99 100

Title

Day

Start

Viewers (m) (all homes)

Share %

Broadcaster/ Producer*

Surprise Surprise Have I Got News For You The One Show Mystery Map ITV News & Weather The One Show The Chase: Celebrity Special BBC News At Ten The One Show Tales From Northumberland with R Green Caught Red Handed Match Of The Day BBC News At Ten ITV News & Weather ITV News & Weather ITV News & Weather ITV News & Weather BBC News At Ten The Jonathan Ross Show Tonight: Britain’s Secret Drinkers Formula 1: The Brazilian Grand Prix ITV News & Weather BBC News At Ten Ripper Street New Tricks Off The Beaten Track Masterchef: The Professionals BBC News BBC News ITV News At Ten & Weather University Challenge BBC News ITV News At Ten & Weather A Question Of Sport Miranda BBC News At One Masterchef: The Professionals Masterchef: The Professionals The National Lottery Live Fake Britain Britain And The Sea Masterchef: The Professionals Britain’s Secret Treasures BBC News At One BBC News At One Live At The Apollo ITV News & Weather ITV News At Ten & Weather Match Of The Day 2 New You’ve Been Framed!

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

19.00 21.00 19.00 20.00 22.30 19.00 19.00 22.00 19.00 20.00 19.30 22.30 22.00 18.30 18.30 18.30 18.30 22.00 22.30 19.30 15.00 18.30 22.00 21.00 21.00 20.00 20.00 22.10 17.20 22.00 20.00 22.00 22.00 19.30 20.30 13.00 20.00 20.30 22.00 20.30 21.00 20.00 20.30 13.00 13.00 21.30 18.45 22.00 22.25 18.30

4.16 4.11 4.10 4.07 3.96 3.93 3.90 3.88 3.87 3.79 3.78 3.77 3.72 3.67 3.65 3.65 3.60 3.56 3.51 3.47 3.45 3.40 3.37 3.30 3.26 3.23 3.21 3.15 3.13 3.11 3.10 3.10 3.09 3.03 3.03 2.98 2.96 2.95 2.92 2.87 2.82 2.80 2.79 2.79 2.76 2.74 2.73 2.71 2.66 2.59

16.60 16.63 19.85 17.60 22.80 19.39 15.64 19.66 18.04 15.53 16.54 24.95 18.34 18.99 18.10 17.51 18.33 18.24 21.54 16.09 19.89 16.78 15.65 12.64 13.36 14.40 13.86 14.13 17.63 16.28 12.69 12.92 16.35 13.90 12.96 39.69 12.83 11.83 12.66 11.51 10.81 11.26 11.91 38.03 38.90 11.43 11.97 13.60 18.13 11.14

ITV BBC1/Hat Trick Productions BBC1 ITV/Shiver ITV/ITN BBC1 ITV BBC1 BBC1 ITV/Shiver BBC1/Topical Television BBC1 BBC1 ITV/ITN ITV/ITN ITV/ITN ITV/ITN BBC1 ITV/Hot Sauce ITV BBC1 ITV/ITN BBC1 BBC1/Tiger Aspect BBC1/Wall to Wall ITV/Spun Gold TV BBC2/Shine TV BBC1 BBC1 ITV/ITN BBC2 BBC1 ITV/ITN BBC1 BBC1 BBC1 BBC2/Shine TV BBC2/Shine TV BBC1/Screen Channel BBC1 BBC1 BBC2/Shine TV ITV BBC1 BBC1 BBC1/Open Mike ITV/ITN ITV/ITN BBC1 ITV

*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.

Nigel And Adam’s Farm Kitchen www.broadcastnow.co.uk

Mystery Map

+1). Opposite, BBC1 launched four-part series Nigel and Adam’s Farm Kitchen, which is like dipping a whole foot in. It won easily with 4.6 million/20%. On Thursday at 8pm, BBC1’s new two-parter Animal Odd Couples began well with 4.9 million/21%. Opposite, ITV’s Emmerdale won with 6.4 million/28% (199,000 +1), but at 8.30pm, Britain’s Secret Treasures remained just that with 2.6 million/11% (81,000 +1). Panorama: Britain’s Secret Terror Force at 9pm achieved 2.2 million/9%. Opposite, ITV’s I’m A Celebrity enticed 9.3 million/39% (472,000 +1).

‘It’s reported that BBC America achieved a record 2.4 million for its simulcast’ Friday’s I’m A Celebrity at 9pm achieved 9.3 million/38% (476,000 +1), country miles ahead of BBC1’s Have I Got News For You (4.1 million/17%) and Live At The Apollo, which returned with 2.7 million/11%. Saturday from 6.30pm to 9.05pm belonged to BBC1 with Strictly Come Dancing’s 10.6 million/44%, followed at 7.50pm by Doctor Who’s 50th anniversary episode managing a nonfestive best of 10.2 million/37%; recording of the latter will be heavy. Goodness knows what the global audience will be, but it’s reported that BBC America achieved a record 2.4 million for its simulcast. In losing, ITV’s The X Factor still held on to 7.3 million/27% (357,000 +1) from 8pm. The channel’s best show was I’m A Celebrity on 8.7 million/37% (496,000 +1) at 9.30pm. At 9.05pm, BBC1’s Casualty achieved 4.5 million/18%. On Sunday, Strictly Come Dancing’s 10 million/39% was BBC1’s best. At 8pm, The Paradise’s 4.8 million/18% was only just over half the size of The X Factor (8.9 million/33%; 201,000 +1). At 9pm, BBC1’s Britain And The Sea’s 2.8 million/11% was marginally up on last week, but the best show of the evening was I’m A Celebrity with 10.3 million/41% (344,000 +1); this first week it is up more than 11% on the same week in 2012.

