Broadcast 21 June 2013

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21 June 2013

INTERVIEW

RATINGS

BEHIND THE SCENES

Page 22

Page 24

Page 26

ITN’s Hardie: putting How UK shows fare news on the agenda on US factual channels

Restaging a kung fu odyssey

Comedy Central eyes UK hits Channel restructures commissioning with an eye on mainstream, multi-camera series

BY PETER WHITE

Comedy Central is set to spend millions on UK multi-camera comedies as it eyes the production of four to five new series each year.

The Viacom-owned broadcaster wants to produce hundreds of episodes over the next three to four years as part of a commissioning shake-up that has resulted in the appointment of former NBC exec Lourdes Diaz as commissioning chief. Head of development and content Sarah Farrell left the company last month.

Comedy Central UK has already ordered its first series to fit under the new strategy: Mummy’s Boys from Big Talk Productions. The series, which stars Kingdom’s Johnny Flynn and Fresh Meat’s Gemma Chan, was written by Patrick Carr and is being executive produced by The Inbetweeners’ Caroline Leddy.

The initial order will be for eight episodes, but Jill Offman, managing director of Comedy Central UK and senior vice-president of international content, Viacom International Media Networks, hopes it will quickly move to 22 episodes and, ultimately, 100 episodes by 2016.

“It’s about three young men whose mum has died and who are bringing themselves up in the most feral way. They are trying to keep hold of their little brother because the custody cops are wise to what’s going on,” said Offman.

The show is part of a move to produce big, broad, multi-camera comedies similar to British sitcoms including Miranda and

Two And A Half Men: Comedy Central UK has ambitions to match Chuck Lorre’s US mega-hit

Lourdes’ role is to make sure that we’re keeping those American beats, that glossiness and pacing Jill Offman, Comedy Central UK

Mrs Brown’s Boys, as well as US series such as Two And A Half Men and The Big Bang Theory. “Are we going to aspire to be Chuck Lorre?

Why wouldn’t we?” said Offman.

Diaz, who was vice-president, programming, at US network NBC and previously ran Green Moon Productions, the production company co-founded by Antonio

Banderas and Melanie Griffith, will be based in Los Angeles but will travel to the UK for 10 days each month.

“I don’t need Lourdes here. I need American expertise, and if she lived here that would slip away,” said Offman. “Her role is to make sure that we’re keeping those American beats, that glossiness and pacing.”

Offman added that she would also make herself available to UK indies looking to pitch ideas.

Steve Regan, senior editorial director of commissioning and production, MTV UK, will also work across Comedy Central and has two factual entertainment formats in development.

He will be joined in commissioning by Simon Lupton, who has

worked on BBC series My Family.

MTV Networks director of production management Rebecca Knight will also work across Comedy Central.

Offman said the broadcaster has two further multi-camera comedy pilots in development, which are expected to be commissioned in the next few weeks, and she is set to start conversations with other indies. “We’re going to go out in the next couple of weeks and do an event with producers,” she added.

The new series will air across all of Comedy Central’s international networks except in the US, where the company will try to strike format deals for the shows with the main broadcast networks.

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

Time to finally beat the bullying With appetite for change growing, is zero tolerance the answer?

A

nother day, another session on bullying. A once-taboo subject, never mentioned for fear of reprise, is becoming a hot topic.

True, it has reared its ugly head several times before in television: notably in 2003 following a YouGov survey whose results were debated at the Edinburgh TV Festival; and again in 2011 when the same survey found that 40% of the TV workforce had suffered some form of bullying.

‘In the UK, there is no statutory definition of bullying so it is up to the industry to act’ The difference in the debate this time, however, is how much more seriously it is being taken. Out of the grimness of the Savile and Stuart Hall cases, lessons are being learned and recommendations put in place that should, at last, replace hot air and empty promises with direct action.

The BBC’s Respect at Work report, discussed in public for the first time at Bectu’s Freelancer Fair this week, was expanded beyond sexual harassment to look at all abuses of power, at the behest of Dinah Rose QC. As she explained at the event: “We’re at the same place with bullying now as we were with sexual harassment 20 years ago, when a woman may have thought being groped at work was ‘just the way it is’. It isn’t.

Much of this is about remembering that everyone is a human being.”

It is wrong that it takes horrific and momentous scandals such as Savile to prompt the kind of soul-searching neces2 | Broadcast | 21 June 2013

sary to achieve cultural change, but that is often the case: the Stephen Lawrence murder resulted in a shake-up of police culture and the tragic suicide of 19-yearold waitress Brodie Panlock, who threw herself from the roof of her café following severe bullying, prompted a change in Australian law introducing fines, and even imprisonment.

In the UK, there is no statutory definition of bullying so it is up to the industry to act. The BBC deserves credit for sticking its neck out when it had already been halfstrangled by scandal upon scandal.

But it is also clear that the BBC does not have the monopoly on bullying: Bectu has a Say No to Exploitation in TV campaign and this week launched its factual TV code (see www.broadcastnow.co.uk). The arts world has held three conferences on the topic in the past month alone and the Federation of Entertainment Unions is striving for change by bringing parties together.

In a marked change from previous BBC management, under which a culture of fear appeared to thrive, new DG Tony Hall (pictured) has declared a zero-tolerance approach to bullying, and with the management board signing up to the report, the BBC is already implementing many of its 24 recommendations, drawn up by Rose, staff and unions, 10 from Bectu alone.

While these recommendations will be shared with industry leaders at next week’s cross-industry event, it’s important that the BBC doesn’t get bogged down in policy.

As Rose concluded, more can be achieved through informal resolution. It’s just the start, but this time, change seems a very real possibility.

è Michael Palin (below) has taken a swipe at some modern forms of documentary storytelling for frontloading information. “TV production today is like selling toilet paper. You are selling a product,” he told delegates at Sheffield Doc/Fest.

è The Queen writer Peter Morgan is to pen an ITV drama about Christopher Jefferies – the man wrongly linked to the 2010 murder of Joanna Yeates. Carnival Films is set to produce the two-parter, Lost Honour.

è Ofcom has raised concerns with C4 over issues including its declining main channel audience share, its education strategy, and the reach of its news services.

Ratings Top Five BBC1’s lavish War of the Roses drama The White Queen (pictured) reigned supreme on Sunday with 5.3m.

1

2 Horizon’s focus on the secret life of cats clawed in 5m on Thursday, its biggest audience since 2000.

BBC2’s The Route Masters: Running London’s Roads set off with an audience of more than 2m on Tuesday.

3

4 ITV’s Long Lost Family returned for a third series on Monday with 5.5m.

5 Big Brother returned with a tweaked format and 2.1m viewers for C5 on Thursday.

Team Tweets è Broadcast Hot Shots 2012 Joseph Martin & Danielle Clark delivered C4’s highestrated First Cut ever this week.

Get your entries in for 2013! @robinparker55

www.broadcastnow.co.uk

News & Analysis

Al Jazeera plans UK doc push

BY Peter WhIte

Al Jazeera English is planning a major drive on UK commissioning and is understood to want to air two original 60-minute docs every week.

That would result in around 100 new hours a year of UK factual and current affairs programming, and could be the precursor to the launch of a full new channel.

The Middle Eastern network has already ordered a number of one-off documentaries from UK indies and is in further talks with a raft of producers as it becomes the latest international player to move aggressively into original British content.

It is thought that budgets are around £25,000-£50,000 per hour and the channel is interested in stories that touch the UK. One producer said: “Al Jazeera’s fees aren’t the highest but they have steadily been going up, while others are falling. It often funds 100% because it is expanding all of its international networks, and the channel is very flexible with directors, which means that we are able to use new talent.”

Al Jazeera’s fees aren’t the highest but they have steadily been going up Producer

People & Power: strand editor Diarmuid Jeffreys will commission UK content

Al Jazeera English plans to air the current affairs and documentary singles and short series in a primetime block, which will replace the channel’s current international programming schedule.

It is thought the commissioning could test the ground for the

launch of a standalone Al Jazeera UK channel later this year. The new channel would carry specifically UK-produced content, and run alongside Al Jazeera English, which is broadly an English-language feed of the global news channel.

The strategy has been put in place by Al Jazeera director general Sheikh Ahmed bin Jassim Al-Thani. It will ultimately be overseen by director of programmes Paul Eedle, although his current priority is to manage the launch of the Al Jazeera America channel, which is set to debut at the end of August.

The UK factual content will be commissioned by Al Jazeera English’s strand editors including Diarmuid Jeffreys, who runs the People & Power current affairs strand, which airs once a week, and former Mentorn exec Flora Gregory, commissioning editor of the Witness strand.

Al Jazeera English launched in 2006 via Sky and Freesat and became a 24-hour channel on digital terrestrial television service Freeview in September 2012.

Nat Geo on the hunt for UK indie projects We are looking for material that will appeal to an international audience

BY Peter WhIte

National Geographic is looking for tens of new projects from UK indies as part of its latest commissioning round, and has ordered an eight-part series about dwarfism from Dragonfly Film & TV. The factual specialist has launched its latest multimillionpound search for returnable factual and factual entertainment series, as well as event- and anniversary-driven specials that generate press attention, led by head of international content Hamish Mykura.

Nat Geo executive producer Carolyn Payne said it is in talks with numerous indies to submit ideas and hopes to order multiple www.broadcastnow.co.uk

Carolyn Payne, National Geographic

Incredibly Small World: 8 x 60 doc

projects from the hundreds of submissions it expects to receive.

“We are a male-skewing channel that goes out all around the world so we are looking for subject matter that will appeal to an international audience. Subject areas such as science and engineering, subcultures, observational films on

people’s work, history and survival always do well for us,” she said.

The channel is also looking for presenter talent to become faces of the channel and would like ideas that may not have traditionally been seen on Nat Geo, like the Nutopia-produced The ’80s: The Decade That Made Us and its spinoff The ’90s: The Last Great Decade.

National Geographic Channels International’s latest commission is 8 x 60-minute doc series

Incredibly Small World, exploring communities living with dwarfism and featuring Austin Powers star Verne Troyer.

The series will travel to Uganda, China, Brazil and the Philippines, as well as the UK and US, to look at individuals affected. It will highlight Colombian dwarves that are forced to bull-fight as well as dwarves in the Philippines who are building a town tailored to their needs.

“Incredibly Small World shares the powerful journeys of individuals who are pushing to overcome adversity,” said Mykura.

The doc will be executive produced by Tamara Abood, head of factual entertainment at the Shineowned indie, and managing director Simon Dickson.

21 June 2013 | Broadcast | 3

News & Analysis In BrIEF ITV bolsters drama team Kudos Film and Television and Company Pictures producers Jane Hudson and Charlie Hampton are the final additions to ITV’s refreshed drama commissioning team. The pair will join the commercial broadcaster later this summer as head of continuing drama and drama commissioning editor respectively. The appointments complete a team that also includes drama controller Victoria Fea.

ITV buys Thinkfactory

ITV has acquired its third US indie, paying $30m (£19m) for a controlling stake in Hatfields & McCoys (pictured) producer Thinkfactory Media. The broadcaster has bought a 65% stake in the US indie and has an option to buy the remainder, which can be exercised after three years.

Content eyes UK indies International distributor Content is aiming to acquire stakes in indie producers and ramp up the amount it spends on UK drama. The move comes after the company renewed its $40m (£25m) credit facility, with the new line of credit provided by JP Morgan, SunTrust Bank and Manufacturers Bank. “This provides the backbone for our continued push into TV drama, with investment into new shows from the Canadian market and renewals of existing hits in the UK, coupled with an expansion of the acquisition of stakes in production companies,” said chief executive John Schmidt.

Netflix heads to Holland Netflix is to launch in the Netherlands as part of its ongoing international expansion. Netflix has said it will launch in one new foreign territory each year, with reports that it could also set up in Belgium before the end of 2014.

For the latest breaking news www.broadcastnow.co.uk 4 | Broadcast | 21 June 2013

Edit producer role comes under scrutiny at Doc/Fest BY lisa CampBell

The increasing power of the edit producer was again under the spotlight at a heated Directors UK session debate at Sheffield Doc/Fest.

Tom Roberts, founder of October Films and vice-chairman of Directors UK, talked of the fragmentation of the director’s role, which he said could undermine the “central unified vision” for a film. He described the director as “the only individual who looks solely after the interests of the film”.

Director Ursula MacFarlane said the trend of using edit producers to cut films was borne out of time and budget constraints, and that directors often couldn’t be in edits because they were filming subsequent episodes.

She said: “The question is whether this is a good training ground to produce good directors.

If you can’t see the process through – if you can’t take rushes into the cutting room and go through the challenge of the edit – I’m not sure how you’re going to learn, or who will give you your break.”

Edit producer Jo Woolfe said the role had many benefits for the final film. She revealed that during the filming of The Choir: Military Wives, the director filmed solidly for nine months while she and three editors made three consecutive shows, each from 100 hours of material.

“We liaised with the people filming and could tell them which characters were working on screen, who to focus on, and advise them on future scenes. They would feed back about planning, so it was a two-way process.”

The panel agreed that in cases like this, the edit producer should be credited as ‘edit director’, but warned that edit producers needed to be experienced former directors themselves.

Thomas Viner, series producer at Arrow Media, said: “My preference would always be to have a director if I can afford it, because the level of commitment the

military Wives: edit producers performed key role on BBC2 series

The level of commitment the director brings is greater when they know their film Thomas Viner, Arrow Media

director brings is greater when they know their film. But in many cases, the director is given a vision and carries it out.”

Roberts and Paul Elston, a director and chairman of the factual committee of Directors UK, also talked of a so-called “approved directors list” operated

by Channel 4. Several directors in the audience said they believed such a list had been drawn up.

One said: “Commissioning editors need to spend more time getting to know directors – and take a punt on people who will do something genuinely

different. How else will you get new voices through?”

However, Viner said: “I’ve hired 15 new directors in the past 15 years and haven’t had anyone turned down.” And at a subsequent session, C4 chief creative officer Jay Hunt was categorical that such a list did not exist.

Roberts said one of the key issues affecting directors is the fear of speaking out. Noting the number of anonymous comments on Broadcast’s story about C4 and indie relations, Roberts asked how many people in the room identified with the issues. Around 30 raised their hands. When asked who would go on the record, only two agreed.

“To me, the central problem is, we go into institutions and expose the truth but we’re not prepared to speak openly about this industry’s problems – because we know it will affect our jobs and careers.” www.broadcastnow.co.uk

News & Analysis

BBC tackles ‘climate of fear’ Broadcaster claims a different culture is emerging and promises it has learned from mistakes

BY Suzanne BeaRne

Human rights barrister Dinah Rose has admitted that she was surprised by the climate of fear at the BBC, in her first public comments on the BBC Respect at Work Review, which was published in May. Speaking on a panel on bullying at Bectu’s Freelancers’ Fair this week, Rose, who oversaw the sevenmonth review, noted “the undercurrent of fear” at the corporation.

“It was very troubling to see the extent of the lack of trust between BBC staff and management, and the lack of confidence that BBC management could be relied on to solve problems. There was a fear that those who raised problems would be marginalised or victimised,” she said.

Rose added that the climate of fear was widespread across the TV industry, particularly for freelancers. “There’s a lot of short-term contracts, [people] who don’t want to rock the boat. It’s a very desirable industry where 15 people want your job. Combine that with ratings and huge pressure on costs, and you have a situation where there’s a lot of insecurity and stressed people.

There needs to be strong leadership and clear expectation about what is appropriate and inappropriate communication.”

The review, set up in the wake of the Jimmy Savile scandal, exposed bullying and inappropriate behaviour at the BBC. Rose suggested during the Bectu session that the broadcaster should think about training to facilitate more “informal resolution” first.

“The BBC’s policies are very much geared towards bringing a grievance. The problem is that you very quickly get into a formal, adversarial stance.”

She added: “Most people are not evil. If you sit people down with people who have been affected and hear them say ‘I can’t sleep, I can’t eat’, they will feel mortified. I would love to see some of that communication going on.” www.broadcastnow.co.uk

Bullying: Dinah Rose’s Respect at Work Review revealed a surprising “undercurrent of fear”

There is a different culture now – not one rule for one, and one for another

Bullying at the BBC the truth “I found that interactions at the BBC were very confrontational.

There was a tone in emails that surprised me because I don’t think people in my organisation would communicate with each other in that way. It’s a question of stepping back and asking how we are treating each other.”

Dinah Rose

Donna Taberer, BBC

BBC Academy head of public service partnerships Donna Taberer (right) said the corporation had kicked off an ongoing drive to tackle the 24 recommendations outlined in the review.

She said the management board was “going round and talking to staff about what is and is not acceptable” and that the corporation will “bolster” its management training programme.

“When recruiting at the BBC, we’ll restate our values. It’s about working with management early on in their career,” she added.

Taberer also said that a “different culture” had started to emerge at the BBC since the recent scandals.

“There is a different culture – not one rule for one and one for another. We will not have untouchable people, on or off air. The idea that talent are some kind of crea-

tive geniuses stops now. If we lose talent to another channel, so what?

We’ll move on.”

“The BBC is right behind this,” she added. “We’ve got these recommendations in place; it’s happening already. It feels very different.”

