Broadcast 28th March 2014 by Media Business Insight

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28 March 2014

Top News

BBC arts push must be modern DG’s £18m initiative must not fall into trap of being old-fashioned

he BBC’s £18m arts push is firmly in the spotlight this week, and it’s become impossible to avoid comparisons with the savage cuts to BBC3. A handful of execs have gone on the record to express their dismay and there are many more privately revealing concerns that the corporation’s strategy is being shaped by a combination of Tony Hall’s personal tastes and a desire to strengthen the corporation’s standing among the political classes.

‘The arts scene is vibrant, but that in itself won’t make great TV. Traditional coverage isn’t the answer’ Irrespective of whether they’re right or wrong, it’s not helpful if industry figures believe BBC strategy is being driven by either of these factors. The challenge for the BBC will be to ensure accessibility is at the heart of its new arts programming. The British arts scene is unquestionably vibrant (if anyone’s got a spare Martin Creed ticket, let me know), but that in itself won’t make great TV. Arts coverage in the traditional sense isn’t the answer. There’s some value in filming a performance of The Duchess Of Malfi – but will it really be watched by people who would never have considered going to see it at the theatre? One arts producer summed it up beautifully, point2 | Broadcast | 28 March 2014

è BBC3 must place Netflix-style “big bets” on certain programmes to make a success of its move online, according to Zai Bennett.

è Ofcom has approved plans to reduce ing out that it’s the interpretation, conceits and voices that make arts programming really fly, before waxing lyrical about the directing on a Jeremy Deller BBC doc from a couple of years ago. It will be a risk if the revived Civilisation ends up as an attempt to create a definitive, grand narrative of the history of art. Those kind of sweeping pieces inevitably feel esoteric – it would be a shame if the result is a kind of textbook transferred to TV. We’ll have to wait for the answers. The subject matter for many of the new shows seems slightly old-fashioned – let’s hope the approach is very modern. That’s not the only big news in the arts space. Phil Edgar Jones has been handed the chance to apply his entertainment credentials to Sky Arts – which is an intriguing prospect. Edgar Jones (who made his name as a Big Brother producer) seems to generate goodwill in the indie community in a way that is not true of all commissioners, which will stand him in good stead. Helpfully, he’ll be handed more money – not too many entertainment execs are used to working on Sky Art’s tariffs – and will hope to drive greater audiences to the channel. The first episode of a new series of Sky Art’s Parkinson Masterclass launched this week with a rather good Dynamo interview, which was watched by 73,000 overnight viewers. The challenge for both Sky and the L-r: Tony Hall, Gemma BBC is to bring Arterton (Duchess Of some more magic Malfi), Alan Yentob to the arts on TV.

CBeebies’ origination quotas to bring them into line with CBBC. The move, which will result in fewer episodes of Teletubbies (below) and Tweenies being aired, is designed to free up schedule space.

è A joint bid by Discovery Communications and BSkyB is emerging as the front-runner to buy Channel 5.

Ratings Top Five 1 The third series of Big Talk’s BBC2 clerical comedy Rev got under way on Monday with 1.5m viewers, 800,000 fewer than for the series two debut. 2 Line Of Duty (below) bowed out with a series high of 3m viewers for BBC2 on Wednesday. 3 BBC1 charity extravaganza Sport Relief peaked with more than 10m viewers on Friday, 2m more than its 2012 outing.