See over for digital focus, plus channel and genre overviews 29 November 2013 | Broadcast | 37


Ratings Mon 18 Nov – Sun 24 Nov Channel Overview

BBC2 on song with The Choir BY stephen price

Daleks aren’t perhaps the scariest thing you can imagine. But in 1963, with WW2 in living memory and a nuclear war seemingly imminent, a host of metallic bullet shapes with exterminating intent frightened your trousers off. Reviving those days alongside BBC2’s Cold War series made things seem worse. On Monday, BBC2’s The Choir: Sing While You Work achieved 2.4 million/9%, defeating Channel 4’s Fear Of Lying: Caught On Camera (700,000/3%; 128,000 +1) and Channel 5’s 7 Days That Made The Fuhrer (600,000/2%; 79,000 +1). At 8pm on Tuesday, C4 enjoyed its best ratings of the week for an original commission with Obsessive Compulsive Cleaners’ 1.6 million/7% (321,000 +1). It was ahead of C5’s Cowboy Builders (800,000/3%; 94,000 +1) but behind BBC2’s MasterChef: The Professionals’ 2.8 million/11%. At 9pm, the second of BBC2’s Strange Days – Cold War Britain slipped by 400,000 to 900,000/4%, still a squeak ahead of C4’s The Sound Of Musicals (700,000/2.9%; 128,000 +1). On Thursday at 9pm, BBC2 played its tribute to Doctor Who with drama biopic An Adventure In Space And Time. It achieved 2.2 million/10%, ahead of C4’s Bedlam (800,000/4%; 232,000 +1).

Source: BARB

WEEK 47 Average hours per viewer Daytime Share (%) Peaktime Share (%) w/c 18.11.13 Peaktime share (%) w/c 19.11.12 Year to date Average hours per viewer Audience share (%) Audience share (2012)

BBC1 6.00 20.60 22.56 21.43 BBC1 5.63 20.95 21.38

BBC2 1.68 5.05 7.88 7.56 BBC2 1.54 5.73 6.07

ITV1 5.37 13.93 26.94 25.97 ITV1 4.34 16.17 15.74

C4 1.45 5.57 5.26 5.84 C4 1.55 5.78 6.50

Start

Viewers (m) (all homes)

38 | Broadcast | 29 November 2013

Total 27.92 100.00 100.00 100.00 Total 26.86 100.00 100.00

Top 30 bbc2, channel 4 and channel 5 Title

Day

Share %

Broadcaster

1

Masterchef: The Professionals

Thu

20.00

3.21

13.86

BBC2

2

University Challenge

Mon

20.00

3.10

12.69

BBC2

3

Masterchef: The Professionals

Wed

20.00

2.96

12.83

BBC2

4 5 6

Masterchef: The Professionals Masterchef: The Professionals Strictly Come Dancing – It Takes Two