During the session, which was chaired by Broadcast editor Lisa Campbell, Anne-Marie Quigg, author of Bullying in the Arts, said the issues in the review weren’t restricted to TV. “It’s a pretty universal issue,” she said. “It’s a societal issue that has become acceptable.”

The report, which was assisted by consultancy Change Associates, included submissions from 930 individuals.

“It’s easy to say bullying is worse in the newsroom, but it’s not the case. It spans departments and is more to do with individuals, the managers in that area, and the general tone. We need to get away from the idea that there are certain areas in this industry where it’s inevitable. It’s not inevitable.”

Graeme Russell Managing director, Change associates “With DQF, there are very few people who don’t think this is the toughest it’s ever felt at the BBC – but DQF is here to stay. There’s more pressure, and we need to make our managers better with more training. We’re very good at showing people how to use cameras, but not how to work with people.”

Donna Taberer Head of public service partnerships, BBC academy

21 June 2013 | Broadcast | 5

News & Analysis

ITV tests paid mobile content We are the only UK broadcaster to offer genuine choice as to how to consume catchup content

BY aLex FarBer

ITV has begun testing viewers’ appetite to pay for ad-free content on mobile as the final pillar in part one of its digital transformation.

The broadcaster has introduced ITV Player Premium, which allows subscribers to view content from the previous 30 days without pre-roll advertising for a £3.99 monthly fee. They will also be able to stream ITV3 and ITV4, which was not previously possible.

The service is initially available only on the player’s iPhone and iPad app. Non-subscribers will continue to be able to live stream ITV and ITV2, and access adsupported catch-up content.

As part of its digital strategy, ITV has already introduced charging to rent content from its online archive of shows, and to view premieres of shows ahead of their launch on TV. Online product director James Micklethwait said it was vital for the broadcaster to trial mobile as a platform as part of its push to diversify its revenue streams.

James Micklethwait, ITV

Long Lost Family: viewers can subscribe to view ad-free content for £3.99

“We have become the only UK broadcaster to offer consumers genuine choice as to how they consume catch-up content,” said Micklethwait. “Mobile has been a tremendous growth strategy for ITV and is a major platform in its own right.”

He added that the broadcaster was targeting very heavy ITV Player users and the “time-poor, cash-rich” demographic, which could include parents, as potential subscribers.

ITV will conduct further smallscale trials, but Micklethwait said the bulk of its digital payment

experimentation was now under way. “We need to let these things bed in and see how well they perform,” he said.

If it proves successful, the subscription model will be considered for rollout across other platforms, including online and connected TVs. Micklethwait declined to reveal subscription targets for the app, which has been downloaded more than 7 million times, but acknowledged it was likely to appeal to only a “small minority” of users.

Initial feedback on ITV Player Premium via the iTunes store was largely negative, with more than 100 one-star reviews and just 10 five-star scores.

Hall offers reassurance over undercover trips BY jake kanter

The BBC has reassured education groups that it does not use academic trips as a cloak for undercover journalism following the controversy over the Panorama North Korea documentary.

BBC director general Tony Hall met with the Royal Society and British Academy earlier this month to discuss April’s Panorama film, which came under fire from the London School of Economics (LSE).

Reporter John Sweeney filmed undercover in North Korea after joining a trip to the secretive Asian country organised by LSE students in March.

Three of the 10 students on the visit claimed they were not briefed properly by the BBC and the LSE argued that they were put in 6 | Broadcast | 21 June 2013

Panorama: controversy over doc

danger after being “deliberately misled” about the Panorama crew’s intentions.

At the time, the Royal Society and British Academy argued

that the incident could endanger the credibility and security of other academics working in volatile locations.

However, in the meeting with Royal Society president Sir Paul Nurse, his British Academy counterpart Sir Adam Roberts and the body’s president elect Nicholas Stern, Hall stressed that the film would not have been sanctioned if the Panorama crew were joining an official LSE trip.

The director general also agreed that risk assessments for similar programmes in the future will “recognise risks to academics and researchers that may arise directly or indirectly” if “academic cover is used, or could be perceived to have been used”.

However, the BBC insisted that this will not require any changes to

its editorial guidelines or formal risk-assessment procedures.

Although Tony Hall stated that written consent would have been preferable for the doc, this will not become policy on future stories, which the BBC will assess on a case-by-case basis.

A BBC spokeswoman said: “The Panorama North Korea programme was not made through an LSE trip, nor was it a formal academic trip.

We believe the BBC’s high-risk team did a thorough examination of the likely potential risks.

“That said, we keep our procedures under constant review and accept that both the LSE and other academic institutions need to protect the integrity of their research work in sensitive parts of the world, and this agreement will help achieve that.” www.broadcastnow.co.uk

audience data system

News & Analysis

Hardie: ‘no need for 24-hour news on TV’

BY JAke kAnTeR

ITN chief executive John Hardie has branded rolling TV news channels “old fashioned” in the era of online news.

Hardie, who has helped return ITN to profit since taking over in 2009, said the work ITV News is doing online showed that the need for 24-hour television news services had decreased, and that an increasing number of people were turning to the internet for their news updates.

“People comment that ‘unlike the BBC and Sky, you don’t have a 24-hour programme’ – that’s old analogue thinking. Where we’re winning is online, breaking stories and dramatically increasing the audience through Livestream,” Hardie told Broadcast.

Livestream is the name ITV has given to its relaunched online news service. The website is centred on a 24-hour rolling news stream, which pulls in updates and video content from ITV’s national and international journalists.

“It’s very important for our reputation that we do [break stories online] as we don’t have an old-

Woolwich murder: Adebolajo’s monologue was broken online by ITV

fashioned 24-hour news service,” said Hardie. “We get the best of both worlds. We focus on making the best news bulletins of the day, so our journalists aren’t consistently torn away from doing the best newsgathering to do a live update, but we still have an outlet for when we want to break news.”

Hardie added that ITV News’ digital team is “pushing on an open door”, with key correspondents breaking stories online because they want “to be out there first”.

This was evidenced last month when ITV published Michael Adebolajo’s mobile-captured Woolwich attack monologue online before airing it on its 6.30pm bulletin, meaning the broadcaster was first with the major update to the story.

The interest it generated was so great that it crashed the ITV website and contributed to the service attracting a record 4.9 million unique users in May. ➤ For more on Hardie’s plans for ITN, see page 22

Jeff Pope to make Lord Lucan biopic for ITVS Jeff Pope’s next factual drama project for ITV will be a biopic on Lord Lucan, the playboy aristocrat who vanished after his children’s nanny was murdered.

The programme is at an early stage and is yet to be commissioned by ITV, but work is under way to get it into production, with a number of high-profile directors being approached with scripts.

Pope, ITV Studios’ head of factual drama, specialises in finding unique ways to tell reallife stories. He is also working on an international co-production for ITV Studios called The Widower, about Malcolm Webster, who was convicted of murdering his first wife and attempting to kill his second.

Lucan was known as a charismatic man with expensive tastes.

He fled after his children’s nanny Sandra Rivett was murdered in 1974, two years after the peer split with wife Veronica Duncan.

Lucan’s son, George Bingham, gave his first interview about his father to the Daily Mirror in September last year. He was seven years old when Rivett was killed.

ITV previously aired The Trial Of Lord Lucan in 1994. The 90-minute single starred English Patient actor Julian Wadham as Lucan.

Greenbird takes a stake in indie start-up Rumpus Media

BY JAke kAnTeR

Jamie Munro and Stuart Mullin’s production network Greenbird has taken a stake in a start-up led by comedy and factual entertainment producers Iain Wimbush and Emily Hudd.

The programme-makers launched Rumpus Media last month and Greenbird has since acquired an undisclosed shareholding in the indie. The deal is Greenbird’s fourth investment since opening for business in October last year.

Wimbush specialises in comedy entertainment and cut his teeth on shows including Saturday Night Takeaway, I’m A Celebrity…

8 | Broadcast | 21 June 2013

Emily and I have different expertise, but the same sensibilities Iain Wimbush, Rumpus Media

Wimbush & Hudd: Rumpus founders

Get Me Out Of Here! and The Friday Night Project.

He was head of development at Ant McPartlin and Declan Donnelly’s indie Gallowgate, and also series produced BBC children’s

shows Hider In The House and The Sorcerer’s Apprentice.

Hudd has developed and produced observational and formatted series, including Channel 4’s Chancers and School For Stars for CBBC last year. Most recently, she worked for Julian Bellamy as Discovery Networks International’s head of production, executive

producing a number of shows for TLC internationally.

The pair met years ago on Big Breakfast and have since collaborated on other projects. They will focus on creating “daring and distinctive” formats, as well as nurturing new talent on and off screen.

Wimbush said: “Emily and I have different expertise but the same sensibilities, and we’re looking forward to developing formats with a fresh breed of producers and executives.”

Greenbird’s other investments have included a minority stake in Crackit Productions and Tuesday’s Child. Most recently, it invested in Handsome Productions. www.broadcastnow.co.uk

BAFTA, 195 Piccadilly

W AT NO 9 +V OK 19 BO Y £ L ON

2nd July 2013

£3bn in commissioning budgets in one room PETER FINCHAM

DANNY COHEN

More than 100 companies registered to attend including: BBC ● A+E Networks ● Scottish TV ● FremantleMedia ● Alchemy TV ● Getty Images ● Tigress Productions ● All3Media ● CTVC ● Endemol ● Hartswood Films ● Channel 5 ● Fresh One ● Productions ● ITV ● Initial ● YouTube ● Mammoth Screen ● NBC Universal ● Red Bull Media ● Wall to Wall ● Zodiak Media ● Nutopia ● Machinima ● Channel 4 ● Syco Entertainment ● Red Planet Pictures

BEN FROW

STUART MURPHY

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Commissioning News

Syndicate writer conceives BBC antenatal class comedy

BY Jake kanter

The Syndicate writer Kay Mellor is to pen a BBC1 drama following the lives of six couples who attend the same antenatal class.

Mellor’s indie, Rollem Productions, has been commissioned to produce 6 x 60-minute series In The Club, about “pregnancy, imminent birth, love and the changing nature of relationships”.

Among the characters will be a 15-year-old schoolgirl who has hidden her pregnancy from everyone she knows; lesbian partners preparing for the birth of their second child; plus a couple who are expecting a baby against all the odds.

The series also tells the story of midwife Vicky, who has coached countless women through labour, but is secretly terrified of going through her own imminent childbirth experience.

Mellor said she had drawn on personal experience in creating the drama, having given birth as a teenager and remained friends

Baddiel plots TV return with C4 internet sitcom David Baddiel is working on his first major TV project for several years – a single-camera sitcom for Channel 4. The comedian-turnednovelist is developing Sit.com (working title) for C4 head of comedy Phil Clarke. It will focus on the everyday domestic life of a technologyaddicted family.

The project has been characterised as a lighter counterpart to the darker comedy of C4’s Black Mirror, and is a response to the way the likes of Charlie Brooker’s show and films such as The Matrix and The Social Network represent the internet as “very big, dark and important”. The project is in its early stages, but it is thought likely that Avalon, 10 | Broadcast | 21 June 2013

the Syndicate: writer kay Mellor to pen comedy about pregnancy

with the people with whom she attended antenatal classes “It’s a special time in your life, a time when you need people who understand what you’re going through, and a close bond can be formed that can result in a lifelong friendship,” she said.

In The Club will be shot in Yorkshire and will TX next year. It was ordered by former BBC1 controller Danny Cohen and BBC drama controller Ben Stephenson. The exec producers are Mellor and BBC head of independent drama Polly Hill.

Yvonne Francas is the producer.

which represents Baddiel (below), would be the production company were it to be greenlit.

Gary Lawson and John Phelps, who have both worked on previous series of the show. The new run of Birds Of A Feather was ordered by ITV comedy commissioner Myfanwy Moore.

Birds Of A Feather flock to ITV for sitcom revival ITV is to revive classic BBC1 comedy Birds Of A Feather after a 15-year absence from British TV screens. The broadcaster has commissioned an 8 x 30-minute series of the prisoners’ wives sitcom, which will reunite the central cast of Pauline Quirke, Linda Robson and Lesley Joseph.

It will go into production in the autumn and will be produced by Retort, the scripted comedy arm of Fremantle Media UK, and Quirke’s indie Quirky Media. Creators Laurence Marks and Maurice Gran are back in the writing seat alongside

ITV2 brings back Fake Reaction for second run ITV2 has ordered a beefed-up second series of STV Productions’ gameshow Fake Reaction. The show, which is based around celebrities and comedians attempting to hide their natural reactions during a series of unusual challenges, will return for a 10 x 45-minute run in 2014, an increase on the eight episodes ordered for the first series.

Filming will begin in the autumn.

Presenter Matt Edmondson will return to host the series, which also features team captains Joe Swash and Ellie Taylor. The show was commissioned by ITV commissioning editor of comedy entertainment Claire Zolkwer.

Gold greenlights North One doc on Two Ronnies UKTV’s Gold has commissioned a three-part doc about Ronnie Corbett and Ronnie Barker from North One Television.

The pay-TV classic comedy channel has ordered The Two Ronnies Spectacle, which will give an insight into the well-loved comedy double-act.

The series will feature an exclusive interview with Corbett and follow him on a visit to the Victoria & Albert Museum to hunt through Ronnie Barker’s personal memorabilia. It will also feature classic sketches from their BBC series.

The Two Ronnies Spectacle was commissioned by director of commissioning Jane Rogerson and UKTV commissioning editor Julie Swanston. It will be executive produced by North One Television’s Ricky Kelehar.

“It’s great to have Ronnie Corbett working with us,” said Swanston. “It leads on perfectly from Bring Me Morecambe & Wise on Gold last year, and further adds to the exclusive comedy slate the channel is continuing to create,” she said.

Channel 5 drives off with Olly The Little White Van Channel 5 has acquired two series of animated kids’ show Olly The Little White Van (below) from UK indie Ideas at Work. The Northern & Shell-owned broadcaster will exclusively air the third and

fourth season of the cartoon as part of its Milkshake! strand, ahead of rival broadcaster CITV, which previously held the rights.

Turner has also previously run the series on its Cartoonito and Boomerang channels. Both CITV and Turner are likely to air the new episodes after C5’s window. www.broadcastnow.co.uk

For more projects in development and the latest commissions, visit

http://greenlight.broadcastnow.co.uk

ITV checks in for B&B sitcom Edge Of Heaven forms part of ITV’s renewed commitment to comedy

BY Jake kanter

Sherlock producer Hartswood Films is to make an ITV comedydrama about a 1980s-inspired bed and breakfast in Margate.

The broadcaster has commissioned 6 x 60-minute series Edge Of Heaven, which will be written by Robert Evans, who created Baftanominated CBBC series Sadie J and has penned episodes of Sky 1 comedy Stella.

Evans’ series is based on an idea he created with Sadie J collaborator Paul McKenzie and centres on the lives of the Taylor-Chatterjee family, owners of the Edge Of Heaven guesthouse.

Relative newcomers Camille Coduri (Doctor Who) and Nitin Kundra (Celebrity Juice) feature as husband-and-wife team Judy and Tandeep, while The Inbetweeners actor Blake Harrison stars as Judy’s son Alfie. Comedian Laura Checkley plays Alfie’s former soldier sister Ann-Marie.

Alfie has his life in Margate planned out before he is jilted at the altar by his fiancée Carly (Justine Michelle Cain). He is

The deal, which includes 26 x 5-minute episodes, was struck by Serious Lunch.

BBC orders Christopher Hitchens doc for Storyville The BBC has commissioned a one-off documentary about the late author and journalist Christopher Hitchens. The doc has been ordered by Nick Fraser, editor of the BBC Storyville strand, and is expected to air on BBC4. Hitchens died in December 2011 from pneumonia. He was a contributing editor at Vanity Fair magazine and wrote a number of books including The Trial of Henry Kissinger and How Religion Poisons Everything. Fraser, who announced the commission at last week’s Sheffield Doc/Fest, also said he believes the appointment of new management, including BBC news and current affairs director James Harding, who joined from The Times, will have a positive effect www.broadcastnow.co.uk

Sadie J: creator robert evans will write and star in edge Of Heaven

guided through the heartbreak by his family – grandmother Nanny Mo (Marcia Warren) and his uncles, one of whom will be played by Gavin & Stacey’s Adrian Scarborough and the other by writer Evans.

The series is being positioned as a warm comedy, with what ITV comedy commissioner Myfanwy Moore described as “larger-thanlife” characters. She ordered it alongside ITV director of comedy and entertainment Elaine Bedell.

on the corporation’s factual output. “I believe it will usher in a period of genuine internationalism,” he said.

H&C TV links up with Petplan for masterclass

Channel 5 books in for vajazzling format Channel 5 has ordered a spathemed entertainment format from ITV Studios. The Northern & Shell-owned broadcaster has commissioned Celebrity Super Spa, a six-part series from ITV’s production arm and GroupM Entertainment. The series will feature six celebrities, who will work with salon boss Herbert Howe to perform vajazzles, back, sack and crack waxes, fish pedicures, tattooing and vampire facials. The series was ordered by Greg Barnett, commissioning editor of entertainment, daytime and soaps. It is exec produced by ITV Studios’ Simon Marsh and Sumi Connock, and GroupM Entertainment’s Tony Moulsdale and Melanie Darlaston.