Louis Theroux’s LA Stories kicked off with an audience of 1.8m for BBC2 on Sunday, making it his best-performing show in two years. 4

Sky Living’s six-part comedy Doll & Em bowed out with an average of 75,000 (0.4%) on Tuesday. 5

Team Tweets è Warning of ‘very strong language’ at 10.30 – then a bleeped ‘cunt’? Channel 4 has lost it’s bottle #thelastleg @robinparker55

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News & Analysis

Sky Arts unveils bold strategy BY PETER WHITE

Sky Arts is to enter a new phase of growth with an increased budget under new boss Phil Edgar-Jones. Sky director of entertainment channels Stuart Murphy revealed the channel’s new vision to Broadcast following the promotion of head of entertainment EdgarJones, and has called for indies to bring it “bold” and “crazy” ideas. Sky Arts recently had its budget increased – it is now estimated to be around £20m a year – 18 months after the channel moved up the Sky EPG. Murphy said that Sky now commissions more arts programming than any other UK broadcaster. “Phil’s job will be to recognise crazy ideas and make them massive,” he said. “We need several big, bold shows that pull in an audience.” He added that Edgar-Jones will be tasked with adding scale to Sky Arts’ series. The former entertainment commissioner joined Sky in December 2011 after working at John Noel’s indie Running Bare and a long stint at Endemol UK’s Remarkable TV, where he was executive producer of Big Brother. “I want major TV moments,” said Murphy. “I don’t want people to be watching an HBO show one moment and then switch to another channel that has lower production values.” To highlight this, the pay-TV broadcaster has recommissioned Portrait Artist Of The Year, the Joan Bakewell and Frank Skinner-

Sky Arts: Edgar-Jones (right) will be expected to create TV moments like recommissioned Portrait Artist Of The Year

He will bring in different producers and different voices to Sky Arts Andy Auerbach, Magnum Media

fronted competition it produced in association with the National Portrait Gallery, for a second series. “We’re bringing it back, bigger,” Murphy said. He stressed that the appointment of Edgar-Jones, who has also worked on series such as Channel 4’s Space Cadets and BBC1’s Art School, would not radically increase the amount of entertainment programming on the channel. “We don’t want small derivative documentaries that are already served elsewhere, but we’re not

going to turn Sky Arts into an entertainment channel with an arts headline either,” he said. Edgar-Jones’ appointment has been welcomed by the indie community. The exec worked at Planet 24 during the days of Big Breakfast, but one indie said he was more cultured than his entertainment background would suggest, describing him as a “pleasant, cardigan-wearing, ale-supping Scot”. Magnum Media makes Sky 1’s Duck Quacks Don’t Echo, EdgarJones’ largest entertainment commission. Joint managing director Andy Auerbach described him as “cultured and intellectual”. “He will bring in different producers and different voices to Sky Arts. That’s crucial because arts programming can otherwise be stereotyped as old men lecturing people about culture,” he said.

Graham Smith, founder of indie consultancy Grand Scheme, which worked on Sky’s Wall Of Fame, added: “Phil is accessible and supportive and will bring great energy and humour to the channel. We’re big fans of Sky Arts, and having Phil at the helm promises great things.” Tiger Aspect, which produces Sky Arts’ Rebecca Front-fronted comedy Psychobitches, is Sky Arts largest indie supplier. Head of entertainment Ben Cavey said: “In a world that is currently obsessed with arts on television, it’s important that the focus is to educate and entertain, and Phil is a good man to do that. “Sky Arts needs headline-grabbing ideas. Phil is experienced in creating television that feels like an event, so it’ll be great if he can do that on Sky Arts.”

Sky kicks off hunt for new head of entertainment Sky is searching for a replacement head of entertainment and Stuart Murphy (pictured) wants to act quickly. He could unveil a replacement for Phil Edgar-Jones within the next four weeks. Murphy reiterated Sky’s commitment to entertainment programming across its portfolio of channels and said there were a number of entertainment projects in development for Sky 1. The channel is hunting for something to

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sit alongside hit panel show A League Of Their Own. It has been suggested by sources close to Sky that Murphy is looking for a “Hollywood signing” to take over Edgar-Jones’ role. A number of senior indies suggested that Zai Bennett could be a serious candidate following BBC3’s proposed move online. Although that move is 18 months a way, he might be

attracted by a fresh challenge, an increased salary and the opportunity to eventually succeed Murphy himself. Other potential candidates being talked about by the indie community include Channel 4 head of entertainment Justin Gorman and BBC Productions controller of entertainment and events Katie Taylor.