Mon Tue Tue

20.30 20.00 18.30

2.95 2.80 2.45

11.83 11.26 12.07

BBC2 BBC2 BBC2

7

The Choir: Sing While You Work

Mon

21.00

2.37

9.09

BBC2

8

Strictly Come Dancing – It Takes Two

Mon

18.30

2.34

11.22

BBC2

9

Ice Age: Dawn Of The Dinosaurs

Sun

17.35

2.30

10.39

C4

10

Celebrity Antiques Road Trip

Tue

19.00

2.29

10.29

BBC2

11

Great Continental Railway Journeys

Sun

20.00

2.25

8.44

BBC2

12

Strictly Come Dancing – It Takes Two

Fri

18.30

2.18

11.30

BBC2

13

An Adventure In Space And Time

Thu

21.00

2.16

9.73

BBC2

14

Strictly Come Dancing – It Takes Two

Wed

18.30

2.11

10.47

BBC2

15

Celebrity Antiques Road Trip

Thu

19.00

2.03

9.63

BBC2

16

Strictly Come Dancing – It Takes Two

Thu

18.30

1.98

10.08

BBC2

17

Morecambe And Wise: The Whole Story

Sun

21.00

1.95

7.77

BBC2 C4

18

Obsessive Compulsive Cleaners

Tue

20.00

1.94

7.81

19

Formula 1: Brazilian Grand Prix – Qualifying

Sat

17.20

1.84

10.05

BBC2

20

Eggheads

Tue

18.00

1.81

9.58

BBC2 C4

20

The Simpsons

Mon

18.00

1.81

9.34

22

Celebrity Antiques Road Trip

Mon

19.00

1.73

7.78

BBC2

23

The Simpsons

Tue

18.00

1.72

9.09

C4

24

24 Hours In A&E

Wed

21.00

1.71

7.02

C4

24

Homeland

Sun

21.00

1.71

6.55

C4

26

George Clarke’s Amazing Spaces

Thu

20.00

1.69

7.28

C4

27

Eggheads

Mon

18.00

1.66

8.59

BBC2 BBC2

28

Celebrity Antiques Road Trip

Wed

19.00

1.65

7.68

29

Autumn International: Wales V Tonga

Fri

19.00

1.64

7.29

BBC2

29

The Simpsons

Thu

18.00

1.64

9.04

C4

Figures include HD and +1 where applicable

Multichannel 34.49

Audience for first part of BBC2 doc Morecambe And Wise: The Whole Story (Sun, 9pm)

Others 12.38 49.86 34.49 36.03 Others 12.70 47.28 46.08

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

daytime share (%) w/c 18.11.13

peaktime share (%) w/c 18.11.13

2.0m

C5 1.03 4.98 2.87 3.18 C5 1.10 4.08 4.23

BBC1 22.56

ITV1 26.94 C5 2.87 BBC2 7.88 C4 5.26

BBC1 20/60

Multichannel 49.86

941k Wednesday’s Nazi Quest For The Holy Grail was the highest-rated of C5’s five 9pm Nazi docs

ITV1 13.93

C5 4.98

BBC2 5.05

C4 5.57

www.broadcastnow.co.uk


All BARB ratings supplied by: Attentional

Genre Overview

Source: BARB

Top 10 children’s programmes Title

1 2 3 4 5 6 7 8 9 10

Junior Bake Off 2 Dani’s Castle All At Sea Junior Bake Off 2 Topsy And Tim Junior Bake Off 2 The Scooby-Doo Show Newsround Horrible Histories Wizards Vs Aliens

Top 10 Factual programmes

Day

Start

Viewers (Age 4-15)

Share (%)

Channel

Thu Thu Wed Tue Tue Wed Wed Wed Thu Tue

16.30 17.00 17.00 16.30 17.30 16.30 16.00 16.20 07.45 17.00

280,900 253,400 248,600 247,700 232,600 231,200 222,400 216,700 215,400 207,900

18.39 14.54 14.31 15.93 11.93 14.38 19.10 16.25 16.82 11.84

CBBC CBBC CBBC CBBC CBeebies CBBC CBBC CBBC CBBC CBBC

Title

1 2 3 4 5 6 7 8 9 10

Countryfile Animal Odd Couples The One Show Nigel And Adam’s Farm Kitchen The One Show The One Show Mystery Map The One Show The One Show Tales From Northumberland ...

Day

Start

Viewers (millions)

Share (%)

Channel

Sun Thu Tue Wed Mon Thu Wed Fri Wed Mon

18.25 20.00 19.00 20.00 19.00 19.00 20.00 19.00 19.00 20.00

7.01 4.88 4.79 4.59 4.54 4.10 4.07 3.93 3.87 3.79

30.46 21.06 22.27 19.88 20.94 19.85 17.60 19.39 18.04 15.53

BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 ITV BBC1 BBC1 ITV

➤ The second series of Junior Bake Off was rampant in the children’s table, clinching top spot as well as two other entries. It capped a busy week for CBBC, which secured all bar one entry, which fell to CBeebies’ revival of Topsy And Tim.

➤ BBC1’s Animal Odd Couples was a new entry in the table and was only beaten by the typically imperious Countryfile. Nigel and Adam’s Farm Kitchen was also new to the table, while there were five places for The One Show.

Top 10 Drama programmes

Top 10 Entertainment programmes

Title

1 2 3 4 5 6 7 8 9 10

Doctor Who: Day Of The Doctor Last Tango In Halifax The Paradise Holby City Casualty Ripper Street New Tricks An Adventure In Space And Time Homeland Marvel's Agents Of S.H.I.E.L.D.

Day

Start

Viewers (millions)

Share (%)

Channel

Sat Tue Sun Tue Sat Mon Wed Thu Sun Fri

19.50 21.00 20.00 20.00 21.05 21.00 21.00 21.00 21.00 20.00

10.18 5.97 4.77 4.72 4.47 3.30 3.26 2.16 1.71 1.23

37.42 24.28 17.86 19.01 17.86 12.64 13.36 9.73 6.55 5.36

BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC2 C4 C4

➤ Doctor Who teleported in its best audience in three years on Saturday for its 50th anniversary special. It was more than 4 million views ahead of the second series debut of Last Tango In Halifax, while Doctor Who origins drama An Adventure In Space And Time also figured.