Horse & Country TV has ordered a six-part equestrian series from Cavewood Productions. The niche digital channel has commissioned Petplan Masterclass With Lucinda, featuring six times Badminton

winner Lucinda Green. The series will launch at the end of this month and is sponsored by animal insurance company Petplan. It will be fronted by Horse & Country’s Jenny Rudall and was filmed on location at Swalcliffe Park Equestrian near Banbury. It will show how Green can deal with the

Elaine Cameron and McKenzie are producing the series, while the executive producer is Hartswood chairman Beryl Vertue. John Henderson and Sandy Johnson will split directing duties.

Edge Of Heaven, which goes into production in August, forms part of ITV’s renewed commitment to comedy. The commercial broadcaster also announced this week its intention to revive Birds Of A Feather for an 8 x 30-minute run next year (see below), following on from recently launched sitcoms Vicious and The Job Lot.

For details of all commissions, see

http://greenlight.broadcastnow.co.uk

different equestrian challenges posed by a range of fences including skinnies, ditches and drops.

ITV lines up Jefferies drama The Queen writer Peter Morgan is to pen an ITV drama about Christopher Jefferies – the man wrongly linked to the murder of Joanna Yeates in 2010. The commercial broadcaster is close to finalising a commission for the 2 x 90-minute serial, Lost Honour, from Downton Abbey producer Carnival Films.

ITV and Carnival are still ironing out some of the details of the production, including securing a director. Former school teacher Jefferies was erroneously arrested following the murder of his tenant Yeates, and was vilified in the press. In 2011, Vincent Tabak was found guilty of murdering Yeates and was sentenced to life imprisonment. Lost Honour will be overseen by ITV director of drama Steve November.

21 June 2013 | Broadcast | 11

International

MTG eyes UK after buying DRG We’ll look to increase our investment in scripted programming and formats

BY peter white

International broadcaster Modern Times Group is looking to invest in the UK following its acquisition of distributor DRG, with plans to both fund programming and potentially take stakes in producers.

The Scandinavian company wants to bulk up the distributor’s catalogue. Patrick Svensk, executive vice-president of content and chairman and chief executive of MTG Studios, told Broadcast this was part of a wider plan to move into the UK and US. “I want to invest in development and upfront guarantees to independent producers in the UK and other countries, so we can grow our distribution business further. If that should lead to us taking stakes in creative producers that keep hold of rights, then that’s a bonus,” he said.

The company will continue on the acquisition trail, targeting small- to medium-sized companies as well as investing in start-ups, and is focusing on “highly creative” English-language markets.

Netflix wins exclusive deal for Dreamworks content Netflix has struck a landmark deal with Dreamworks Animation that will mean it streams more than 300 hours of exclusive original programming from the Shrek and Kung Fu Panda producer. As part of the deal, Dreamworks will produce a string of spinoffs from current and forthcoming films for the international VoD service, as well as new series featuring characters from Shrek, Monsters vs Aliens, How To Train Your Dragon and Postman Pat. The Netflix deal will also include potential series from characters taken from the Classic Media library, which was acquired by Dreamworks last year. The first series to come out of the deal could be a TV version of The Croods (pictured), 12 | Broadcast | 21 June 2013

Patrick Svensk

Shameless: MtG plans to add more scripted shows to DrG’s catalogue

It will look to invest heavily in new content for DRG, which distributes series including The Inbetweeners, Shameless and Underbelly.

“When it comes to developing programmes, we’ll look to increase our investment in scripted programming and formats,”said Svensk.

MTG beat Sky Vision to acquire 92.4% of DRG for around £15m earlier this month. The remaining 7.6% will be owned by returning chief executive Jeremy Fox, who Svensk said had a “fantastic international network”, and the senior management team. That includes

which was hinted at by Dreamworks chief executive Jeffrey Katzenberg in May.

Goodman-fronted political comedy Alpha House and Silicon Valley-themed sitcom Betas, as well as kids’ series Annebots, Creative Galaxy and Tumbleaf.

Amazon moves into drama with Connelly cop pilot Amazon is moving into original drama for the first time after it greenlit a pilot based on Michael Connelly’s Harry Bosch novels.

The deal means that if the pilot secures a series order, it will be available to stream in the UK via Lovefilm. The pilot is being produced by Fabrik Entertainment and comes after Fabrik, formerly known as Fuse Entertainment, struck a deal last year with crime novelist Connelly to bring his police character to TV. Amazon’s order follows its decision to take five pilots to series last month. It will launch full series of John

Simon Fuller takes step into kids’ TV with musical series American Idol producer Simon Fuller is to make his first move into kids’ TV with the launch of US musical series The Meeps. The twoto three-minute episodes, created and exec produced by Fuller in association with producer Moonscoop, will launch on US VoD service Kabillion later this month before rolling out internationally. The Meeps, produced through Fuller’s XIX Entertainment, will revolve around CGI characters.

“I have been thinking about creating a fun animated music group for many years and now I have finally got around to it. This is just a

managing director of acquisitions and formats Andrea Jackson, senior vice-president of sales Patrick Roberts, and head of scripted acquisitions and development Anke Stoll.

The senior management team are all set to remain in place, although managing director Jonathan Jackson has left the business.

Modern Times Group, which operates 32 free-to-air networks and a raft of pay stations across Europe and Africa, will not rebrand DRG, despite the formation of its own MTG Studios division.

However, it will integrate some of its MTG Studios formats into DRG, while keeping much of the catalogue of its Scandinavian production arm Strix separate.

glimpse at the kind of thing I want to do,” said Fuller.

Fremantle Media cooks up Jamie Oliver deals Jamie Oliver (below) is heading to Germany and Austria after Fremantle Media International closed a number of sales deals. The international distributor has sold 40 x 30-minute Jamie’s 15 Minute Meals and one-off doc Jamie Cooks Summer to German commercial broadcaster Sixx. The channel has also taken digital rights to the series for its Maxdome VoD service. Meanwhile, 3 x 30-minute series Jamie’s Feastival and Jamie’s 15 Minute Meals have been sold to ORF in Austria, while pay-channel RTL Living has bought Jamie’s 15 Minute Meals and Jamie’s Food Fight Club. www.broadcastnow.co.uk

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

Euro demand for UK docs Sheffield Doc/Fest reveals growing co-production opportunities for factual producers BY peter white

International networks including France Télévisions, Germany’s ARD and HBO Europe are increasing the number of hours they commission from British indies as they ramp up their global co-production ambitions.

That trio, plus the likes of ARTE, Danish public broadcaster DR and Sweden’s SVT, attended Sheffield Doc/Fest last week to meet key British indies and discuss their commissioning needs.

Barbara Biemann, deputy head of documentaries and commissioning editor at ARD, said: “We are reaching out to people that we wouldn’t have worked with before.”

The broadcaster, which ordered $1.5m (£1m) Israeli security service doc The Gatekeepers, is looking for investigative documentaries and current affairs stories for its primetime strands.

Biemann said it was also keen on nature documentaries. “If you make big furry animal docs or blue-chip wildlife, you can work with us,” she added.

France Télévisions has ramped up the amount of factual content it orders from UK indies. France 3 recently came on board a documentary about Martin Luther King’s 1963 March on Washington, which is produced by Smoking Dog Films. It is also working with The Iraq War producer Brook Lapping on a documentary about the European Constitution.

Anna Glogowski, commissioning editor for documentaries at France 3, said: “We are trying to work on subjects that are not French, but looking to see if there is a link with some French event.”

The broadcaster is also working with US network PBS on a fourpart documentaries series about the assassination of John F Kennedy.

“Anniversaries are something that are very interesting for the international market,” she added.

France 3 is now looking for documentaries about World War II, particularly films using previously unseen archive footage. www.broadcastnow.co.uk

Film-makers from Britain can come to us as long as there is a link to our territory Hanka Kastelicová, HBO

Pan-regional broadcaster ARTE, which commissions 25% of its French and German output from Switzerland, is also looking for political docs. “I have two slots. I am looking for 105-minute investigations that talk about politics, economics and health issues. It can either be a feature-length doc or two television hours,” said commissioning editor Claudia Bucher, who recently ordered docs including Fischer Film’s Gas Monopoly and Point Productions’ How The Mafia Is Rigging Football.

top down: the Gatekeepers; the One that Got Away; Google And the world Brain

Netflix impact Sweden’s SVT, one of the key co-pro partners on the Why Democracy? series, is being forced to come on board international co-productions earlier than ever, particularly after Netflix launched across Scandinavia and started acquiring key factual content.

SVT commissioning editor Axel Arno said that despite its relatively small budgets, it is aiming to be a trigger broadcaster.

“We are a small network, we don’t bring loads of money to the table but we can come on early and trigger things. We can help bring companies together,” he said.

Pan-regional Central and Eastern European pay broadcaster HBO recently found success with The One That Got Away, a feature documentary from UK indie Lucky Coin that tells the story of a holocaust survivor.

HBO exec producer of documentaries Hanka Kastelicová said it has money for development and would like to order 15 films a year. “We are going after documentaries that the other public networks won’t air. We want untold stories that are controversial, exclusive and edgy,” she said. “Film-makers from

Britain can come to us as long as there is a link to our territory.”

Meanwhile, DR, which is best known for its drama output such as The Killing (Forbrydelsen) and Borgen, is aggressively expanding into the international factual world. The broadcaster has recently commissioned films including The Pirate Bay, Google And The World Brain and Pussy Riot: A Punk Prayer, all of which were made in association with Nick Fraser’s BBC Storyville.

The network has three commissioning rounds each year in February, June and September, and can put in budgets of up to E200,000 (£171,000). “I don’t want do-good delusion films, which are very popular in the US at the moment. I don’t want predictable films. I like films that are curious and challenging,” said DR head of documentaries and co-productions Mette Hoffmann Meyer. “I would like to work with film-makers from around the world.”

21 June 2013 | Broadcast | 13

Multiplatform News in brief Digital studio seeks ideas Former Aardman Animations TV boss Miles Bullough has launched digital studio Wildseed Studios with a fund of £500,000 to invest in multiplatform ideas.

It will fund projects spanning TV, the web, apps and comic books, and will make up to 50 investments of up to £10,000 over the next three years. It is focusing on character comedy, animated sitcoms, genre fiction and series for kids aged six to 11.

Big Brother in Very deal Big Brother has extended its partnership with etailer Very to allow fans to buy products featured in the C5 show through a 360° house website. Viewers of the Endemol-produced series will be able to explore the house and click to buy Very-branded products that appear, such as a four-piece wicker set, pillowcases and wine glasses.

Barb tracks digital views Barb will begin measuring TV viewing through all computer devices, including smartphones and tablets, from August. The company said field tests of a “groundbreaking app” planned for early summer should lead to the tracking of Barb panellists’ viewing on tablets and smartphones by the end of the year.

The organisation plans to launch a TV Player Report and has appointed Kantar Media to collect the data.

Vice looks for directors Vice Media is looking for new directors to work with on its tranche of original UK productions. Speaking at Sheffield Doc/ Fest, Vice UK head of video content Al Brown said it eschewed working with indies and preferred to bring in individuals to work with its existing team. He said Vice was looking for ideas to complement its existing online content as well as its recent HBO magazine series.

For the latest breaking news www.broadcastnow.co.uk 14 | Broadcast | 21 June 2013

C4 panel show to feature Twitter playalong game

BY Alex FArBer

Channel 4 is hoping that the playalong game for forthcoming panel show Was It Something I Said? (WISIS?) will have as big an impact in the space as The Million Pound Drop Live.

The David Mitchell-hosted series, produced by Maverick TV and Mint Digital, will offer a playalong element hosted entirely on Twitter. Viewers will be directed to follow a dedicated account, @somethingIsaid, which will post questions, funny pictures and supporting content to coincide with the appropriate point in the show.

Players will be able to track their progress via a mobile-optimised website that will be closely integrated with the Twitter platform. C4 estimates that 80% of TV-related Twitter usage occurs via mobile.

When a player visits the site, they will view one of three separate videos recorded by Mitchell, depending on how well they are doing.

Around 3,000 users will be sent personalised messages during each episode, with all the content produced designed to be shareable.

Separate Twitter accounts will also be launched to allow +1 viewers and those who watch the

Mitchell: WISIS? host will appear in Twitter videos for online players

extended 45-minute repeat to also play along.

Up to 10% of the audience for The Million Pound Drop plays along online, with C4 hoping for a similar level of engagement with WISIS. C4’s multiplatform commissioners Jody Smith and Adam Gee ordered the digital elements. The former said the broadcaster decided to host the playalong element on Twitter in response to viewer behaviour.

“The interactivity around The Million Pound Drop has been

hugely influential to other gameshows, and I’m expecting the interactivity planned for Was It Something I Said? to give the panel show genre just as big a kick up the arse,” said Smith.

The series is one of the first projects to have come from the broadcaster’s initiative to commission shows from non-traditional sources, and was inspired by the Quotabl.es online database Mint Digital developed for C4 in 2010.

Maverick digital creative director Dan Jones is exec producing.

Web WaTCh Walking WiTh dinosaurs: inside Their World

B

BC Worldwide has launched Walking with Dinosaurs: Inside Their World, an iPad app narrated by Stephen Fry that features 3D dinosaurs, authentic fight sequences and articles on prehistoric life.

It is a revamped version of the original Inside The World Of Dinosaurs app and costs £2.99 on iPad and iPhone. It will be made available on Android later this year.

The launch is the latest digital activity around the Walking With Dinosaurs brand. A dedicated website launched in January, while a game developed with Sony Computer Entertainment Europe, which taps into augmented-reality technology, is set for release later this year. An augmentedreality mobile app, Walking With Dinosaurs: Digisaurus, will also launch this year.

BBCW vice-president of digital entertainment and games Paul Joffe said: “Dinosaur fans can now easily navigate and learn about dozens of their favourite creatures, as well as the people that discovered them.”

Developer M5859 Studios URL www.walkingwithdinosaurs.com www.broadcastnow.co.uk

Technology & Facilities CREATIVE REVIEW

HAPPY FAMILIES

WIMBLEDON PROMO

SKINS PROMO

Post Evolutions Client Twofour Brief Provide fixed-rig services and post-production for the ITV documentary series about four families from across the country.

How it was done Evolutions provided a location-based ingest system as well as post services, including online edit, audio and grade. The location ingest rig was used to record three gallery-cut streams 24 hours a day for seven days, producing online, offline and proxy media.

Twofour logged the media on location, which was then delivered to the post house. Evolutions location services manager Phil Vincent said one of the challenges was fitting a full gallery, audio kit and ingest servers into a two-up, two-down terraced house. Editor Jonathan Field provided online finishing and dubbing mixers Nerys Richards and Mark Owen completed the audio.

Watch it Thursdays, 9pm, ITV

Post Prime Focus Client Red Bee/BBC Brief Complete the post for the BBC’s Red Bee-created multiplatform Wimbledon promotion, which focuses on the hard-work, passion and sweat behind the oldest tennis tournament in the world.

How it was done Autodesk Smoke was used for the rotoscope work, which was completed by Ben McIlveen in preparation for the effects, which were enhanced in Flame by Emily Irvine. This was then combined with colourist Vic Parker’s Baselight grade. Parker intensified the stock footage, bringing each personality into the foreground. The competitive drama was reinforced through the visuals using draganisation, a highdynamic-range technique used to draw out the detail in the strained faces of the players. After Effects work was completed by Jason Guest.

Watch it Now across BBC channels

VFX MPC Client 4Creative Brief Provide VFX for the 60-minute spot, which highlights that the final series focuses on a cast of three. The promo is a cinematic expression of each of their personal dramas.

How it was done MPC was involved from an early stage, including the creation of pre-vis before the motion-control team at The VFX Company programmed the camera moves. MPC VFX supervisor Chrys Aldred oversaw the transitions, creating the impression of one continuous shot. Two motion-control rigs were built on set and pre-programmed to move in and out of the different settings. The bedroom scenes were built on set, while others, such as the stock-exchange backdrops, were created in Nuke.

Tim Civil was CG supervisor.

Watch it Now on E4

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

Directors Cut appoints Ben Lee as online editor Directors Cut Films has appointed Ben Lee (below) to the role of online editor. Lee, who joins Directors Cut from Envy, will work with technical director Andy Nicholson and colourist Andy Elliott. His credits include Channel 4’s Rude Tube and MTV series Geordie Shore.

Re:fine fills key positions Content processing firm Re:fine has appointed Vicky Wise to the newly created role of projects manager. Wise has spent the past six years at media and broadcast software specialist Xytech Systems as a solution consultant. Before that, she was a senior business systems 16 | Broadcast | 21 June 2013

analyst at Ascent Media. Re:fine has also appointed a new head of VT. Simon Jones joins the company from BSkyB, where he was a media operator.

Marketing director Steve Owen said his “wide range of skills and experience” would help the company’s move into its next phase.

Chris Steele joins Quantel for revolutionQ roll out

Deltatre adds Civolution software to Diva player

Quantel has appointed Chris Steele to the role of senior product manager in its broadcast division.

Steele has been tasked with bringing the company’s revolutionQ software production system through its final stages of development and introducing it to the broadcast market. Prior to joining Quantel, Steele acted as a consultant to companies including The Foundry, Pixel Power and Marquis Broadcast.