28 March 2014 | Broadcast | 3

News & Analysis In BrIef BT TV chief departs BT TV chief executive Marc Watson (left), the man behind its aggressive push into sports, is to leave the company to explore new opportunities. Watson, who has led BT’s television business since 2009, oversaw its surprise acquisition of the rights to a slew of Barclays Premier League football matches. He also signed deals for the rights to competitions including Uefa Champions League, Uefa Europe League and Aviva Premiership Rugby as BT Sport ramped up its rivalry with Sky.

STV Productions STV Productions was omitted from Broadcast’s Indie Survey 2014 as it is the production arm of a broadcaster. In hindsight, given that 90% of its output is made for broadcasters other than STV, we now accept it should have been included. STV Productions reported 2013 turnover of £14.2m, up 35% from £10.5m in 2012. That performance would make it the 43rd biggest producer in the survey by turnover. STV Productions made 141 hours of TV in 2013, including Antiques Road Trip for BBC1 and Catchphrase for ITV.

ITN Productions Broadcast’s Indie Survey 2014 did not spell out that ITN Productions, which appeared in last year’s report as part of parent company ITN, did not feature this year. The decision was taken as ITN publishes only its group turnover and not the contribution of ITNP. ITN Productions’ 82 entertainment hours were accidentally left in the Indie Survey 2014, and we are happy to state that its 134 hours of total programming included 36.8 hours of popular factual and 16 hours of current affairs, making it the second biggest by volume in each category.

For the latest breaking news www.broadcastnow.co.uk 4 | Broadcast | 28 March 2014

Celebrity Juice producer joins BBC commissioning BY JakE kantEr

Celebrity Juice and Sweat The Small Stuff producer Ed Sleeman is to join the BBC’s entertainment commissioning team and take on the BBC3 brief left by Sean Hancock. Sleeman will join the corporation from Fremantle Media UK label Talkback in June as a commissioning editor. Hancock made the opposite move in February when he was poached by Fremantle Media North America to lead its unscripted programming. He will relocate to Los Angeles in April. Sleeman oversaw two series of Nick Grimshaw-fronted Sweat The Small Stuff for BBC3, and has been involved in all nine series of ITV2’s Celebrity Juice, where he started as a senior researcher. He also oversaw several Talkback pilots, working alongside former managing director Dan Baldwin. BBC entertainment controller Mark Linsey said Sleeman would bring “youth, dynamism and fantastic experience” to the role. He will oversee shows such as The Revolution Will Be Televised and Southside Story.

Celebrity Juice: producer Ed Sleeman to take on BBC3 commissioning

The appointment reinforces BBC3 controller Zai Bennett’s message that the channel remains open for business ahead of its proposed move online in autumn 2015. Bennett told a Bafta TV Question Time event this week that he was “deeply shocked” and “hugely disappointed” by the decision to close the linear television channel. He said BBC3 will commission “far fewer” shows online, but make them more ambitious in scale, to ensure they cut through.

“The leadership has decided not to salami slice any more and cut things; we’re going to have to apply the same logic to what we do on BBC3. We won’t be able to do everything we do now, we’ll have to make some big bets,” Bennett said. “What we need to make sure we do is commission the very best shows we can, getting viewers to watch [programmes] like the new Family Guy or House Of Cards on Netflix. The bar has to be there.”

Sky boosts diversity drive with scholarships BY PEtEr whitE

Sky is to strengthen its support of diversity within the TV industry by offering five new scholarships for young people from economically disadvantaged backgrounds. The pay-TV broadcaster has teamed up with the National Film and Television School to offer successful applicants places on a range of TV courses. It will fully fund three places on the Broadcast Production course and two on the Digital and Content Formats course. The places will be offered to young people from disadvantaged backgrounds, with a particular focus on black, Asian and ethnic

turner Laing: backing the scheme

minority backgrounds and disabled talent. This is the latest diversity initiative from Sky, which launched a Skills Academy last year that is designed to create opportunities for up to 1 million young people by 2020.