UP The Paradise gains 580,000

DOWN Last Tango down 200,000 on 2012

UP Saturday’s Strictly gains 270,000

I'm A Celebrity I'm A Celebrity... Strictly Come Dancing Strictly Come Dancing: Results I'm A Celebrity... I'm A Celebrity... I'm A Celebrity... I'm A Celebrity... The X Factor Results The X Factor

Day

Start

Viewers (millions)

Share (%)

Channel

Mon Sun Sat Sun Fri Thu Wed Sat Sun Sat

21.00 21.00 18.30 19.20 21.00 21.00 21.00 21.30 20:00 20:00

10.88 10.64 10.56 10.03 9.82 9.73 9.57 9.20 9.12 7.67

41.67 42.37 43.71 38.97 40.35 41.07 41.09 38.94 34.14 28.58

ITV ITV BBC1 BBC1 ITV ITV ITV ITV ITV ITV

➤ Following its best-ever debut last Sunday, I’m a Celebrity... Get Me Out of Here! enjoyed a record week for ITV. It clocked up six entries, keeping Strictly Come Dancing off top spot, despite the BBC1 show enjoying its best audience of the series on Saturday.

UP Tuesday’s The One Show adds 670,000

DOWN Ripper Street loses 670,000

UP Casualty rises 420,000

Top 10 Current affairs programmes

Title

Day

Start

Viewers (millions)

Share (%)

Channel

Int’ Football: England V Germany Match Of The Day Formula 1: Brazilian Grand Prix Match Of The Day 2 F1: Brazilian GP - Qualifying F 1: Brazilian GP - Qualifying Rugby League: NZ V England RU Autumn Int’: Wales V Tonga RU Autumn Int’: Ireland V N Zealand Final Score

Tue Sat Sun Sun Sat Sat Sat Fri Sun Sat

19.30 22.30 15.00 22.25 15.00 17.20 12.30 19.00 13.30 16.30

6.26 3.77 3.45 2.66 2.05 1.84 1.71 1.64 1.64 1.44

25.96 24.95 19.89 18.13 15.20 10.05 18.67 7.29 12.85 9.05

ITV BBC1 BBC1 BBC1 BBC1 BBC2 BBC1 BBC2 BBC2 BBC2

➤ England’s 1-0 loss to Germany was the biggest sporting event of the week, after scoring an audience of 6.3 million viewers. It was followed by Match Of The Day, which capitalised on the return of Premier League action, while there were three places for rugby. next week comedy and music & Arts www.broadcastnow.co.uk

1 2 3 4 5 6 7 8 9 10

DOWN Saturday’s X Factor falls to six-year low

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

Title

Title

1 2 3 4 5 6 7 8 9 10

Tonight: Britain’s Secret Drinkers Question Time Britain's Secret Terror Force The Andrew Marr Show What’s Your Pension Really Worth? The Agenda This Week Newsnight Unreported World Sunday Politics

Day

Start

Viewers (millions)

Share (%)

Channel

Thu Thu Thu Sun Mon Mon Thu Tue Fri Sun

19.30 22.35 21.00 09.00 20.00 22.35 23.35 22.30 19.30 11.00

3.47 2.38 2.16 1.41 1.28 1.18 0.83 0.77 0.71 0.65

16.09 18.98 9.11 20.10 5.26 8.34 12.52 5.90 3.26 7.70

ITV BBC1 BBC1 BBC1 C4 ITV BBC1 BBC2 C4 BBC1

➤ A Tonight investigation into Britain’s secret middle-class drinkers downed an audience of nearly 3.5 million, meaning it topped the current affairs table by a comfortable margin. ITV’s only other entry was The Agenda, as BBC1 snatched four places.

See over for demographic and digital focus 29 November 2013 | Broadcast | 39


Ratings Mon 18 Nov – Sun 24 Nov 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

21.59

26.25

48.63

12.88

10.56

21.80

ITV

19.47

17.77

36.50

19.22

17.48

16.43

46.10

21.41

53.90

38.53

22.02

BBC2

5.99

7.90

52.82

3.23

9.57

6.55

49.94

61.47

5.51

50.06

C4

5.09

5.23

41.13

6.52

22.69

4.87

C5

4.00

3.44

34.41

3.14

13.91

3.59

43.70

5.27

56.31

40.93

4.35

ITV3

2.77

2.58

37.23

0.63

4.02

2.23

36.70

59.07

3.23

63.28 63.04

ITV2

2.64

2.04

30.86

4.04

27.10

2.14

36.96

3.06

E4

1.86

1.94

41.62

5.27

50.13

1.91

46.84

1.82

53.17

BBC3

1.36

1.44

42.30

3.18

41.38

1.59

53.35

1.17

46.66

Film 4

1.33

1.26

37.97

1.10

14.74

1.63

56.16

1.07

43.86

ITV4

1.23

1.08

35.04

0.88

12.71

1.80

66.91

0.75

33.09

Dave

1.17

1.14

39.01

2.15

32.72

1.54

60.23

0.85

39.78 58.15

More 4

1.14

1.31

45.69

1.07

16.55

1.05

41.82

1.22

Sky Sports 1

0.99

1.21

49.05

1.33

23.72

1.57

72.42

0.50

27.61

5 USA

0.98

0.80

32.81

0.89

16.20

0.90

42.08

1.04

57.92

BBC4

0.86

1.16

54.05

0.32

6.68

0.99

52.79

0.74

47.22

Yesterday

0.85

0.71

33.42

0.21

4.35

1.05

56.13

0.69

43.89

Sky 1

0.81

0.75

36.94

1.51

32.96

0.96

54.18

0.68

45.86

Drama

0.67

0.60

36.27

0.36

9.49

0.64

44.09

0.69

55.94

44%

Proportion of viewers of BBC2’s An Adventure In Space And Time old enough to have seen Doctor Who’s first episode as it aired in 1963. However, this was below the 46% slot average for over-55s as viewing among over-65s fell sharply, from 36% average to 21%.