Watermarking firm Civolution’s SyncNow ACR technology has been integrated into Deltatre’s Diva video player. The tie-up will provide the sports-targeted video platform with real-time identification and frameaccurate synchronisation between broadcast, on-demand or recorded television content on the main screen and apps on companion devices.

Sony boosts XDCam range with PMW-300 Sony has added the PMW-300 (below) to its XDCam range of cameras. The camera is equipped with three 1/2-inch Exmor 3CMOS sensors and Sony described it as the evolution of its PMW-EX3 device. The PMW-300 shoots 50Mbps 1080/25p material in MPEG HD422 and complies with the European Broadcasting Union’s (EBU) requirements for long-form HD acquisition. The PMW-300 has the same interchangeable EX-mount lens system as the PMW-EX3 and will offer two lens packages: a 14 x zoom lens and a 16 x zoom lens. The 14 x zoom model will be available in October, www.broadcastnow.co.uk

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

BBC takes Red Bee deals to 2017 as overhaul continues

BY GEORGE BEVIR

The BBC has extended Red Bee Media’s contracts to provide playout, metadata and interactive services by 18 months, to give it more time to overhaul the way it broadcasts and publishes content.

The initial 10-year contracts for playout and metadata services, which were signed when Red Bee was spun off from the BBC, were due to end in December 2015. The contract for interactive services was meant to expire three months before that, in September 2015.

The extensions mean that all three contracts are now aligned and will end together in March 2017. The BBC has said it wants to move to a “new solution and operating model” from April 2017, and is keen to ensure there is no disruption to its broadcasting operations in 2016, which it described as an “operationally critical year”, with major events including the Rio Olympic Games.

The BBC anticipates a two-year transition to whichever company

while the 16 x zoom version is still in development.

Kleparski replaces Khan as Molinare post manager Molinare has appointed Todd Kleparski as post-production manager. He will replace Nina Khan, who has taken on the role of post-production supervisor on Kudos Film & Television’s The Tunnel. Kleparski joins Molinare from Technicolor, where he held the position of senior DI producer.

Prior to that, he worked for Buena Vista in France, where he supervised technical services for clients.

As part of his new role, Kleparski has been tasked with managing client projects from the early production stages through to transmission or cinematic release. Molinare managing director Julie Parmenter said: “Todd’s extensive www.broadcastnow.co.uk

Red Bee: 10-year deals with the BBC were due to end in December 2015

is awarded the new deals once the extended contracts with Red Bee come to an end.

The broadcaster extended the contracts to give it time to “review the broadcast and publication chains and the boundaries which currently exist between various parts of the operation and those responsible for delivering them”.

In a series of documents that confirmed the extensions, the BBC

said that advances in technology meant the potential scope of the services provided by external suppliers could be more than those outlined in the current contracts.

It will continue researching what form those new models could take this year, before a competitive process begins at the start of next year for the award of new contracts for playout, metadata and interactive services.

knowledge of all areas of the post -production process, from budgeting and scheduling to client services and workflow management, will make him a great asset to the team.”

preloaded templates that display real-time data. Newtek chief technology officer Andrew Cross said the updated model “gives the most budget-conscious storytellers a whole new class of professional tools which, if purchased individually, would each cost far more than the TriCaster 40 itself ”. The software for existing users is priced at £899. A full system with the updated software will cost £4,499.

Newtek releases updated TriCaster production studio Newtek has unveiled an updated version of its TriCaster 40 multicamera video production studio (below). Version 2 of the HD system includes overhauled visuals, an animation store for full-motion colour overlays, and a dedicated title station with

Sabbagh to replace Bausch as SES chief and president Satellite distribution firm SES has appointed Karim Sabbagh as chief executive and president.

Sabbagh will take over from Romain Bausch, who will step down at the next AGM in April 2014. Bausch has held the two roles since 1995. Sabbagh, who has been a member of the SES board and its audit and risk committee since April 2011, will

Ericsson set for global push into broadcast The head of Ericsson’s broadcast division has underlined the company’s aims to push further into the sector.

Speaking on the first anniversary of Ericsson’s acquisition of Technicolor’s playout business, the company’s head of broadcasting services Thorsten Sauer described its aims as “global”.

“An increasing amount of media will be delivered through the cloud. Although satellite is important, broadband and IP is of growing significance and that is where our strengths lie,” he said.

“Our ambition is to be the number one partner in the transformation of the media and TV industry.”

Ericsson has built its presence in the broadcast sector through a series of acquisitions – the most recent of which was a deal for Microsoft’s IPTV video distribution platform Mediaroom – but Sauer declined to say if further growth in the UK playout sector would come through acquisitions.

Ericsson plays out 2,300 hours of content per day from Chiswick Park for clients that include ITV.

join the company as CEO-designate before taking up the new roles. Based in Dubai, he was a senior partner and global and regional practice leader for Booz & Company’s Communications, Media and Technology team.

Alias buys additional kit from Canon and Sony Alias Hire has taken delivery of £75,000 worth of handheld camcorders and peripherals, including Canon XF305, Canon XF105, Canon C300 and Sony PMW-200 camcorders, as well as Go Pro Hero 3 action cameras and Canon 5D Mark III DSLRs. The rental firm said it made the investment to “meet the evolving demands of the UK documentary market”. Alias Hire managing director Mike Smith said: “The Canon XF105s are in demand because they are very effective in low light and good for day and night shoots.”

21 June 2013 | Broadcast | 17

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13:34

805 Broadcast DPS v5.indd 3

18/06/2013 13:39

Comment

We’re blessed with clients more interested in the quality of our programmes than the ratings trends ITN chief exec John Hardie, Interview, page 22

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20 | Broadcast | 21 June 2013

Cannes Lions: Jack Black appears on stage with Yahoo!

TV can learn from ad-makers Why were there no TV creatives at Cannes Lions? asks Kate Bulkley

I

’ve been in Cannes this week – and no, I haven’t got the date wrong for Mipcom. I’m here for Cannes Lions, which is where the cream of the advertising industry gather to celebrate creativity.

Some TV sales guys are here, but I haven’t seen a lot of TV creative types, and I think they’re missing out.

The week is full of ideas, creative presentations and pitches with a whole lot of awards. The main stage and pop-up venues scattered along the Croisette are packed with talent, from Mel B and Martha Stewart to Vivienne Westwood, Annie Leibovitz and Bob Geldof, and what’s interesting is that they are talking about the way digital technology and social media have dramatically changed what they are doing artistically.

Not least of these changes is where the power lies.

Actor Jack Black, who was a little worse for wear after an evening of too much rosé, talked about his upcoming series Ghost Ghirls, which is on Yahoo! and not the Syfy TV channel, which originally greenlit it, before suddenly deciding it “didn’t want comedy”.

“We just want to make stuff,” said Black, who then outlined several other online projects, including a US comedy festival called Festival Supreme to be streamed live on Yahoo!, an animated web series with his comedy rock band Tenacious D, and a project with the working title Citizen’s Arrest. The latter doesn’t look funny on page, but when Black explained it, trust me, it sounded hilarious.

The head of Yahoo! video Erin McPherson was on stage with him, and was keen to exploit what she called the “marriage of content and technology”.

She has plans to increase the amount of original content on the site, especially comedy, all overlaid

with personalisation and curation tools. She calls it “TV on steroids”.

What’s also interesting for TV folk is that brands themselves are creating content faster than you can say ‘Google search’. But they want to work with media that ‘get it’, like Tina Brown’s The Daily Beast, the Spotify music site and Yahoo!, and anyone else with a creative strategy that will get them the attention they want (so people can buy their stuff).

For example, documentary producer Dyllan McGee has won a commission from PBS for a film about pioneering women called Makers, but it was only after AOL came on board as a partner that Unilever’s facial skincare range Simple became involved, and her film became an interactive, digital brand that will be used by millions of people around the world. On stage with women’s movement activist and Ms Magazine founder Gloria Steinem, McGee looked like a kid in a candy shop.

“I thought we were going to have a website,” she said. “This is a brand, a living library online.” These are the kinds of relationships that brands like AOL and Simple are trying to create with audiences, and that creative agencies are working like dogs to build with their customers, the brands.

The TV business needs to not only understand this but also get in on it because there was a lot of creative juice in Cannes this week – alongside multiple glasses of quite good rosé, as Mr Black will attest. ➤ Kate Bulkley is a print and TV journalist and awards secretary of the Broadcasting Press Guild. Follow her on Twitter @katecomments

‘Brands are creating content faster than you can say Google search’

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In MY vIew CAMPAIGN Responses on broadcastnow.co.uk to Steven D Wright’s column ‘Just stick to the day job, will you?’

(Broadcast, 14.06.13) Oh dear. I was trying to convince myself that the commissioning process isn’t a totally arbitrary, plagiarism-filled viper’s pit of bumlickery fuelled by greed.

Sigh. But seriously – is it really this cynical and corrupt?

Anonymous

Responses on broadcastnow.co.uk to our story ‘Michael Palin: TV production like selling toilet paper’ Michael Palin is spot on. Too many superficial TV postcards; too few programmes of any kind that are genuine journeys of discovery for their presenters – or for their audiences. Too many predetermined shooting scripts with pictures on our screens. Too few evolving narratives. Not enough risky commissions!

Producer, name withheld Bravo Michael, but I blame you.

Seems some producers learned a trick from that guy who insisted a dead parrot would come to life and say something interesting if you thumped it hard enough. The audience wasn’t fooled then, and they’re not now. If a storyline needs repeatedly nailing back onto its perch there’s got to be something wrong with it.

Producer, name withheld Or the now almost universal use of throw-forwards before each break, followed by a recap of the entire programme so far immediately after every sodding break.

That alone can waste 12 minutes in a commercial hour. They even do it on the BBC! Hooray... only 30 minutes of actual content to make. Plus the obligatory 5-10 minutes of Brian Cox staring wistfully into deep space. It is worth returning to a programme like Alistair Cooke’s America once in a while to see how real TV storytelling should be done.

Anonymous www.broadcastnow.co.uk

Comment

TAX BREAK

Your saY

Palin: criticised doc storytelling

EXPERT WOMEN

CAMPAIGN

So Steven, you may well be right, but what’s new? You are actually describing an ethos which, in degrees, has been a part of our lives since the birth of Channel 4 and the creation of the indispensable commissioning editor role. Ask Malcolm Gerrie – he was one of the first to embrace this new programmemaking structure and soon learnt how to play them like a well-tempered clavichord.

Royston Mayoh, entertainment producer Oh Steven, spot on. Ex-execs who thought they were gods until they realised it was their title we were worshipping and not really them at all.

Anonymous Steven, please, please make podcasts. Please. Your commentary is brilliant. I don’t care if you talk about what you’re eating for breakfast, you make me laugh.

Please. (I choose to remain anonymous for fear of coming over as a sycophant).

Producer, name withheld Response on broadcastnow.co.uk to the story ‘Hall to unveil radical plans’ (Broadcast, 14.06.13) The BBC should think about radical ways of reinvigorating the relationship between licence fee payers and the organisation. I’d start by announcing a dividend-style scheme that demonstrated a clear link between BBC Worldwide’s profits and the level of the fee we all have to pay. Goodbye regressive compulsory tax, hello publicly owned enterprise whose creative and financial value is shared by all.

David Mortimer, senior vicepresident, factual and entertainment, NBCU

Calling the shots on more than just Call The Midwife An all-female directing line-up shouldn’t make headlines, says Hayley McKenzie

A

s it enters production on series three, Call The Midwife has been making headlines, both here and in the US. The reason?

Every director on the series will be a woman. Although this is said to be by happy accident rather than design, helped in no small part by the intimately female subject matter, it does raise the question: why is this so unusual?

It’s not without precedent – the third series of Scott & Bailey beat Midwife to it – but it’s far too early to say the tide has turned. As I look across the current drama landscape, it’s clear that these two shows are indeed news-worthy because all-male directing line-ups are still the norm.

I knew back in 2009 that the television directing landscape was male-dominated. Working on Blue Murder for ITV Studios, I did a huge trawl of directing talent working in the industry. Of the 140 names I had, only 16 were women, a paltry 11%.

I’d assumed that since then things had improved. But recent research by Directors UK found that the number of women directors in UK drama has dropped significantly in the past five years. In the US, the Directors Guild of America revealed that in 2011/12, only 15% of scripted television episodes were directed by women.

Recent big dramas such as Broadchurch, Ripper Street, Death In Paradise, Luther, DCI Banks, Prisoners’ Wives and Mr Selfridge clocked up 112 hours between them, hiring 29 directors. All were men. The continuing drama series don’t fare much better: women make up 18% of the directors on Holby City, 17% on Casualty and 13% on Waterloo Road.

Organisations like Women in Film & Television do much to give the issue profile but we need more

research if we’re to start tackling this dearth. Thankfully, there is progress here. Directors UK formed the Women’s Working Group, chaired by Beryl Richards, which has been able to mine broadcasters’ annual residuals data to track the gender split. Kate Harwood, BBC’s head of drama production, England, has shown her support.

While active encouragement into the industry is to be applauded, is there a lack of

‘It’s the men who go on to make their first feature film and break into television drama’ women pursuing directing as a career? Or are we just not hiring those that are emerging?

The evidence from the UK’s film industry, where female directing talent is similarly underrepresented, suggests that women are initially setting off on the path to a directing career.

Briony Hanson, director of film at the British Council, notes that at film schools and among short filmmakers, there are as many women as men. Then suddenly they disappear. It’s the men who go on to make their first feature film and break into television drama, becoming the next generation of film and television directors.

The BBC is undertaking a study of hiring practices in BBC drama to determine why it seems so difficult to get a drama directing job if you’re a woman. It’ll be interesting to see what issues the research reveals. Hopefully, we can then take steps to help those talented female directors not just to break into the industry but to sustain successful careers as directors. ➤ Hayley McKenzie is founder of development consultancy Script Angel 21 June 2013 | Broadcast | 21

The Broadcast Interview John hardie iTn

‘news is still our lifeblood’ ITN’s chief executive talks to Jake Kanter about restoring the business to profitability by refocusing on TV news, solving its pensions problem – and regaining its swagger

I

TN is in bullish spirits. The company has recently posted its best set of financial results in years, there’s a swagger to its journalism, and its young production arm is consistently winning commissions. So it’s no wonder that chief executive John Hardie sports a broad smile as he reclines (almost, in one instance, to the point of being horizontal) in his spacious office on the first floor of Grays Inn Road.

The Scot has been at the helm since 2009 and describes ITN’s progression as the “culmination” of a three-year plan to restore its balance. As is usual with a chief executive leading a transformation mission, Hardie is not exactly glowing about the state of ITN when he took over.

“The business was not in good shape in 2009,” he says. “We were losing more money than ITN anticipated and that was exacerbated by a pension deficit. The problems were baked in.”

ITN’s archive business was losing money hand over fist, Hardie explains.

The company was also “first among losers” during contract pitches and when it did win deals, many were operated at a loss because financial and creative teams were not collaborating properly. “There wasn’t much going on at ITN that was profitable.

We were losing money and not focused on our core reason for being, which was television news,” he says.

A news specialist that takes its eye off the news agenda is, as Hardie later explains, a pretty rudderless proposition. “The day that ITN isn’t built upon its news programming is the day there is no need for ITN,” the former Disney executive argues.

With that in mind, Hardie returned ITN’s focus to its “core competencies”, brought in “talented” creative and financial staff, and pulled together the indie’s disparate digital, commercial and production arms under the ITN Productions (ITNP) banner.

Having added 5 News to its existing ITV and Channel 4 deals, ITN now provides news for all three commercial terrestrial broadcasters. Meanwhile, ITNP has become a notable bread22 | Broadcast | 21 January 2013

FaCTFiLe Career 2009­present Chief executive, ITN 2001­2009 Executive vice-president and managing director, Walt Disney Television, EMEA 1997­2001 Marketing and commercial director, ITV 1983­1997 Various roles, Procter & Gamble

winner after picking up commissions, including ITV’s The Agenda and a Dispatches output deal, as well as growing its digital content, striking deals with the likes of YouTube.

These two factors helped revenues grow to £108.7m in the 12 months to 31 December 2012 – their highest point since 1999 – delivering a 61% jump in operating profits to £3.7m.

Hardie admits ITN is more diversified than ever, but baulks at the suggestion that it is less reliant on its news contracts. “It’s still the lifeblood of everything we do – and that’s not just a spiritual statement,” he says, reeling off a list of the practical advantages of having three big news contracts, not least a wealth of technical expertise in journalism and live broadcasting.

Salary Hardie’s total remuneration package last year was worth £726,000. In addition, he received a £491,000 payout from ITN’s long-term incentive scheme.

ITN divisions ITN News (which makes ITV, C4 and C5 news) ITN Source ITN Productions

For all the changes, the cloud of ITN’s pension deficit remains. It threatened to bring the company to its knees in 2009, and although a rescue plan was agreed in 2011, the shortfall is still on the rise: up £6.4m to £88.8m in 2012.

Hardie says the 2011 rescue plan – although not formally signed – is “sufficient” to withstand the increase in the deficit. ITN’s return to profitability has alleviated the pressure, he adds, because the company is now able to make consistent contributions to the scheme.