The initiative is supported by culture minister Ed Vaizey, who launched a diversity roundtable in January. At the roundtable, Sky managing director of content Sophie Turner Laing called for more accountability for broadcasters rather than fresh targets. Speaking about the scholarships, she said: “Part of our commitment to developing home-grown content is about investing in the next generation of production talent. “Fundamental to this is ensuring everyone, regardless of background, has the opportunity to get a start in the industry. We are therefore delighted to strengthen our partnership with NFTS by offering these five scholarships.” www.broadcastnow.co.uk

News & Analysis

Pop targets original series We’re coming into a new marketplace with maybe a slight niche towards girls

BY Peter White

Kids channel Pop wants to move into original commissioning for the first time after launching on free-to-air platform Freeview this week. The channel, which is owned by the CSC Media group, is the first kids’ channel to launch on Freeview in four years and will compete with the likes of CBBC, CBeebies and CITV. CSC Media head of children’s channels Dominic Gardiner told Broadcast it was in the early stages of putting together a commissioning strategy. He is looking for more fact ent and would like to find a UK version of History Hunters, a Beyond-distributed series that airs on Australian networks ABC and Seven, as well as Germany’s Super RTL. His shopping list also includes older pre-school shows and female-skewing animated comedies for four to nine year-olds. “We’re coming into a new marketplace with maybe a slight niche towards girls, which gives us a point of difference,” he added.

Dominic Gardiner, CSC Media

Sally Bollywood: Pop airs the Zodiak show, but is looking for original series

Gardiner hopes that Pop’s move to Freeview (channel 75) can rapidly bolster its audience. It currently airs US and European acquisitions including Zodiak’s Sally Bollywood, My Little

Pony and factual entertainment series Finding Stuff on Sky and Freesat. Gardiner said it would likely be a year before any original commissions are ready to air.

Gardiner is a veteran kids’ TV executive, having worked at Disney and Cartoon Network. He has been at CSC Media for a year and is also responsible for preschool network Tiny Pop, action channel Kix and PopGirl – all of which are currently available on pay platforms. In addition to the four kids’ stations, CSC operates music channels including Chartshow TV and Scuzz, as well as movie brands True Movies and True Drama. The channel group is backed by private equity firm Veronis Suhler Stevenson and run by chairman Dick Emery, a former chief executive of BBC Worldwide, and managing director Remy Minute, who previously worked at Flextech.

BBCW exec to partner Clerkenwell in new indie I’ve long harboured the desire to produce, develop and own my own projects

BY Peter White

The exec producer of BBC Worldwide-backed dramas including Death In Paradise and Parade’s End has partnered with Clerkenwell Films to found his own scripted indie. Ben Donald is setting up Cosmopolitan Pictures to produce high-end original drama and literary adaptations. He is currently executive producer for international drama at BBC Worldwide and will continue to work with the commercial arm of the BBC part-time. He will spend half his week as Cosmopolitan Pictures, working with Misfits producer Clerkenwell – itself 25% owned by BBC Worldwide – and the other half at www.broadcastnow.co.uk

Ben Donald, BBC Worldwide

Death in Paradise: BBCW co-pro

BBCW, financing forthcoming drama projects. In addition to France Televisions co-production Death In Paradise and HBO and Arte co-pro Parade’s End, Donald has been responsible for piecing together financing for The Spies Of Warsaw with TV Poland and Arte; Zen

with Italy’s RTI, Germany’s ZDF and US network WGBH; and The Weinstein Company co-pro War And Peace. “I’ve long harboured the desire to produce, develop and own my own projects. I fancied having a go myself,” Donald told Broadcast. “With this structure, I’ve gone overnight from an exec producer to a commissionable indie that is working on an eight-part series,” he added.