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

Big Bang spoils BBC3’s party BY stephen price

For aeons, Doctor Who’s scariness has driven viewers behind the sofa. This week, BBC3 reminded us of that tradition with other, different reasons to seek the refuge of soft furnishings: a fragrant doubledigit salute to the camera; a gobbledygook-strewn link; and a presenter wrestling with the perils of live, feral TV. In a week of switchover moments, ITV2’s best show was Tuesday’s I’m A Celebrity... Get Me Out Of Here Now (1.2 million/7%) at 10pm. On Thursday at 10:30pm, after BBC2’s Doctor Who biopic, BBC4 took us back to the start with the first four episodes, the best of which was the first: 673,000/4%. On Saturday at 9.05pm, after BBC1’s 50th anniversary episode, BBC3’s Doctor Who Live: The Afterparty drew in 1.3 million/ 5% slightly startled viewers. The best performer of the week, E4’s The Big Bang Theory, netted 1.4 million/6% at 8.30pm on Thursday. 40 | Broadcast | 29 November 2013

Source: BARB

digital homes

Top 30 multichannel programmes Title

1 2 3 4 4 6 7 8 8 10 11 12 13 14 15 15 17 18 19 19 21 21 23 24 25 25 25 28 28 28

The Big Bang Theory Live Ford Super Sunday Doctor Who: Afterparty I'm A Celebrity... I'm A Celebrity... I'm A Celebrity... Live Ford Super Sunday Midsomer Murders Midsomer Murders I’m A Celebrity... Foyle’s War Midsomer Murders Hollyoaks Hollyoaks I’m A Celebrity... The Big Bang Theory Hollyoaks Hollyoaks Midsomer Murders Only Connect The Big Bang Theory The Big Bang Theory Doc Martin Family Guy The Big Bang Theory I’m A Celebrity... Midsomer Murders Doctor Who: Ultimate Guide Family Guy Ford Saturday Night Football

Figures include HD and +1 where applicable

Day

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

Start

20.30 15.30 21.05 22.00 22.00 22.00 12.30 21.00 21.00 22.00 20.00 21.00 19.00 19.00 22.30 18.30 19.00 19.00 21.00 20.30 18.30 18.30 20.00 23.25 18.30 22.30 21.00 20.00 22.00 17.00

Viewers (millions)

Share (%)

Channel

1.39 1.37 1.34 1.15 1.15 1.10 1.08 1.05 1.05 1.04 1.00 0.97 0.95 0.94 0.93 0.93 0.91 0.86 0.85 0.85 0.81 0.81 0.80 0.78 0.74 0.74 0.74 0.73 0.73 0.73

5.94 7.20 5.41 6.86 6.10 6.37 9.58 4.89 5.11 5.98 3.80 4.46 4.36 4.52 7.28 4.61 4.25 4.12 3.99 3.40 3.99 4.12 3.47 9.68 3.85 5.44 3.58 2.89 3.11 3.39

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

Channels

Share (%)

BBC1 ITV BBC2 C4 C5 Total multichannel ITV3 ITV2 E4 BBC3 Film 4 ITV4 CBeebies Dave More 4 Sky Sports 1 5 USA Pick

21.59 19.47 5.99 5.09 4.0 43.87 2.77 2.64 1.86 1.36 1.33 1.23 1.17 1.17 1.14 0.99 0.98 0.97

Figures include HD and +1 where applicable

463k More 4 more than doubled its 9pm Friday night audience with JFK: News Of A Shooting

www.broadcastnow.co.uk


All BARB ratings supplied by: Attentional

Non-PSB top 50 1 2 3 4 5 6 7 8 9 9 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) %

Live Ford Super Sunday Live Ford Super Sunday Live Ford Saturday Night Football The Simpsons The Simpsons Live Brazilian F1 GP: Race Elementary Storage Hunters The Simpsons Live Everton V Liverpool The Simpsons Lizard Lick Towing Lizard Lick Towing The Simpsons The Simpsons Yonderland The Simpsons The Simpsons The Simpsons The Simpsons Arrow Storage Hunters The Blacklist The Simpsons Top Gear Africa Special Gillette Soccer Saturday Porridge The Simpsons Inside RAF Brize Norton The Simpsons The Simpsons The Simpsons QI XL Storage Hunters The Simpsons Man V Food The Simpsons Porridge Storage Hunters Brazil F1 GP Qualifying World’s Most Dangerous Roads Man V Food The Simpsons The Simpsons Sleepy Hollow The Simpsons Crackanory QI XL A League Of Their Own Porridge