ITN is also “evaluating a number of options to further reduce the risk” of its pensions deficit, but Hardie insists this won’t involve “draconian” cuts to pensioners’ entitlements, and will instead give them voluntary options regarding “how quickly and when they draw on their pensions”.

Managing change If the pension scheme is taking up less of Hardie’s time, then ITV News has rocketed up his agenda since editor Deborah Turness announced last month her move to NBC News. Hardie has appointed a headhunter to find her replacement and says the process is “well under way”, but keeps his cards close to his chest about what he expects from a successor.

ITNP editorial director Chris Shaw and 5 News editor Geoff Hill are said to be among the leading internal candidates, while RTÉ News’ Kevin

John hardie on...

Diversity on screen “It’s taken quite seriously by the industry. Some of it isn’t quick-fix and the last thing you want to be is tokenistic about it.”

running this country stand up on a national platform and discuss the issues.”

Election debates

Lucy Manning following George Entwistle to work

“There’s a long way to go and I’m sure there will be many healthy discussions to come. I think the general public would find it very odd not to see the major figures

“It was unusual, I will grant you, but it was considered and deliberate at the time. It’s not typical – we wouldn’t doorstep the director general of the BBC every

time we want to speak to him – but that was an example of when we got it exactly right.”

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

Clockwise from main pic: ITV News; 5 News; Channel 4 News; The Agenda

Bakhurst has been mooted as an external prospect.

Whoever succeeds Turness will inherit a service that has been through dramatic changes in the past 12 months. There has been the major revamp of itv.com/news and the wider ITV rebrand, which ushered in an overhaul of its news bulletins.

Hardie says the website has revolutionised the service, giving reporters the platform to break news, while the bulletins are used as a space to provide the “best take” on the day’s story.

Thanks to the new site, ITV News was the first to bring viewers Michael Olumide Adebolajo’s monologue after the murder of Lee Rigby in Woolwich – regardless of BBC News director Fran Unsworth’s swipe that ITN paid for the footage, a statement on which ITN has not commented – and it broke the news of George Entwistle’s resignation as BBC director general last year.

“It’s not just the look of ITV News that’s improved – that simply reflects how far the substance of ITV News has come,” Hardie argues. www.broadcastnow.co.uk

‘The day that ITN isn’t built upon its news program­ ming is the day there is no need for ITN’

ITN has achieved this without the security of a long-term contract after its six-year deal to supply ITV News quietly ended last year. No new deal is in place, but Hardie is confident a “multi-year” agreement will be reached after ITV finalises its licence renewal.

He refuses to confirm the length of any new arrangement though, or state whether ITN will receive more than £40m a year, as it did previously.

“There isn’t a figure that will be set.

It will be a long-term working relationship with ITV, which will be flexible to the needs and demands of ITV. Hopefully, the value might go up,” says Hardie, adding that ITN is more integrated with ITV’s regional output and Daybreak than ever before.

Transitioning editors is, of course, not alien to Hardie, having last year ushered in a new era at C4 News after Ben De Pear replaced Jim Gray.

He says the service is enjoying a “renaissance”, sweeping the board at the RTS Television Journalism awards, winning a record six gongs, and breaking the news of sexual abuse

allegations against former Lib Dem chief executive Lord Rennard.

“As [C4’s chief correspondent] Alex Thomson said when it won the RTS: ‘Find powerful people abusing power and piss them right off.’ That is the C4 take on holding power to account. It does that with a twinkle in its eye, but always grounded in the seriousness of the matter.”

The changes have not translated into higher ratings though, with C4’s weekday bulletin’s year-on-year audience falling 7% to 685,100 (3.21%) so far in 2013. Concerns about reach were also raised by Ofcom this week.

Hardie doesn’t argue with the numbers, but says: “We’re blessed with clients more interested in the quality of our programmes than the ratings trends at any particular time.”

ITN never really lost the confidence of its customers, but on the evidence of Hardie’s work, it’s discovered a renewed confidence in itself. “Everyone in this company knows what we’re here for: it’s about brilliant television news – and making money from that.”

21 January 2013 | Broadcast | 23

Ratings Analysis US factUal channelS

Docs lose out to formats Discovery’s decision to focus on exclusive international rights and returnable programmes highlights US factual channels’ growing demand for formatted series. By Stephen Price

L

ast week, Broadcast reported that Discovery Networks International is set to pull the plug on its co-production partnership with the BBC, forged formally in 1998.

Clearly, times have changed since those long-lost 20th century days.

The game is now much more about the exclusive ownership of international rights, which can be exploited preferably by producing long-running, returnable – and relatively cheap – formatted series, rather than the epic natural history films whose profits DNI shared with the BBC (see page 37).

Certainly, the top-performing programmes for Discovery over the past 18 months reinforce the value of these formats; and it’s a

‘The topperforming programmes for Discovery reinforce the value of formats’

market that UK production companies are tapping into.

With National Geographic’s international commissioning hub, the race is on for the heavily formatted and internationally exploitable holy grail.

And the same goes for the History channel, following the success of US series Storage Wars over the past three years. This has ramped up the competition for storage formats, now that Storage Hunters is doing so well for UKTV’s Dave.

In the year to 6 June, the Discovery Channel has increased 7pm-11pm peak-time share by 6%, while all-time share has grown by a strong 13%. Discovery’s Quest has shown a 9% increase in all-time and peak.

DISCoveRy CHAnneLS 1 JAn 2013-6 Jun 2013 (0600-2600) Programme

2013 YTD volume

Discovery

38,500

2013 YTD share (%)

Change y-o-y volume (%)

Change y-o-y share (%)

0.34

13.57

13.33 -10.00

Discovery History

10,000

0.09

-12.28

Discovery Science

8,800

0.08

-1.12

0.00

Discovery Turbo

9,600

0.08

1.05

0.00

Discovery Shed Investigation Discovery Discovery Travel & Living1 Discovery Real Time1 Home & Health

5,700

0.05

-30.49

-28.57

18,700

0.17

139.74

142.86 -50.00

1,600

0.01

-40.74

11,900

0.10

-11.85

-91.67

6,800

0.06

-18.07

-14.29

TLC2

24,900

0.24

-

-

Animal Planet

12,900

0.11

26.47

22.22

Quest

53,300

0.47

10.12

9.30

1 Closed 29 April 2013 2 TLC from 30 April 2013

nATIonAL GeoGRAPHIC CHAnneLS 1 JAn 2013-6 Jun 2013 (0600-2600) Programme

2013 YTD volume

2013 YTD share (%)

Change y-o-y volume (%)

Change y-o-y share (%)

16,100

0.14

-3.99

-6.67

6,800

0.06

-1.69

0.00

Change y-o-y volume (%)

Change y-o-y share (%)

national Geographic national Geographic Wild

HISToRy CHAnneLS 1 JAn 2013-6 Jun 2013 (0600-2600) Programme

2013 YTD volume

History

2013 YTD share (%)

25,600

0.23

0.00

0.00

6,200

0.05

-18.42

-28.57

H24

7,800

0.08

-

–

C&I

16,300

0.14

-1.81

-6.67

Bio

8,000

0.07

-6.98

-12.50

Military History3

3 Includes H2 from 4 May 2013 4 H2 from 4 May 2013

24 | Broadcast | 21 June 2013

Discovery History is showing doubledigit declines, down 10% in all-time and 22% in peak. National Geographic is experiencing declines of 6.7% in alltime, while the History Channel remains steadfast: its peak-time decline of 13% is deflected a little by increases for C&I and Bio (10% and 17% respectively, though both are down in all-time).

Broadly speaking, the Discovery family has historically had a male profile, and that remains unchanged.

However, TLC’s launch aims to adjust that balance. While Quest is older and Discovery Channel is younger, both have a male skew. Hence the success of UK-produced programmes on Discovery such as Gold Rush and Wheeler Dealers, as well as the three-parter Naked And Marooned With Ed Stafford and the nine-part Breaking Magic.

Chasing female viewers By replacing the Travel & Learning channel and Real Time, TLC has quickly established itself as one of the biggest Discovery Channels, and one with a female slant. Its 0.24% all-time share compares favourably with Discovery’s 0.34% and Quest’s 0.47%. Its 16 to 34 year-old female share is 0.55%, nearly twice Discovery’s 0.32%.

So far, US shows dominate TLC’s top programme list, not least the odd but popular Here Comes Honey Boo Boo (254,000/1% on 14 May) and the best yet, Breaking Amish (255,000/1% on 19 May). The best-performing UK-produced show, Undercover Mums, achieved 72,000/0.4% on launch – just outside the top 10. Once TLC has had a bit more time to find its feet, the true impact of its arrival will be clearer.

Following its success in the US, History spin-off channel H2 replaced Military History in the UK on 4 May 2013 to expand that ultra-specialist channel’s brief to include modern and ancient history, science and technology. In the words of head of acquisitions Rachel Job, it is intended to “unlock history content we don’t currently have room for”.

In the month since its launch, it is averaging 0.08% in all-time, half as www.broadcastnow.co.uk

Data supplied by Attentional

Source. BARB

Storage Wars

big again as its military predecessor.

Its peak-time share of 0.07% is level with Discovery History.

As H2 shifts more towards historical content, The History Channel moves deeper into fact ent, competing against the likes of Discovery with shows such as Storage Wars (best: 347,900/1.4% on 11 September 2012), Pawn Stars (best: 303,500/1% on 10 September 2012) and Counting Cars (best show in 2013, with 261,300/1.1% on 28 February) plus UK commissions such as Mud Men, the best of which was 26 January 2012’s 166,000/0.9%.

One of National Geographic’s best shows has been Doomsday Preppers.

Its best performance was 5 September 2012, when it got 188,800/1%. A home-made version, Preppers UK: Surviving Armageddon, on 28 November 2012 came in with 112,000/0.4%.

Factual networks are moving away from the original remits set in a distant time, and towards a strategy of exclusive ownership of the rights for international exploitation. And the more long-running series they have, the better the value and the larger the profits. The split between the BBC and Discovery is a real sign of those times.

Brain Games

‘The more long-running series they have, the better the value and the larger the profits’

Gold Rush

HISToRy ToP 10 1 JAn 2013-6 Jun 2013 Rank

Programme

Date

Day

Start time

Volume

Share (%)

1

Storage Wars

2

IRT Deadliest Roads: The Andes

11 Sep

Tue

21.00

347,900

1.36

19 Jan

Thu

21.00

309,000

3

1.10

Pawn Stars

10 Sep

Mon

21.00

303,500

1.09

4

Counting Cars

28 Feb

Thu

21.30

261,300

1.08

5

American Restoration

2 Jul

Mon

21.30

186,400

0.72

nATIonAL GeoGRAPHIC ToP 10 1 JAn 2013-6 Jun 2013 Rank

Programme

Date

Day

Start time

Volume

Share (%)

1

Brain Games

3 Jun

Mon

20.00

273,100

1.21

2

Bloody Tales of The Tower

16 Apr

Mon

20.00

196,400

0.78

3

Doomsday Preppers

5 Sep

Wed

22.00

188,800

0.96

4

Air Crash Investigation

26 Mar

Mon

21.00

185,700

0.69

5

Gold Diggers

5 Dec

Wed

22.00

168,800

0.86

DISCoveRy neTWoRK ToP 10 1 JAn 2013-6 Jun 2013 Rank

Programme

1

Salvage Hunters

2

Gold Rush

3

Channel

Date

Day

Quest

Start time

Volume

Share (%)

8 Apr

Mon

21.00

478,400

1.62

Discovery

22 May

Tue

21.00

430,600

1.69

Auction Hunters

Quest

26 Mar

Mon

21.00

420,800

1.56

4

Wheeler Dealers

Discovery

9 Oct

Tue

21.00

400,300

1.59

5

naked And Marooned With ed Stafford

Discovery

21 Mar

Thu

21.00

381,100

1.52

audience data system

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

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Behind the Scenes Kung Foolery

Paying homage to a kickboxing cult favourite In true B-movie style, we delivered a tonguein-cheek travelogue and recreated a treasured martial arts fight scene, says Neil Edwards Neil Edwards Senior executive producer, Twofour

L

ike most young lads who grew up in the ’70s, I wanted to be Bruce Lee. I’ll bet I wasn’t the only kid to saw up his mum’s broom handle to make nunchucks, and I’m sure I wasn’t alone in smashing myself in the eye and groin until my dreams of martial arts superstardom were left as crushed as my testicles.

So it was with a combination of excitement and trepidation that I embraced the opportunity to return to those childhood fantasies.

I’d worked with presenter Matt Bell before – I knew he was funny and charming, and I also knew that he’d burned off his own teenage puppy fat by learning kickboxing. What I didn’t know was that he and his best mate Pip Holmes (a fitness guru and topclass fighter) had harboured the same martial arts fantasies as me – only theirs hadn’t diminished with time.

The pair were dreaming of a road trip where they could learn new skills, pit themselves against local fighters and emulate their action-movie heroes.

Together with Twofour and Sky, they cooked up Kung Foolery – a format in which they would head to the East to recreate a fight scene worthy of one of their favourite kung fu flicks. And that’s where I came in.

As a Twofour staffer, I was offered the chance to do what I enjoy most: slinging a camera on my shoulder and trying to capture a good story.

26 | Broadcast | 21 June 2013

From the outset, we knew we wanted a show that would appeal to the whole family. So, with a mission to create a fun and informative adventure, it seemed right that we should try to emulate the classic story trajectory that most martial arts tales follow: a journey of mind, body and spirit, featuring gruelling training, plenty of bruises, plus a little bit of that spiritual enlightenment that immersion in an unfamiliar culture brings. We decided the whole adventure should culminate with Matt and Pip’s own homage to the genre’s obligatory final fight scene.

We started with a list of their favourite martial arts films and began looking at what would work in terms of location, fighting styles, and story.

We settled on The King Of The Kickboxers – a 1990 movie set in Thailand.

It’s a familiar tale of vengeance that leads the hero from the stadiums of Bangkok to a jungle training camp, before a spectacular showdown with his nemesis. It had the right story elements, a good mix of martial arts disciplines, and the added advantage of being set in a single country. Pleasingly, the movie also possessed all the unintentional humour inherent in the best kung fu B-movies.

But as corny and relatively lowbudget as the original film might have been, we still had a large task to achieve the same look. They had props and costume departments, set builders, and apparently three weeks to shoot the final fight scene alone. We’d be attempting to shoot our final fight scene in a day.

I wanted the same rich and exotic imagery as the kung fu flicks that inspired the journey, but I also wanted

‘I wanted the show to have the same rich and exotic imagery as the kung fu flicks that inspired the journey’ Neil Edwards

Kung Foolery

Production company Twofour TX 24 June, 9pm, Sky 1 Producer/director/cameraman Neil Edwards executive producer Dan Adamson Assistant producer Matthew Grosch Production manager Charlie Smith Summary Kung Foolery follows best mates and martial arts nuts Matt Bell and Pip Holmes as they embark on a Thai adventure where they learn to fight like their actionmovie heroes.

neil edwards My tricks of the trade n Try to resist the urge to direct. Put

people in a situation, make sure your camera is in the right place to acquire the shots you need without disruption, and try to let things happen naturally. n Have a solid plan, but be prepared to improvise. The best stuff is usually unexpected. n Respect your contributors and don’t forget to thank them in writing.

However important you think you are, there’d be no show without them. n If you must use nunchucks, wear a box.

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to have a small team, travelling light, to capture the intimate travelogue nature of Matt and Pip’s personal adventure. So we decided I would produce, direct and shoot, and the AP, Matt Grosch, would handle sound recording. With the exception of a local fixer, that would be our crew. I went for a very simple kit, and banked on good natural light and fabulous locations to do all the hard work.

It was a well-planned shoot, including a brutal workout from ladyboy Muay Thai legend Nong Toom, jungle training with a real-life Mr Miyagi, and sword fighting under the tutelage of a grand master. But it was the unplanned moments that gave me the greatest pleasure: watching Matt’s genuine terror when we were faced with crossing a tumbledown old WWII rope bridge; seeing the smirks of the Thai kids as our macho talent struggled to walk barefoot on a stony temple floor; and wincing as Matt took a kick to the gentleman’s area from a Thai fighter half his size.

Despite the sweat, sunburn and occasional tummy problems, it was one of the most enjoyable shoots of my career, with unforgettable memories. I may never be Bruce Lee, but – for a while at least – I felt like I might have been in one of his movies. www.broadcastnow.co.uk

Clockwise from left: Neil Edwards and Matthew Grosch film a scene with Pip Holmes and Matt Bell; Holmes (left) and Bell fight in temple ruins; Bell (bottom) on the rope bridge with Holmes; filming on the beach

Kung Foolery oVerCoMIng oBSTACleS Charlie Smith Production manager, Twofour

We faced many obstacles organising such a unique shoot overseas. Cultural and logistical hurdles were expected; a natural disaster wasn’t.

As the team were about to depart, Thailand suffered horrendous flooding. Not only had this disrupted the country’s infrastructure, but some of its most beautiful temple ruins, where we had planned on filming our fight parody, were underwater. The production team and presenters (pictured) were committed to other projects, so rescheduling would be problematic.

Cue some frantic research to see if we could stand up another kung fu movie in a different country. In the end, we decided to delay the shoot for two months and squeeze it into a twoweek gap in everyone’s schedules.