Clerkenwell, which is making forthcoming Channel 4 drama Cut, will co-produce all of Cosmopolitan Pictures’ projects, which Donald said will be “bold, with international appeal”. BBC Worldwide will distribute Donald’s shows. Donald said he wanted to be known as a “pure-breed” British drama producer, rather than just an “international jazz hands”. BBCW chief content officer Helen Jackson said: “For some time now, it’s been clear that Ben’s expertise lies not only in finding the best partners to support the best material but also his talent for creatively contributing towards projects. This next step makes sense for Ben and BBC Worldwide alike.” 28 March 2014 | Broadcast | 5

News & Analysis

BBC faces licence fee review What we said was it would be a huge risk to move now to a different system

BY JakE kantEr

The BBC faces an uphill battle to fight off the biggest overhaul of TV licence laws in more than a decade as plans to decriminalise evasion took a leap forward this week. The corporation was caught off guard by the timing and political support for the changes to licence fee payment regulations, with the coalition government and Labour endorsing amendments to the deregulation bill. The changes were tabled by Tory MP Andrew Bridgen, who is part of a committee of backbenchers scrutinising the bill. He initially tabled a proposal aimed at forcing a vote on the immediate decriminalisation of non-payment of the licence fee to ease pressure on magistrates’ courts. But following lobbying from the BBC, Bridgen tempered his amendments and called for a review that will examine if civil penalties present a more appropriate sanction for non-payment of TV licences. The revised plans also allow ministers to replace existing sanctions with a new alternative without a further act of Parliament required.

James Purnell, BBC

Enforcing the law: the BBC is against making non-fee payment a civil matter

The amendments won unanimous cross-party support among MPs on the deregulation bill committee on Tuesday and are now almost guaranteed to become law when the legislation completes its journey through parliament in the coming months. Culture secretary Maria Miller will launch a year-long licence fee decriminalisation review within three months of the bill coming into force. This means it is unlikely to produce any recom-

mendations before the next general election, which is set to take place in May 2015. If a new system is put forward, it is likely to be a key negotiating tool during charter renewal discussions next year. The BBC has argued that changes may lead to an increase in evasion, which the corporation believes will damage its income, forcing it to close services. The BBC is content, however, that a review will allow for a proper debate. Director of strategy

and digital James Purnell will lead the corporation’s resistance, and it is likely that his political experience will be tested as he tries to ward off any funding threat. “The government has the option of going for a civil system, a hybrid system, which would mix civil and criminal penalties, or keeping the system as it is. That [the latter] is exactly what we have argued for all along,” Purnell told Radio 4 on Tuesday. “What we said was it would be a huge risk to move now to a different system, which is what the original amendments tabled said. We were very worried that could have led to a big rise in evasion.” Purnell has said that making non-payment of the £145.50 licence fee a civil matter could result in double the level of evasion from the current 5.5%, which would reduce income by £200m.

Departing Ross to retain C4 growth fund role BY andrEaS WiSEman

Film 4 boss Tessa Ross will continue to play a role in Channel 4’s £20m indie investment plans despite leaving the broadcaster in September. Ross’s appointment as chief executive of the National Theatre was announced this week. She has been a non-executive board member of the South Bank theatre for the past three years. Ross will remain chair of C4’s growth fund advisory board, a group of executives that provide strategic guidance and act as a ‘conscience’ for the broadcaster as it invests in production companies. The fund is overseen by Nutopia co-founder Laura Franses. 6 | Broadcast | 28 March 2014

tessa ross: under her watch Film 4 developed hits such as 12 Years a Slave

C4 chief executive David Abraham said Ross’s contribution to the broadcaster had been as significant as “anyone in its history”. He said: “I would like to personally