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

15.30 12.30 17.00 18.00 19.00 15.00 21.00 11.30 19.00 11.30 19.30 20.00 20.30 19.00 17.30 18.30 19.30 19.00 19.00 19.30 20.00 19.30 21.00 18.30 20.30 12.00 19.40 18.30 20.00 18.30 17.00 19.30 21.00 19.00 19.30 12.00 18.30 21.20 11.00 15.00 20.00 12.30 20.30 19.30 21.00 19.00 22.00 21.00 20.00 20.20

1,371,800 1,083,300 730,700 586,200 580,200 498,600 476,300 462,700 455,400 455,400 438,700 438,400 423,100 416,100 405,400 404,500 399,900 394,100 387,000 381,300 378,900 362,700 358,600 350,700 350,600 345,500 343,600 342,000 340,000 337,100 336,300 333,900 323,600 307,400 306,000 304,800 302,900 299,600 299,000 296,800 296,300 292,100 291,600 290,600 288,400 286,200 283,700 283,100 281,200 279,600

7.20 9.58 3.39 2.73 2.40 2.84 1.94 5.38 2.18 5.29 2.01 1.95 1.79 1.93 1.99 1.78 1.54 1.91 1.91 1.73 1.54 1.40 1.47 1.74 1.60 2.94 1.31 1.77 1.47 1.66 1.71 1.45 1.24 1.27 1.34 3.50 1.54 1.21 3.64 2.09 1.20 3.21 1.25 1.15 1.18 1.32 1.41 1.16 1.22 1.04

Figures include HD and +1 where applicable

Porridge www.broadcastnow.co.uk

Inside RAF Brize Norton

Broadcaster/ Producer* Sky Sports 1 Sky Sports 1 Sky Sports 1 Sky 1 Sky 1 Sky Sports F1 Sky Living Dave/T Group Sky 1 BT Sport 1 Sky 1 Dave Dave Sky 1 Sky 1 Sky 1/Working Title Sky 1 Sky 1 Sky 1 Sky 1 Sky 1 Dave/T Group Sky Living Sky 1 Dave Sky Sports News Yesterday Sky 1 Sky 1/Dai4Films Sky 1 Sky 1 Sky 1 Dave/Talkback Dave/T Group Sky 1 Dave Sky 1 Yesterday Dave/T Group Sky Sports F1 Dave Dave Sky 1 Sky 1 Universal Sky 1 Dave/Tiger Aspect Dave/Talkback Sky 1 Yesterday

58k

Return of Sky Arts 1’s A Young Doctor’s Notebook was hit hard by I’m A Celebrity

Returning doc fails to appeal BY stephen Price

It’s not immediately apparent whether it’s the lizard or the towing that needs licking, but whichever it is, there’s something about Lizard Lick Towing that’s caught on. Meanwhile, the generation-bridging Yonderland bowled madly on, as a doctor returned with his notebook, but no Daleks. Dave’s best show of the week was, as usual, Storage Hunters, with 463,000/5% on Sunday at 11.30pm. Next in line was Lizard Lick Towing with 438,000/2%. Wednesday’s 8pm episode was slightly ahead of the 8.30pm episode (423,000/2%). After a bright start, Dave’s Crackanory slipped this week to 284,000/1% at 10pm on Wednesday – that’s 170,000 short of launch. Three repeats have added another 326,000 so far. Yonderland averaged 405,000/ 1.8% on Sunday at 6.30pm, the lowest of its four episodes so far. Sky Arts 1’s A Young Doctor’s Notebook returned on Thursday at 9pm. But a live figure of 58,000/ 0.2% was well behind its December 2012 launch of 269,000/1.2%. Sky Living’s Elementary netted 476,000/2% on Tuesday at 9pm, in line with live ratings for this series so far, save for last week’s exceptional 606,000/3%. Universal’s US drama Sleepy Hollow achieved 288,000/1% at 9pm on Wednesday, on par with last week. 29 November 2013 | Broadcast | 41


Ratings Mon 11 Nov – Sun 17 Nov

All BARB ratings supplied by: Attentional

Consolidated Ratings

I’m A Celeb 13 lucky for ITV BY Stephen Price

ITV began sending celebrities to the jungle way back in 2002. As Tony Blackburn emerged as King of The Jungle, a hit was established. So much so that in 2004 there were two series of I’m A Celebrity… Get Me Out Of Here!: one in February and the other in November. Since then, it has been one of the first things inked into the ITV schedule for late November. There have been more than 160 episodes of celebrities eating such delicacies as the unspeakable parts of a kangaroo. This year’s 13th series – luckily for some – has charged back bigger than ever. Elsewhere, Channel 5 presented new evidence on a famous killing and will be pleased it did, while those crazy Danes continued to enthrall.

Source: BARB

ITV1: I’m A Celebrity... Get Me Out Of Here! On Sunday 17 November at 9pm, ITV launched the latest I’m A Celebrity … Get Me Out Of Here! in front of a live audience of 12.4 million/48%. After 1.2 million recorded and watched, it ended on a whopping 13.5 million/46%. The next best launch show was 13 November 2011 with 12.8 million/ 43%. With Monday’s episode consolidating on 12.5 million/41%, 2013 might be a vintage year.