I’m so glad we opted to employ a local fixer. Their ability to break down the language barrier and understand cultural differences was invaluable.

Although our egos led us to believe we

could set up everything on the telephone from our UK office, we soon realised we couldn’t.

One example was when the fixer wrote respectful, formal letters on our behalf to a mountain-top monastery at which we wanted to film. Had we attempted to phone the monks and speak to them ourselves in English, we would have offended them and ruined any chance of their taking part.

I always knew the shoot would be tough, given the type of activities planned and the remoteness of some of the locations. But I wasn’t prepared for my biggest challenge, which came near the end of post-production. The director needed someone to voice the English translation of an interview with one of the Thai martial arts mentors. I don’t know whether to be flattered or offended, but I am now immortalised in the final show as the voice of a kickboxing ladyboy.

21 June 2013 | Broadcast | 27

Are you up for the challenge?

LO N D O N -TO - A M S T E R D A M 300 MILES London to Amsterdam - 300 miles in three days - 6th-8th September 2013 A gruelling test of stamina and will, raising money for VICTA and The Vision Charity, changing the lives of blind and partially sighted children.

To find out more about taking part and the commitment required please email info@ibc2ibc.com of telephone us on 020 7083 7213.

OFFiCIAL BENEFICIARY:

EVENT ORGANISERS:

w w w. f 1 3 eve nt s . co . u k

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21 June 2013 | Broadcast | 29

Marketplace

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

Don’t miss your chance to advertise in June’s Little Guide to Training!

Broadcast is offering Training Companies, Training Schools and Universities a chance to highlight their institution along with their relevant courses to 34,000 Broadcast readers The Little Guide to Training is part of Broadcast’s successful mini-guide series, supporting all services to the broadcasting industry. These recognised guides are distributed to all Broadcast subscribers which has an average net readership of over 34,000 broadcast professionals Booking deadline 26th June 2013 Publication date 12th July 2013 To advertise please contact Jon Thornley: T: 020 3638 5065 E: jonathan.thornley@broadcastnow.co.uk

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

Appointments

NoN-executive MeMbers, coNteNt board London Ofcom is the independent regulator and competition authority for the UK’s broadcasting, telecommunications and wireless communications sectors.

The Content Board is a Committee of the Ofcom Board with delegated responsibility for a range of activities including content protection, broadcasting sanctions and radio licensing.

As a result of a number of the Content Board non-executive members stepping down, Ofcom is seeking to recruit three new non-executive members; two of the new members should represent the interest of citizens in Northern Ireland and England.

Applicants for the posts will demonstrate a clear understanding of issues to be faced in present and future content regulation in the digital age. An understanding of broadcast and digital media is essential and knowledge of the wider media environment, including advertising markets, is highly desirable. Candidates will need to demonstrate clarity, rigour, and independence of thought, as well as impartiality and a participative approach to decision making.

The time commitment is up to three days per month.

Ofcom is an equal opportunity employer. It wishes to reflect the diversity of contemporary UK society and is therefore actively seeking to recruit colleagues from all cultural and ethnic backgrounds as well as those who have a disability.

Please apply for an application pack to ofcomned@zygos.com or call 02078812900.

Closing date: Thursday 11th July 2013

At Evolutions we believe that our team are our biggest asset. We are talented, creative and committed but above all we enjoy what we do!

We are now opening a brand new facility in Bristol and we are looking for the best local talent to join us. We are recruiting to a variety of roles and disciplines and are keen to meet experienced people who share a deep knowledge of post production and love of television.

If you would like to be part of the Evos family please send your CV to; HR@Evolutions.tv

“I have to say that working with you guys was a really good experience.

You made it easy from start to finish and delivered immediate, plentiful and quality results. I will not hesitate to use you again, should the need arise. Rest assured that I will recommend your services liberally.

Dominic Lobo; Head of Production

30 | Broadcast | 21 June 2013

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

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

Appointments

EMS

technical personnel are looking for: Broadcast Project Managers: Hants

MGM Worldwide Television Group

Avid and EVS support engineers: East London

International Television

Sales Director, Software: London

MGM Worldwide Television Group seeks dynamic administrative assistant to support executives within our London-based International Television Distribution team. The ideal candidate will be comfortable managing core office tasks and helping manage all aspects of international client relationships. Full literacy in Microsoft Word, Excel and PowerPoint is essential.

Language fluency in French, German or Spanish a plus.

Call us, e-mail your CV or register online. +44(0)20 8948 9400 recruit@ems-tp.com. www.ems-tp.com

Please forward cover letter and CV to Amanda Millett, Human Resources and Administration at amillett@mgm.com

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Following a successful year, Molinare is looking to expand their Senior Management and Sales teams with a number of new positions. These are integral roles working within one of the most creative and ambitious post production houses in the industry. We are keen to meet enthusiastic and dynamic people who will be an asset to our existing team. Experience within the post production sector is desirable but not essential: General Manager – Sales This role will head up Molinare’s sales team and report directly to the Managing Director. The candidate will be responsible for setting and delivering sales targets, have significant input into the sales strategy and will also be expected to investigate new business opportunities. The successful candidate will have strong people management experience and will have a proven track record of running a successful sales team. The individual must have a strong commercial mind-set and have excellent customer focus. They must be a self-starter as well as being able to motivate the sales team to deliver the results expected.

Key Account Manager – Drama This role will report to the Head of Drama Sales and will be an integral part of the sales team.

The ideal candidate must be a team player and have excellent customer service skills. Attention to detail is also essential in the role, and the candidate must have previous experience of working within a sales team. The role will involve building long term relationships with clients, discussing detailed requirements and quoting, through to the handover of a project to a Post Production Manager.

General Manager – Operations The successful candidate will become part of the senior management team, and as such the applicant must be able to work at both a strategic and operational level. The ideal candidate must have excellent people management skills and a strong background in technical operations.

Please send your CV and covering letter (stating the role you are applying for, salary expectations and notice period) through to hr@molinare.co.uk by Friday 5th July 2013

PRODUCTION EXECUTIVE/SENIOR PRODUCTION MANAGER / PRODUCTION MANAGER/ UNIT MANAGER / TECHNICAL DIRECTOR IMG is offering you a chance to be actively involved in an exciting and hugely successful 24x7 rolling football production that broadcasts to millions of people around the world.

Premier League Productions is a dynamic and challenging department looking after live match production for the international market; liaising with Premier League clubs to help manage on-site production; as well as producing a whole series of Premier League content distributed around the world. These are prestigious roles working with the Premier League and many of their international partners.

Production Executive/Senior Production Manager - Reporting to the Head of Production the Production Executive/Senior Production Manager will take responsibility for operational management of programming from development to delivery. Working closely with key programme making teams they will push to ensure the programmes are produced efficiently, on spec and on budget and adhere to all compliance issues. The successful candidate will manage a team of PMs and PCs and other support staff.

Production Manager - The Production Manager will work alongside the Producer and assist the team working on production projects for the Premier League. The Production Manager will be responsible for all aspects of production: booking resources, managing a small team; cost reporting; budgeting new ideas; etc.

Unit Manager -The Unit Manager will be responsible for all technical aspects of the production around live matches and will take overall technical responsibility for ensuring programming gets to air; working with Host Broadcasters, International Broadcasters and the clubs; supervising rigs and de-rigs; dealing with power; booking lines and so on. Candidates must have previous experience as a Unit Manager in a football TV production environment.

Technical Director – The Technical Director will be the principle technical interface to Premier League Production staff and will responsible for all engineering and technical operations within Premier League Productions. Previous experience at management level in an operational or engineering support role within a live broadcast environment is essential. Candidates will also be expected to have excellent knowledge of all TV technical, studio and post-production operations and techniques, in addition to a good knowledge of Viz RT, Ardome, EVS and Avid systems.

If you have very strong experience in production, willing to work at the weekend and want to be part of a dynamic and hugely successful team then send your CV and covering letter (stating the role you are applying for, salary expectations and notice period) to: production.recruitment@imgworld.com

by Monday 24th June 2013.

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COMMISSIONING EDITOR – FACTUAL Channel 5 is seeking an experienced Commissioning Editor of factual programmes to work across our family of channels. To join our busy and hardworking team you will have a proven track record of working with independent production companies, developing factual programmes and seeing them through to production. Taking the lead on factual commissions, you’ll show good editorial judgement and a thorough understanding of TV audiences and the TV landscape. You will combine a competitive, energised approach to commissioning with a responsibility for managing production schedules & budgets as well as legal, compliance and rights issues. The successful person will join us with previous experience of commissioning at other UK broadcasters where your passion for broad, populist programming will demonstrate your ability to generate new ideas that are on brand for the Channel 5 family.

Closing date: Friday 28 June.

Candidates are also asked to include their salary expectations and notice period Please send a CV and covering letter to: recruitment@channel5.com

‘Great service provided with plenty of candidates. We have had a good success rate through using Broadcast.’

Adam Luckwell, CEO Unit Post Production

21 June 2013 | Broadcast | 31

Ratings Mon 10 Jun – Sun 16 Jun

BBC2: cats the way to do it Horizon’s feline documentary takes the animal honours, while The White Queen rules for BBC1

BY Stephen price

Leaning on the hotel bar in Enniskillen, Barak Obama turned to the embarrassed Italian prime minister and whispered: “Enrico, we were kidding about dressing up as Tony The Tiger for the Gr8 Summit.”

“Clearly I didn’t get the memo,” replied the forlorn and be-tigered statesman, holding his bowl of Frosties. “More worryingly, I’ve had a call from a documentary team who want to follow me raging through the hotel grounds.”

Sadly, this didn’t happen.

Instead, some actual cats did wander about a bit, and in a sufficiently compelling way for BBC2 to duff everyone up. Elsewhere, BBC1 went to Belgium to film mediaeval England, which viewers found easier to place than the mythical Granadaland over on ITV. ITV’s Monday woes came to an end as 9pm’s Vicious (2.8 million/ 12%; 105,000 +1) and 9.30pm’s The Job Lot (1.9 million/8%; 100,000 +1) ended. Not that BBC1 was able to revel, with just 2.6 million/12% for the second part of D Day: Forgotten Heroes at 9pm.

Everything was sunk, not least the nation’s jaws, by the finale of BBC2’s The Fall: 3.7 million/16%.

On Tuesday, BBC1’s Frankie grew slightly on last week to 4 million/18%, following Holby City’s 4.6 million/22% at 8pm.

ITV’s Animal Heroes (1.8 million/ 8%; 74,000 +1) at 8pm and Dirty Britain (2.1 million/10%; 204,000 +1) were left trailing. At 10.35pm, BBC1 stirred memories of platform shoes in Agnetha: Abba And After, with a strong 2.7 million/22%.

32 | Broadcast | 21 June 2013

BroadCast/BarB top 100 network programmes 1 2 3 4 5 6 7 8 9 10 11 12 13 14 14 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 32 32 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*

Coronation Street Coronation Street Coronation Street Coronation Street Coronation Street EastEnders EastEnders Emmerdale Emmerdale Emmerdale EastEnders Emmerdale Emmerdale Emmerdale The Apprentice EastEnders The Voice UK BBC News The White Queen Countryfile Horizon: The Secret Life Of The Cat Paul O’Grady: For The Love Of Dogs Holby City Antiques Roadshow Casualty BBC News At Ten BBC News At Six BBC News At Ten All Star Mr & Mrs The National Lottery Draws Watchdog The One Show BBC News At Six BBC News BBC News At Six Agatha Christie’s Marple Frankie Love And Marriage BBC News At Six BBC News At Ten BBC News At Six The One Show Harbour Lives The Fall BBC News At Ten Mrs Brown’s Boys The One Show Despicable Me The Graham Norton Show BBC News At Ten

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

20.30 19.30 19.30 19.30 20.30 19.30 20.00 19.00 19.00 19.00 19.30 19.00 19.00 20.00 21.00 20.00 19.00 22.00 21.00 19.00 21.00 20.30 20.00 20.00 21.20 22.00 18.00 22.00 20.00 21.10 20.00 19.00 18.00 22.10 18.00 20.00 21.00 21.00 18.00 22.00 18.00 19.00 20.00 21.00 22.00 21.30 19.00 18.40 22.35 22.00

8.49 8.39 8.24 8.00 7.82 7.13 6.97 6.83 6.61 6.58 6.52 6.51 6.45 6.44 6.44 6.38 5.81 5.35 5.34 4.93 4.90 4.74 4.60 4.53 4.43 4.42 4.39 4.35 4.31 4.28 4.26 4.25 4.25 4.25 4.10 4.06 3.99 3.93 3.91 3.89 3.84 3.74 3.72 3.70 3.69 3.65 3.61 3.58 3.51 3.49

36.82 40.89 40.07 40.34 35.73 36.56 32.38 36.72 34.96 34.29 32.09 35.46 33.84 28.56 27.80 31.05 28.10 26.72 22.83 24.78 21.97 20.96 21.67 20.51 21.47 23.05 26.38 23.04 20.60 20.74 20.39 22.29 26.34 22.78 26.47 17.88 18.23 16.98 24.25 20.18 24.90 19.78 18.07 16.30 18.56 17.70 18.79 18.00 25.16 18.79

ITV ITV ITV ITV ITV BBC1 BBC1 ITV ITV ITV BBC1 ITV ITV ITV BBC1/Boundless BBC1 BBC1/Wall to Wall BBC1 BBC1/Company Pictures BBC1 BBC2 ITV BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 ITV BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 ITV/Agatha Christie Ltd BBC1 ITV/Tiger Aspect BBC1 BBC1 BBC1 BBC1 ITV/Shiver BBC2/Artists Studio BBC1 BBC1/Boc-Pix/RTÉ BBC1 ITV BBC1/So Television BBC1

Figures include HD and +1 where applicable

the White Queen

horizon: the Secret Life Of the cat www.broadcastnow.co.uk

All BARB ratings supplied by: Attentional

Source: BARB

51 52 53 54 55 56 56 58 59 60 61 62 63 64 64 64 67 68 69 70 71 71 71 74 75 76 77 78 78 80 81 82 83 83 85 86 87 87 89 90 91 91 93 94 94 96 97 98 99 99

Title

Day

Start

Viewers (m) (all homes)

Share %

Broadcaster/ Producer*

The One Show ITV News & Weather ITV News & Weather BBC News BBC News The Dales Miranda The One Show Fake Britain The Chase ITV News & Weather ITV News & Weather ITV News & Weather Waterloo Road Big Fat Gypsy Weddings: Life On The Run Pointless Panorama: Traffic Fines Tipping Point: Lucky Stars Pointless The Chase The Chase Pointless Vicious Pointless Celebrities Tonight: America And Its Guns The Chase Tennis: Queen’s Club Final Pointless Springwatch 2013 Life Savers The Chase Agnetha: Abba And After Pointless Britain’s Secret Homes D-Day: The Last Heroes A Question Of Sport BBC News ITV News & Weather Would I Lie To You? Springwatch 2013 Springwatch 2013 Mock The Week Trooping The Colour Question Time 24 Hours In A&E BBC News At One The Apprentice: You’re Fired Goodbye Granadaland BBC News At One BBC News At One

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

19.00 18.30 18.30 18.35 18.40 20.00 21.00 19.00 19.30 17.00 18.30 18.30 18.30 20.00 21.00 17.15 19.30 19.00 17.15 17.00 17.00 17.15 21.00 17.55 19.30 17.00 14.45 17.15 20.00 21.00 17.00 22.35 17.15 21.00 21.00 19.30 13.05 18.25 20.30 20.00 20.00 22.00 10.30 22.35 21.00 13.00 22.00 20.30 13.00 13.00

3.43 3.40 3.37 3.35 3.31 3.27 3.27 3.26 3.24 3.20 3.18 3.15 3.13 3.12 3.12 3.12 3.08 3.07 3.00 2.94 2.88 2.88 2.88 2.87 2.86 2.84 2.79 2.74 2.74 2.71 2.70 2.68 2.66 2.66 2.64 2.61 2.59 2.59 2.55 2.51 2.49 2.49 2.48 2.44 2.44 2.41 2.38 2.35 2.32 2.32

18.42 19.34 19.19 19.73 19.45 15.19 15.60 17.74 15.79 24.26 19.07 17.72 18.45 13.82 13.73 22.62 15.00 15.44 22.21 22.51 23.79 22.65 12.65 18.81 14.07 21.96 22.49 20.14 12.12 12.13 21.53 22.01 20.35 12.78 11.63 13.19 29.13 15.99 11.66 11.25 11.75 12.60 30.35 19.47 10.55 34.86 12.48 11.22 34.12 33.98

BBC1 ITV/ITN ITV/ITN BBC1 BBC1 ITV/Shiver BBC1 BBC1 BBC1/Screenchannel Television ITV ITV/ITN ITV/ITN ITV/ITN BBC1/Shed Productions C4/Firecracker Films BBC1/Remarkable Television BBC1 ITV BBC1/Remarkable Television ITV ITV BBC1/Remarkable Television ITV/Brown Eyed Boy/Kudos BBC1/Remarkable Television ITV ITV BBC1 BBC1/Remarkable Television BBC2 BBC1/Twenty Twenty ITV BBC1 BBC1/Remarkable Television ITV BBC1 BBC1 BBC1 ITV/ITN BBC1/Zeppotron BBC2 BBC2 BBC2/Angst Productions BBC1 BBC1/Mentorn C4/The Garden BBC1 BBC2/Boundless ITV BBC1 BBC1

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

harbour Lives www.broadcastnow.co.uk

Life Savers

On Wednesday, BBC1’s Watch­ dog (4.3 million/20%) and ITV’s All Star Mr & Mrs (4.2 million/ 20%; 133,000 +1) delivered a level 8pm to both channels. Then BBC1’s The Apprentice took advantage with 6.4 million/28%, its highest live number this series. ITV’s Love And Marriage dropped by nearly 900,000 on launch to 3.7 million/16% (207,000 +1).