Channel 4: Homeland Channel 4’s Homeland achieved a live rating of 1.9 million/7% against the might of the jungle on Sunday. It was the best-recorded programme of the week, with 1.2 million watching via the PVR to deliver 3.1 million/10%.

Channel 5: JFK’s Secret Killer: The Evidence On Wednesday 13 November, Channel 5 marked the looming anniversary of the assassination of President John F Kennedy with

JFK’s Secret Killer: The Evidence. Its live rating was a decent 1.5 million/7%; after 344,000 recorded and watched, it finished on 1.9 million/7%. It was the highest-rated of the JFK assassination programmes that week; the next best being ITV’s The Day Kennedy Died, which consolidated to 1.6 million/12% at 10.35pm on Thursday. C5’s repeat on Saturday at 8pm added another 1.5 million/6% to total more than 3.3 million viewers for the two transmissions.

BBC4: Borgen BBC4’s Borgen returned for a third series in its usual double-bill pattern on Saturday 16 November at 9pm. After a live rating of 760,000/3.4%, a further 330,000 watched via PVR to deliver 1.1 million/4%, its second best performance ever. The best remains 1.2 million/5% for the winter series opener on 5 January. Episode two, which followed straight after, consolidated to 937,000/5% after 288,000 recorded and watched.

Top 30 Consolidated Ratings: ranked by gain

1 2 3 4 5 6 7 8 9 10 10 12 13 13 15 16 17 17 19 19 19 22 22 24 25 25 27 27 27 30

6.4m ITV’s Agatha Christie’s Poirot bowed out on a series high for his final ever case

UP The Escape Artist adds 320,000 DOWN Ripper Street down 450,000

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Title

Day

Start

Viewers (m) (all homes)

Share %

Gain (m)

Gain %

Homeland Atlantis I’m A Celebrity ... Get Me Out Of Here! Poirot Strictly Come Dancing The Escape Artist Ripper Street Marvel’s Agents Of S.H.I.E.L.D. Casualty Under The Dome Coronation Street The Big Bang Theory Coronation Street The Blacklist The Mentalist The Paradise Arrow Coronation Street The X Factor EastEnders Elementary EastEnders EastEnders Marvel's Agents Of S.H.I.E.L.D. The Science Of Doctor Who Breathless DIY SOS: The Big Build Fresh Meat Coronation Street MasterChef: The Professionals

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

21.00 20.00 21.00 20.00 18.30 21.00 21.00 20.00 21.00 22.00 19.00 20.30 19.30 21.00 21.00 20.00 20.00 20.30 20.00 19.30 21.00 20.00 19.30 19.00 21.00 21.00 20.00 22.00 19.30 20.00

3.05 5.43 13.52 6.44 11.46 5.64 5.03 2.43 4.95 2.13 7.93 2.72 9.78 1.11 2.20 5.03 1.27 9.74 9.46 8.21 1.33 8.30 8.41 1.22 3.19 2.85 5.17 1.61 10.04 3.57

10.07 20.83 46.37 24.80 44.80 21.77 18.90 8.96 19.31 10.50 27.44 10.89 41.79 4.13 8.46 17.11 4.70 35.01 36.06 36.52 5.10 31.53 36.06 4.61 13.26 11.77 20.17 7.88 41.32 14.62

1.19 1.17 1.16 1.13 1.10 1.09 1.05 0.96 0.89 0.88 0.88 0.86 0.81 0.81 0.77 0.76 0.74 0.74 0.68 0.68 0.68 0.67 0.67 0.64 0.59 0.59 0.57 0.57 0.57 0.56

64.30 27.50 9.40 21.30 10.60 24.10 26.30 65.60 21.80 70.90 12.50 46.50 9.00 273.20 53.90 17.80 140.80 8.20 7.80 9.10 104.40 8.80 8.60 109.60 22.80 26.10 12.40 54.30 6.00 18.80

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

Figures include HD and +1 where applicable

42 | Broadcast | 29 November 2013

www.broadcastnow.co.uk


Talking TV Broadcast podcast

Listen to Talking TV on iTunes, soundcloud.com and broadcastnow.co.uk This episode: BBC drama boss Ben Stephenson gives us the inside track on Doctor Who’s 50th anniversary and Derren Brown’s producer Anthony Owen explains the boom in television magic. Plus: We try to uncover the thrills in BBC2’s Cold War thriller Legacy


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Contact robin.parker@emap.com

Sky’s onesie to watch

ALL A TWITTER

Cricket fans in the Broadcast office are feeling the toll of late nights as the Ashes get into their stride. Help is at hand for our web editor Alex Farber (right), who can at least veg on the sofa in style with this Skybranded onesie, which also handily doubles up as de rigueur evening wear in our local on-trend Shoreditch hostelries.