Thursday was a cats and dogs day. Cats won. ITV’s Paul O’Grady: For The Love Of Dogs got 4.4 million/20% at 8.30pm (296,000 +1); together with Emmerdale (6.3 million/28%; 332,000 +1), this did for BBC1’s Waterloo

‘Some cats wandered about in a compelling enough way for BBC2 to duff everyone up’ Road (3.1 million/14%). However, 9pm belonged to cats: BBC2’s Horizon: The Secret Life Of The Cat achieved 4.9 million/22%, demolishing BBC1’s Life Savers (2.7 million/12%), ITV’s Happy Families (1.9 million/9%; 188,000 +1) and Channel 5’s Big Brother launch (2 million/9%; 146,000 +1).

On Friday at 8pm, ITV’s new Harbour Lives netted 3.5 million/ 17% (153,000 +1) against BBC1’s EastEnders’ 6.4 million/31%. At 9pm, ITV’s Britain’s Secret Homes (2.6 million/12%; 89,000 +1) was beaten by Miranda (3.3 million/16%) and Mrs Brown’s Boys (3.7 million/18%) repeats.

On Saturday, BBC1’s penultimate The Voice UK averaged 5.8 million/28% at 7pm, with a 9pm peak of 6.7 million/31%. After a strong showing for movie Despic­ able Me (3.2 million/16%; 432,000 +1) at 6.40pm, ITV’s celebration of Granada, Goodbye Granadaland, averaged 2.1 million/10% (260,000 +1) from 8.30pm. At 10pm, The Americans blobbed out with 1.1 million/6% (109,000 +1). BBC1’s Casualty got 4.4 million/21%.

On Sunday, BBC1’s The White Queen debuted with 5.3 million/ 23% at 9pm, following 4.5 million/ 21% for Antiques Roadshow at 8pm. Opposite, ITV’s Agatha Christie’s Marple lost with 3.9 million/17% (208,000 +1). Recording will boost The White Queen; episode two will, as ever, be the test.

See over for digital focus, plus channel and genre overviews 21 June 2013 | Broadcast | 33

Ratings Mon 10 Jun – Sun 16 Jun Channel Overview

Unlucky third date for C4 BY stephen price

The agony and ecstasy of life is probably best captured by the perilous activity of dating. Potential humiliation lurks at every step: blabbing on too much about your cats; thinking this is the moment to lean in and pucker up, but miss and fall into the bins outside her house. This week, Channel 4 wanted to remind us how complicated it all is. Elsewhere, Big Brother returned, while Springwatch marched off.

The best of the opening three episodes of Dates, part of Channel 4’s mating season, was its first: on Monday at 10pm with 1.5 million/8% (204,000 +1), it beat BBC2’s compilation show What A Load Of Buzzcocks (1.3 million/7%). By Wednesday, stripping it over three consecutive nights had proved too much for 600,000 viewers; it averaged 900,000/5% (221,000 +1).

On Thursday, BBC2’s Springwatch ended on a high – both week and series – of 2.7 million/12% at 8pm. It defeated C5’s William & Kate: Baby Makes Three (1 million/4%; 62,000 +1) and C4’s new Compare Your Life (700,000/ 3%; 126,000 +1), which came last. At 9pm, C5’s Big Brother returned to 2 million/9% (146,000 +1); 700,000 short of last summer’s launch, which didn’t have cats against it (Horizon’s 4.9 million/22%).

Source: BARB

WeeK 24 Average hours per viewer Daytime share (%) Peaktime share (%) w/c 10.06.13 Peaktime share (%) w/c 11.06.12 YeAr TO DATe Average hours per viewer Audience share (%) Audience share (%) 2010

BBC1 5.12 19.04 21.58 24.94 BBC1 5.89 21.09 20.65

BBC2 1.58 5.42 8.17 7.27 BBC2 1.57 5.63 6.20

ITV1 3.67 14.25 18.00 21.07 ITV1 4.57 16.38 16.42

C4 1.42 5.47 6.21 6.22 C4 1.65 5.91 6.66

Day

Start

Viewers (m) (all homes)

34 | Broadcast | 21 June 2013

Total 24.93 100.00 100.00 100.00 Total 27.92 100.00 100.00

TOp 30 BBC2, CHAnneL 4 AnD CHAnneL 5 Title

Share %

Broadcaster

1

Horizon: The Secret Life Of The Cat

Thu

21.00

4.90

21.97

BBC2

2

The Fall

Mon

21.00

3.70

16.30

BBC2

3

Big Fat Gypsy Weddings: Life On The Run

Mon

21.00

3.12

13.73

C4

4

Springwatch 2013

Thu

20.00

2.74

12.12

BBC2

5

Springwatch 2013

Mon

20.00

2.51

11.25

BBC2

6

Springwatch 2013

Tue

20.00

2.49

11.75

BBC2

6

Mock The Week

Thu

22.00

2.49

12.60

BBC2

8

24 Hours In A&E

Wed

21.00

2.44

10.55

C4

9

The Apprentice: You’re Fired

Wed

22.00

2.38

12.48

BBC2

10

Big Brother: Live Launch Part 1

Thu

21.00

2.13

9.95

11

Big Brother: Live Launch Part 2

Fri

21.00

2.11

10.57

C5

12

Child Genius

Tue

21.00

2.10

9.59

C4

C5

13

Gardeners’ World

Fri

20.30

2.06

9.39

BBC2

14

Springwatch Unsprung

Wed

20.30

2.01

9.37

BBC2

15

Springwatch 2013

Wed

19.15

1.99

9.82

BBC2

16

Tennis: Rally Against Cancer

Sun

18.35

1.94

11.29

BBC2

17

CSI: Crime Scene Investigation

Tue

21.00

1.91

8.74

C5

18

Operation Snow Tiger

Sun

20.00

1.83

8.27

BBC2 BBC2

19

Trooping The Colour: Queen’s Birthday Parade

Sat

18.30

1.80

9.42

20

Dates

Mon

22.00

1.74

9.37

C4

21

Gibraltar: Britain In The Sun

Tue

20.00

1.65

7.79

C5

22

The Million Pound Drop Live

Fri

21.00

1.64

8.29

C4

23

Big Brother: Secrets And Lies

Sun

21.00

1.51

6.46

C5 BBC2

23

Horizon: Little Cat Diaries

Fri

22.00

1.51

8.21

25

Location, Location, Location

Wed

20.00

1.49

7.14

C4

25

Embarrassing Bodies: Live From The Clinic

Tue

20.00

1.49

7.02

C4

25

NCIS

Wed

21.00

1.49

6.41

C5

28

Rise Of The Continents

Sun

21.00

1.46

6.24

BBC2

29

Nature’s Microworlds

Fri

20.00

1.44

7.01

BBC2

30

The Million Pound Drop Live

Sat

20.00

1.41

6.68

C4

Figures include HD and +1 where applicable

Multichannel 41.35

C4’s doc Confessions Of An Alien Abductee suffered opposite Big Brother’s launch on C5 (Thurs, 9pm)

Others 12.05 51.30 41.35 36.05 Others 13.11 46.96 45.69

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

DAYTiMe SHAre (%) w/c 10.06.13

peAKTiMe SHAre (%) w/c 10.06.13

1.2m

C5 1.10 4.51 4.68 4.44 C5 1.12 4.02 4.39

BBC1 21.58

ITV1 18.00

C5 4.68 C4 6.21

BBC2 8.17

Multichannel 51.30

1.7m

C5’s expat doc series Gibraltar: Britain In The Sun launched slightly up on slot average (Tues, 8pm)

BBC1 19.04

ITV1 14.25

BBC2 5.42 C5 4.51 C4 5.47

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

Horrible Histories All Over The Place: USA Mike The Knight The Scooby-Doo Show The Adventures Of Abney And Teal Newsround Shake It Up League Of Super Evil League Of Super Evil Sarah & Duck

top 10 factuaL prograMMes

Day

Start

Viewers (Age 4-15)

Share (%)

Channel

Tue Tue Thu Wed Thu Wed Wed Tue Wed Thu

17.00 16.30 08.00 16.00 18.00 07.40 16.50 15.45 15.45 07.55

262,400 205,800 201,600 200,800 198,000 193,000 191,000 189,500 189,100 188,700

17.59 15.91 14.78 20.30 12.64 18.57 12.84 25.67 24.47 14.07

CBBC CBBC CBeebies CBBC CBeebies CBBC Disney CBBC CBBC CBeebies

Title

1 2 3 4 5 6 7 8 9 10

The Apprentice Countryfile Horizon: The Secret Life Of The Cat Paul O'Grady: For The Love Of Dogs Antiques Roadshow Watchdog The One Show The One Show Harbour Lives The One Show

Day

Start

Viewers (millions)

Share (%)

Channel

Wed Sun Thu Thu Sun Wed Tue Wed Fri Thu

21.00 19.00 21.00 20.30 20.00 20.00 19.00 19.00 20.00 19.00

6.44 4.93 4.90 4.74 4.53 4.26 4.25 3.74 3.72 3.61

27.80 24.78 21.97 20.96 20.51 20.39 22.29 19.78 18.07 18.79

BBC1 BBC1 BBC2 ITV BBC1 BBC1 BBC1 BBC1 ITV BBC1

➤ Normal service was resumed with CBBC returning to the top as Horrible Histories drew 240,900 young viewers. all over the place: usa was a new entry, as was League of super evil. There were three entries for CBeebies and one for Disney.

➤ the apprentice hired its biggest audience of the series and was comfortably victorious, with countryfile its nearest competitor. The Horizon cat documentary was the surprise hit of the week, topping a swathe of BBC1 and ITV entries, including three episodes of the one show.

top 10 draMa prograMMes

top 10 entertainMent prograMMes

Title

1 2 3 4 5 6 7 8 9 10

The White Queen Holby City Casualty Agatha Christie's Marple Frankie Love And Marriage The Fall Waterloo Road CSI: Crime Scene Investigation Dates

Day

Start

Viewers (millions)

Share (%)

Channel

Sun Tue Sat Sun Tue Wed Mon Thu Tue Mon

21.00 20.00 21.20 20.00 21.00 21.00 21.00 20.00 21.00 22.00

5.34 4.60 4.43 4.06 3.99 3.93 3.70 3.12 1.91 1.74

22.83 21.67 21.47 17.88 18.23 16.98 16.30 13.82 8.74 9.37

BBC1 BBC1 BBC1 ITV BBC1 ITV BBC2 BBC1 C5 C4

➤ the white Queen was the highest-rated drama of the week, despite being BBC1’s worst performing scripted Sunday launch this year. It was more than 700,000 ahead of Holby city and well in front of agatha christie’s Marple. Elsewhere, Love and Marriage lost 940,000.

up The Apprentice adds 480,000

down Love And Marriage loses 940,000

up Holby City rises 420,000

1 2 3 4 5 6 7 8 9 10

Mrs Brown’s Boys Miranda Vicious Happy Families The Job Lot The Big Bang Theory Benidorm Blackadder II The Simpsons The Simpsons

The Voice UK All Star Mr & Mrs The National Lottery Draws The Graham Norton Show The Chase Pointless Tipping Point: Lucky Stars Pointless The Chase The Chase

Day

Start

Viewers (millions)

Share (%)

Channel

Sat Wed Sat Fri Wed Wed Sun Tue Thu Mon

19.00 20.00 21.10 22.35 17.00 17.15 19.00 17.15 17.00 17.00

5.81 4.31 4.28 3.51 3.20 3.12 3.07 3.00 2.94 2.88

28.10 20.60 20.74 25.16 24.26 22.62 15.44 22.21 22.51 23.79

BBC1 ITV BBC1 BBC1 ITV BBC1 ITV BBC1 ITV ITV

➤ the Voice uk rallied for its semi-final episode, rising to the top of the entertainment line-up. BBC1 and ITV shared the spoils in a relatively quiet week for the genre, which did not feature any big new shows. the chase and pointless had another strong week.

up The Voice UK climbs 1.6m

down The Job Lot ends on low of 2m

up For the Love of Dogs gains 330,000

top 10 Music & arts prograMMes

Day

Start

Viewers (millions)

Share (%)

Channel

Fri Fri Mon Thu Mon Thu Mon Sun Tue Wed

21.30 21.00 21.00 21.00 21.30 20.00 22.35 22.00 18.00 18.00

3.65 3.27 2.88 2.14 2.03 1.56 1.49 1.41 1.40 1.26

17.70 15.60 12.65 9.58 8.97 6.92 10.76 7.36 8.69 7.57

BBC1 BBC1 ITV ITV ITV E4 ITV BBC2 C4 C4

➤ Repeats of Mrs Brown’s Boys and Miranda proved too strong for the competition. They beat the final episodes of ITV’s Vicious and the Job Lot, which suffered significant audience declines throughout their run. the Big Bang theory was again present for E4. next week sport and current affairs www.broadcastnow.co.uk

1 2 3 4 5 6 7 8 9 10

down Tipping Point: Lucky Stars drops 130,000

top 10 coMedy prograMMes Title

Title

Title

1 2 3 4 5 5 7 8 8 10

Agnetha: Abba And After Culture Show: RA Summer Exhib Random Acts The Beach Boys: Doin’ It Again Life And Death Of Marvin Gaye Top Of The Pops: 1978 The Beach Boys: Live At Knebworth What Do Artists Do All Day? Random Acts Random Acts

Day

Start

Viewers (millions)

Share (%)

Channel

Tue Tue Mon Sat Fri Thu Sat Wed Tue Wed

22.35 22.00 22.35 22.25 21.00 19.30 23.20 20.30 23.35 23.30

2.68 0.62 0.58 0.51 0.34 0.34 0.31 0.29 0.29 0.26

22.01 3.30 3.75 3.33 1.66 1.68 3.41 1.38 3.53 3.21

BBC1 BBC2 C4 BBC4 BBC4 BBC4 BBC4 BBC4 C4 C4

➤ agnetha: abba and after easily outstripped the competition.

It was more than 2 million viewers ahead of a culture show special, while BBC4 had a stronghold of five entries in the middle of the table.

Elsewhere, there were three places for random acts.

See over for demographic and digital focus 21 June 2013 | Broadcast | 35

Ratings Mon 10 Jun – Sun 16 Jun Demographic focus Channels

Individuals Share (%)

Adults ABC1 Share (%)1

Source: BARB

Adults ABC1 Profile (%)2

Adults 16-34 Share (%)1

Adults 16-34 Profile (%)2

Male Share (%)1

Male Profile (%)2

Female Share (%)1

Female Profile (%)2

55.30

BBC1

20.77

24.70

47.37

13.80

12.28

20.47

44.69

21.01

ITV

14.89

12.99

34.72

10.30

12.78

11.56

35.19

17.66

64.81

BBC2

6.31

8.07

50.91

3.94

11.56

6.49

46.64

6.16

53.35

C4

5.66

5.84

41.09

7.13

23.28

5.55

44.48

5.75

55.53

C5

4.72

4.41

37.21

4.89

19.18

3.96

38.10

5.34

61.90

ITV2

2.81

2.19

31.08

4.27

28.10

2.43

39.29

3.12

60.71

ITV3

2.62

2.20

33.42

0.54

3.85

2.09

36.26

3.05

63.76

E4

1.97

2.09

42.34

5.43

50.96

1.83

42.22

2.08

57.79

Sky Spts 1

1.77

2.56

57.75

1.64

17.14

2.73

70.00

0.97

30.00

BBC3

1.76

1.78

40.24

3.63

38.21

2.26

58.42

1.34

41.59

Film 4

1.54

1.29

33.34

1.42

17.04

1.93

56.78

1.22

43.22

Dave

1.32

1.40

42.15

1.97

27.58

1.85

63.60

0.88

36.42

More 4

1.24

1.44

46.26

1.07

15.98

1.14

41.69

1.32

58.26

5 USA

1.06

0.82

30.88

0.82

14.39

1.06

45.45

1.06

54.56

Yesterday

0.87

0.78

35.77

0.25

5.27

1.03

53.81

0.73

46.17

Sky 1

0.86

0.90

41.54

1.44

30.73

0.99

52.06

0.76

47.92

ITV4

0.85

0.71

33.65

0.59

12.80

1.25

67.13

0.51

32.87

BBC4

0.83

1.14

54.64

0.36

8.07

0.94

51.74

0.73

48.28

Sky Living

0.57

0.52

36.61

0.81

26.41

0.45

36.30

0.66

63.73

27%

Channel 4’s drama Dates beat the 20.9% slot average for AB viewers.

It also attracted a larger female audience – 58% vs 54% average.

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

Digital focus

Geeks beat the Phantom BY stephen price

As we await the next big-screen instalment of Star Wars, it’s taken this long for the really quite awful Phantom Menace to get nearly to the top of something. Elsewhere, the call centre remains on hold; The Women need to perk up; and, incredibly, there’s an international football tournament on TV. ITV2’s screening of Star Wars Episode 1: The Phantom Menace came second with 1.1 million/6% on Sunday at 5.40pm, behind E4’s The Big Bang Theory’s 1.6 million/7% on Thursday at 8pm.

BBC4’s suffrage sitcom Up The Women slipped to 278,000/1% on Thursday at 8.30pm, with 71,000 for the repeat. Its best live rating is 30 May’s launch: 340,000/1%.

BBC3’s The Call Centre achieved 1 million/5% on Tuesday at 9pm, just 50,000 short of last week’s launch. Six repeats got it over 2.5 million. In a non-tournament summer, the best football was Sunday’s Confederations Cup fixture on BBC3; Mexico v Italy achieved 1 million/5%.

36 | Broadcast | 21 June 2013

Source: BARB

digiTal homes

Top 30 mUlTiChannel programmes Title

1 2 3 4 5 6 7 8 9 10 10 12 13 13 15 15 15 18 18 20 21 22 23 23 25 26 27 27 29 30

The Big Bang Theory Star Wars: Phantom Menace MOTD Live: Mexico V Italy The Call Centre How I Met Your Mother Agatha Christie’s Marple Storage Hunters MOTD Live: Brazil V Japan Con Air Unstoppable The Big Bang Theory Foyle’s War The Only Way Is Essex 2 Fast 2 Furious The Big Bang Theory The Big Bang Theory The Only Way Is Essex Storage Hunters The Big Bang Theory Game Of Thrones Billy Elliot Made In Chelsea The Big Bang Theory Con Air Russell H’s Good News New Girl The Big Bang Theory Live Golf: Us Open Tennis: Queen’s Club Semis Family Guy

Figures include HD and +1 where applicable

Day

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

Start

20.00 17.40 19.30 21.00 20.30 20.00 20.30 20.00 21.00 21.00 18.30 20.00 22.00 21.00 18.30 18.30 22.00 20.00 18.00 21.00 21.00 22.00 18.30 22.00 22.00 21.00 20.00 18.30 19.00 23.10

Viewers (millions)

Share (%)

Channel

1.56 1.12 1.03 1.00 0.99 0.93 0.92 0.91 0.90 0.89 0.89 0.86 0.83 0.83 0.81 0.81 0.81 0.80 0.80 0.78 0.76 0.75 0.74 0.74 0.72 0.71 0.70 0.70 0.68 0.66

6.92 6.20 4.61 4.58 4.40 4.43 4.22 4.34 4.39 4.41 5.04 4.00 4.73 4.40 4.78 4.56 4.61 3.86 4.78 3.54 3.64 4.47 4.22 4.93 3.67 3.24 3.41 4.05 3.37 6.96

E4 ITV2 BBC3 BBC3 E4 ITV3 Dave BBC3 BBC3 Film 4 E4 ITV3 ITV2 ITV2 E4 E4 ITV2 Dave E4 Sky Atlantic BBC4 E4 E4 BBC3 BBC3 E4 E4 Sky Spts 1 BBC3 BBC3

Channels

Share (%)

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

20.77 14.89 6.31 5.66 4.72 47.65 2.81 2.62 1.97 1.77 1.76 1.54 1.32 1.24 1.24 1.18 1.06 1.06

Figures include HD and +1 where applicable

687k The audience across three showings of BBC4’s doc Precision: The Measure of All Things

www.broadcastnow.co.uk

All BARB ratings supplied by: Attentional

NoN-PSB toP 50 1 2 3 4 5 6 7 7 7 10 10 10 10 14 15 16 16 18 18 18 21 21 21 21 25 25 25 25 25 25 31 32 32 32 35 35 35 35 35 40 40 40 43 43 43 43 43 48 48 50

Title

Day

Start

Storage Hunters Storage Hunters Game Of Thrones Live Golf: US Open The Simpsons Mock The Week The Simpsons Hawaii Five-0 Storage Hunters Not Going Out The Simpsons NCIS QI XL Live Cricket – ICC Champions Trophy The Simpsons Live Rugby Union The Simpsons Not Going Out New Tricks Have I Got A Bit More News For You The Simpsons Not Going Out The Simpsons Futurama Live Cricket – ICC Champions Trophy Modern Family Revolution The Simpsons The Simpsons Mad Dogs The Valleys Have I Got A Bit More News For You The Simpsons Keeping Up Appearances QI Grimm The Simpsons Bones Live Golf: Us Open Keeping Up Appearances Keeping Up Appearances The Simpsons Storage Hunters QI XL An Idiot Abroad Football’s Greatest Have I Got A Bit More News For You The Simpsons Live Golf: Us Open Have I Got A Bit More News For You

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

20.30 20.00 21.00 18.30 19.00 22.00 19.00 21.00 15.30 22.20 19.00 21.00 21.00 12.30 19.00 10.30 18.30 21.40 21.00 21.00 19.30 23.00 19.00 19.30 10.00 20.30 21.00 18.30 19.30 21.00 22.00 20.50 18.00 20.40 22.40 21.00 19.30 21.00 18.30 20.20 20.00 18.30 15.00 22.30 21.00 24.30 22.00 17.30 19.00 21.00

Viewers (m) (all homes)

Figures include HD and +1 where applicable

hawaii 5-0 www.broadcastnow.co.uk

Grimm

0.91 0.80 0.78 0.70 0.49 0.47 0.45 0.45 0.45 0.44 0.44 0.44 0.44 0.42 0.40 0.39 0.39 0.38 0.38 0.38 0.37 0.37 0.37 0.37 0.36 0.36 0.36 0.36 0.36 0.36 0.35 0.34 0.34 0.34 0.33 0.33 0.33 0.33 0.33 0.32 0.32 0.32 0.31 0.31 0.31 0.31 0.31 0.30 0.30 0.29

Share %

Broadcaster/ Producer*

4.22 3.86 3.54 4.05 2.57 2.61 2.39 1.93 4.77 2.67 2.29 2.11 2.00 3.21 2.16 4.77 2.18 1.91 1.84 1.65 1.83 2.99 1.97 1.84 3.60 1.64 1.73 2.03 1.83 1.62 2.09 1.50 2.19 1.61 2.60 1.45 1.60 1.42 1.90 1.42 1.50 1.87 3.49 2.50 1.32 7.45 1.77 2.06 1.68 1.31

Dave Dave Sky Atlantic Sky Sports 1 Sky 1 Dave/Angst Productions Sky 1 Sky 1 Dave Dave/Avalon Sky 1 Fox Dave/Talkback Sky Sports 1 Sky 1 Sky Sports 2 Sky 1 Dave/Avalon Yesterday/Wall to Wall Dave/Hat Trick Productions Sky 1 Dave/Avalon Sky 1 Sky 1 Sky Sports 1 Sky 1 Sky 1 Sky 1 Sky 1 Sky 1/Left Bank Pictures MTV/MTV/True North Dave/Hat Trick Productions Sky 1 Yesterday Dave/Talkback Watch Sky 1 Sky Living Sky Sports 1 Yesterday Yesterday Sky 1 Dave Dave/Talkback Pick TV/Risk Productions Sky Sports 1 Dave/Hat Trick Productions Sky 1 Sky Sports 1 Dave/Hat Trick Productions

1.2m Sky Sports 1’s six hours of live coverage of the climax of the US Open peaked around 7.55pm

Sky 1’s Dogs lose some bite BY stephen price

Noel Coward’s wry observation is going to have to be updated. For if this week’s table is anything to go by, mad dogs and Englishmen battling with the midday sun may also have to contend with the marauding Welsh from the valleys. Elsewhere, Fox applauded its coppers, while cricket continued a-go-go.

The second episode of the latest and final series of Sky 1’s Mad Dogs averaged 355,000/1.6% on Tuesday at 9pm. Two repeats added another 230,000; more than 100,000 shy of last week’s cumulative total. At 10pm on Tuesday, MTV’s The Valleys managed 350,000/2%; five repeats added another 108,000.

Mad Dogs’ recording is much stronger, however – it’ll vanish over the hills.

Fox’s US police procedural NCIS has long been a channel stalwart and it kept this up with 439,000/ 2%, one of its best live ratings this year so far. But it still has some way to go to beat the 559,000/2% that tuned in for the season 10 opener back in January.

The highest cricket rating this week was Thursday’s day/ night ICC match between Sri Lanka and England (417,000/3%; peaking with 850,000/4% at 8.25pm), setting up Sunday’s rainaffected thrash between England and New Zealand (361,000/4% from 10am).

21 June 2013 | Broadcast | 37

Ratings Mon 3 Jun – Sun 9 Jun

All BARB ratings supplied by: Attentional

Consolidated Ratings

TOWIE still fighting fit

BY Stephen price

Essex is a county richer in history and bucolic pleasantness than popular myth has it. However much of a pity, it is true that nowadays when we think of Essex it’s usually The Only Way Is Essex that comes to mind rather than Birds Of A Feather.

Now news breaks that the Chigwell Three are back and on ITV, while The Only Way Is Essex trundles on over on ITV2. Will there be a tan-off in reception?

I know who my money would be on. In the meantime, and grabbing all the limelight while they still can, it’s the TOWIE gang’s monopoly.

Elsewhere, BBC2’s The Fall remained consistently strong, and Channel 4 found a bit more life in the French undead.

Source: BARB

BBC1: The Fall The penultimate episode of BBC2’s crime thriller The Fall achieved 4.3 million/16% on Monday 3 June at 9pm after more than 1 million recorded and watched via PVR. The final episode on 10 June was the series’ top performer with 4.7 million/18% after 971,000 watched via PVR. Overall, the series averaged 4.3 million/16%. Its ABC1 audience averaged 20% share, more than double the slot average. It was a drama for the over 40s with 17% share among adults aged 45-54 and just 6% among 16-34s.

ITV2: The Only Way Is Essex The best of this week’s TOWIE was Wednesday’s second episode of the new series, but its growth was marginal and depended slightly more on recording.

On top of the 1.11 million/6% live rating came 421,000 via recording to deliver a final rating of 1.5 million/8%. Sunday’s episode was recorded by 351,000 to deliver a final rating just slightly

below that. The launch episode of this latest series on Sunday 2 June achieved 1.7 million/8%, TOWIE’s highest rating of the year so far.

Channel 4: The Returned C4’s subtitled French thriller The Returned began on 9 June at 9pm to a live audience of 1.6 million/7%.

After more than 620,000 recorded and watched, that finished on 2.2 million/9%. With 4Seven acting as a +2, as it often does, another 76,000 watched it at 11.05pm. The following Sunday, the second episode dipped by a quarter to 1.2 million/5%; but that’s still a decent grade in the episode two test (and opposite The White Queen to boot), with recording yet to come.

ITV’s new comedy-drama Love And Marriage added 1 million via PVR and catch-up

Sky 1: Revolution

UP Frankie up 600,000 week on week

On 7 June, Sky 1’s US post-apocalypse drama Revolution was recorded by more than 600,000 to deliver 1.1 million/5%; with the repeat it totalled 1.2 million. The best ever episode was 29 March’s 2.1 million/8%, which places it fifth in Sky 1’s all-time top programmes.

TOP 30 CONSOlIDaTED RaTINgS: RaNkED By gaIN

1 2 3 4 5 5 7 8 9 10 11 12 13 14 15 16 16 16 19 20 21 21 23 24 25 26 27 28 29 30

6.0m DOWN Casualty drops 1.2 million

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Title

Day

Start

Viewers (m) (all homes)

Share %

Gain (m)

Gain %

The Apprentice Britain’s Got Talent Love And Marriage The Fall Casualty EastEnders The Voice UK EastEnders Coronation Street Coronation Street The Voice UK Results Frankie Coronation Street Poirot EastEnders The Americans EastEnders The Returned CSI: Crime Scene Investigation Coronation Street Revolution Waterloo Road Hannibal Ramsay’s Kitchen Nightmares USA Emmerdale Paul O’Grady: For The Love Of Dogs The Graham Norton Show Emmerdale The Big Bang Theory Mad Dogs

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

21.00 19.30 21.00 21.00 21.10 21.00 19.00 19.30 19.30 20.30 21.30 21.00 19.30 20.00 20.00 22.00 19.30 21.00 21.00 19.30 21.00 20.00 22.00 22.00 19.00 20.30 22.40 20.00 20.00 21.00

7.29 12.85 6.02 4.28 3.94 6.62 5.14 5.82 7.96 9.42 4.74 4.71 8.87 5.65 7.36 2.57 6.36 2.22 2.50 9.20 1.07 3.09 0.79 2.26 6.31 5.11 3.94 6.80 2.47 1.02

27.14 53.12 22.19 16.34 15.17 27.56 23.99 29.15 35.11 38.35 20.64 19.15 43.54 22.87 32.74 13.69 34.69 9.15 10.07 43.85 4.51 14.39 4.22 11.92 32.32 23.40 25.75 31.39 11.32 4.12

1.31 1.27 1.04 1.03 1.02 1.02 0.93 0.89 0.83 0.82 0.81 0.78 0.68 0.65 0.64 0.63 0.63 0.63 0.62 0.61 0.60 0.60 0.56 0.55 0.54 0.52 0.51 0.50 0.48 0.47

21.90 11.00 20.80 31.70 34.90 18.10 22.20 18.20 11.70 9.50 20.60 19.80 8.30 13.10 9.50 32.40 10.90 39.40 32.80 7.10 129.70 24.10 244.50 32.10 9.40 11.40 15.00 7.90 24.00 86.60

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

Figures include HD and +1 where applicable

38 | Broadcast | 21 June 2013

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No more Mr Nice Guy

ALL A TWITTER We all nicked a few wigs from ‘Stars’. I’ve still got Mick Hucknall… I used it on an extra for a fancy dress scene in Cold Feet. #granadaland @JanetHorsfield (Janet Horsfield) Make-up and hair designer, Fresh Meat

Costner: boyband member?

Take That, Costner

To misquote a fab Don McLean song... the end of #granadaland was the day the telly died.... Brideshead, World In Action, Comedians... and more.

ITV’s purchase of Thinkfactory Media, the US producer of Hatfields & McCoys, has been a long time coming. Not for the broadcaster but for producer Leslie Greif, who had been shopping the Western for more than 30 years.

But BBC history commissioner Martin Davidson wasn’t much of a fan of the US hit. At Sheffield Doc/Fest, he said he thought Kevin Costner looked like he was fronting a boyband. “He’s got highlights, perfect teeth and a paisley shirt,” he grumped. Broadcast dreads to think what kind of boyband Davidson prefers. One from 30 years ago?

@willhanrahan (Will Hanrahan) Creative director, First Look TV

Thrilled by all the people who love #TheWhiteQueen – thrilled by all the critics who have their knives drawn. Our very own War of the Roses. @EmmaFrostLondon (Emma Frost) Writer, The White Queen

So there I am chairing a big meeting when who walks in with a trolley full of cakes?

Only @donnyosmond.

Another surreal daytime moment... @fikee (Fiona Keenaghan) Controller, ITV daytime

Michael Palin slipped out of his Mr Nice Guy persona – which the man himself branded “so fucking wrong” – at his Doc/Fest session to have a dig at contemporary factual TV. Chief among his bugbears was the fashion for interactivity, which he revealed the BBC was keen to exploit on his series Sahara: “Where does Michael go next? Press your buzzers now!” he joked. But his softer side came out as he fantasised about getting everyone who has helped him over the years to a big party in the Albert Hall, though as he noted: “Maybe we’d keep the yaks in Kensington Gardens.”

Breathing room at the BBC DQF may be depriving BBC execs of many things, but we didn’t expect it to include air. This freely available resource was apparently under threat at New Broadcasting House, where plans to shift yet more bodies into the building were quashed by safety experts. “The air con system could not cope with the extra capacity and there would simply not be enough oxygen per head,” said one exasperated insider.

All quiz shows need a bit of a refresh now and again, but we feel that Pointless might have taken things a step too far. The Daily Record carries the scoop that walking encylopedia Richard Osman is out; word is that a good track record as a negotiator when things get a bit heated sealed the deal for his successor.

AND FINALLY ...

Juliet Borges Managing director, Remedy Productions

Which TV or radio programme would you resuscitate?

Ask The Family. A great teatime family show from the ’70s.

Who is your pin-up?

Bruce Willis.

If you could perpetuate a myth about yourself, what would it be?

I make a great lemon meringue pie.

What would you do with a million quid?

Charity cycle rides all over the world. And pay off the mortgage.

What keeps you awake at night?

My husband’s snoring, mostly.

What do you do to relax?

Right now, Candy Crush has taken over my downtime.

Have you recently given up/ taken up anything?

I start and give up a new diet weekly.

What is your greatest extravagance?

Handbags. My son will have a collection to die for one day.

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

Lipstick would be close to the top.

What’s your hidden talent?

I can cross one eye and not the other, a ‘talent’ I have passed on to my son.

Where’s the best place to do some ‘meeja’ networking?

The kitchen at the Argonon offices.

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