I’m sure GroupM have already pitched a show about the 24-hour tubes to Channel 5. @chuckthomasuk (Chuck Thomas) Entertainment producer

No change at BBC Picking up the Special Award at last weekend’s Children’s Baftas, former Blue Peter editor Biddy Baxter entertained the audience with tales of the BBC in the early days. Baxter admitted to being in the dark when she began her career in

Still reeling from the Doctor Who 50th anniversary episode. Like getting a 50-year cuddle in 75 minutes.

1955 at BBC Radio London – so much so that the news went out 10 minutes late under her watch. Devastated, she filled out her report, admitting her mistake, only for it to be completely rewritten by her manager. “A valuable lesson in BBC passing the buck,” joked Baxter. Seems some things never change.

Warm welcome to TV BBC Click presenter LJ Rich had some sage advice as host of the Broadcast TECH Young Talent Awards this week. If anyone says anything like “this normally takes 10 minutes” or “how difficult can it be?”, then run or delegate, she said, which for many involves running faster than the person next to you. She signed off with her top tip for surviving in broadcast media: “Electric blankets are amazing.” Has someone at BBC Click not been paying the gas bill?

@jamesmoran (James Moran) Drama writer

Amazing World Of Gumball wins Best Writer. I’m most disappointed because they accepted it from the Fonz! The Fonz! #BAFTAKids @DebbieBMoon (Debbie Moon) Writer, Wolfblood

Trying to follow #BAFTAKids on Twitter, watch last week’s Homeland on 4oD and watch this week’s episode on the TV. It’s not going well...

Kudos to Zai Bennett for getting into the spirit of things when he spent the day as a runner on Backchat as part of Danny Cohen’s ‘back to the floor’ scheme. The BBC3 controller encountered a somewhat diva-ish Jack Whitehall, who used Bennett as a footstall and sent back a tea order because his cup was “overfilled”.

@Frans_facts (Fran Scott) Science presenter

www.b

cr nic Th Reco.uk roadcastnow. ta of Ti ge

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

way Drama leads the£1.1bn as revenues hit

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BBC, and for all new share ures nlabels y the which rd the ossal will careers rce betiality staff o sha sation suitabilit an paymasterclass club tio Central’, ced ent era The pilots. bod t at int boa and of om sou er irm tapes em the , taster pro ing col ing and ari tha ideas. unera cha ings e conver ten’s contenting lf, nag recruitment its , imparattract uld or genevery t oth secret high- Ofc reviewed television division. beect rat Pat st’s C to and amore joiners in theen y itse to ma wever Th stand and it wo iti- rem dir hoping prevenand ties, ythe a unit. s opeSeparately, Ho Heg isBB ses . 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ng wro It’s into nal utio ck to go stit ba y in the is headrm offific cris refo spec of a

What’s the cruellest thing you’ve ever done? I once hanged a friend’s teddy bear from a lampshade. He cried. A lot. Tell us one of your most hilarious faux pas When I met ITV commissioner Katy Thorogood, I thought she’d been introduced as the VT editor. I said I was impressed they let her out in public. An hour later, I realised who she really was. Who is your pin-up? I quite fancy Ian Hislop [below]. Who or what would you put into Room 101? Boxset bores. No, I don’t want to watch The Wire. What’s the worst rejection you’ve ever had? We don’t want pretty, we want clever. What do you do to relax? Sleep. Anywhere, any time. What’s the best advice you have ever been given? Act as if you know you can’t fail, but never forget that you can. What are the best and worst things about working in TV or radio? Best: afternoon naps. Worst: the perpetual hustle of freelancing. What keeps you awake at night? Draughty windows. And planning adventures.

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Pa it INTERVIEW uk Pandas 3D: why t, inside .co. Pullout supplemen ck on 20 years pays to look the part ays now ty W new w er Maveri cast Page 26 of unpredictabili RVIE road d INTE mfield: dercov Page 22 w.b rwar Technology ww Broo lming un and techniq ay fo ue for produc st w fi tion, e be BBC Productionspost and playout 20 th NGS inning le? of within ge TI labels’ e be Pa RA and six ‘creativ uld s w batt s co for development push Who’factual el 4’ £2m Plans COHEN’S VISION L nninclude the 24 CREATIVE OVERHAU Cha in to BY JAKE KANTER Page Pat Younge role split into em ak Younge’s CCO to plough £2m of factual The BBC is to syst between controller Humn free up executives t, developmen and daytime Natalie latio genres in “creative controller of work across phreys and a new nt. regu encourage senior labels” and fiction and entertainme back to the floor” est a a managers to “go £2m investment into talent, in-house into sugg £2m t, in a bid to turn BBC to plough production outfi erts pilots. world-leading taster tapes and television Exp to director of according Danny Cohen. the changes on Cohen outlined are He said they Wednesday. down working aimed at breaking BBC Productions structures at and creativity” that “stifle energy the corporation and will help “powerful” emercompete with ix. such as Netfl ging platforms vision feeds into his also move The n across the for greater collaboratio

Mary-Ann Ochota Reporter, C4’s Unreported World and presenter of Britain’s Secret Treasures

2013 20 September

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

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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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