thank her for her extraordinary commitment, talent and leadership over 13 remarkable years.” Ross added: “It’s been an absolute honour to work with the

writers, directors, producers and many other talented people I’ve collaborated with during my time here, relationships I look forward to continuing.” Under her watch, Film 4 developed a string of critical and commercial hits, including Academy Award-winning 12 Years A Slave and Slumdog Millionaire, Kevin Macdonald’s The Last King Of Scotland and Shane Meadows’ This Is England. She joined the broadcaster’s film arm in 2000, before becoming head of Film 4 in 2003 and controller of film and drama in 2008. During her earlier stewardship of C4 drama, Ross commissioned Shameless, Teachers, Not Only But Always, No Angels and Sex Traffic. www.broadcastnow.co.uk

News & Analysis

Drama set for return to BBC4 Channel to benefit from arts push as DG unveils projects and team to lead new approach

BBC4 is to return to drama with a series of theatrical two-handers produced by Mammoth Screen, as part of the corporation’s ambitious arts push. The channel has commissioned the Parade’s End producer to make an unspecified number of short stories that will each feature two characters and are designed to capture the “intimate quality of theatre”. The Dialogues strand will comprise contributions from new and established writers, including playwrights, poets and novelists. The work is being overseen by Almeida Theatre artistic director Rupert Goold. BBC4 had its drama budget scrapped under Delivering Quality First and it was thought that biopic Burton And Taylor would be its last effort in the genre. However, channel editor Cassian Harrison told Broadcast this month he doesn’t want to lose drama and is willing to back innovative financing models to fund projects. Dialogues was part of a slew of projects unveiled by BBC director general Tony Hall on 25 March, which included a second series of The Hollow Crown for BBC2. Shakespeare’s Richard III and Henry VI will be co-produced by Neal Street Productions and Downton Abbey indie Carnival Films. The films will be cast in the next few weeks and will be executive produced by Sam Mendes. BBC2 has been aiming to commission a second series of The Hollow Crown for nearly two years. The first four-play run averaged a relatively small 827,600 (4.1%), but former BBC director general Mark Thompson marked it out as one of the crowning moments of his tenure. Other indies to win work included Oxford Film and Television, which will make BBC2’s The Faces Of Britain, a five-part Simon Schama series exploring the history of Britain through portraiture. It will be made in partnership with the National Portrait Gallery. www.broadcastnow.co.uk

ALAMY

BY JAKE KANTER

The Duchess Of Malfi: BBC Arts At... strand, which launches in May, will include play starring Gemma Arterton

It’s about placing the public in the front row of British culture Jonty Claypole, BBC Productions

Blakeway Productions will make BBC2’s David Hockney: A Life In Pictures, while theatre-incinema initiative Globe on Screen has filmed an adaptation of The Duchess Of Malfi, starring Gemma Arterton, at the Sam Wanamaker Playhouse. The latter forms part of the BBC Arts At… strand, which will launch in May and give audiences “front row seats” to cultural events across the year. Elsewhere, Leopard Films has been commissioned to make an animated musical film for BBC2’s Christmas lineup. Mimi And The Mountain Dragon is an original story by Michael Morpurgo, which has been turned into a screenplay

by Welsh poet Owen Sheers. The soundtrack is by Rachel Portman and will be performed by the BBC National Orchestra of Wales. Buccaneer Media, Tony Wood’s indie, has also won its first commission. It will make a three-part series for BBC3 following young, classically trained musicians as they attempt to break into an orchestra. CBeebies is also getting involved, with a production of Three Little Pigs in collaboration with the Northern Ballet. BBC in-house projects include a revival of landmark series Civilisation and a collaboration with the Tate to share art, archive and curatorial expertise. This will include bringing to life rare archive footage of artists at work. As well as the programming, the BBC has made a number of management changes to ensure it has a more coherent

approach to the arts and can engage with the creative community more effectively. Jonty Claypole, who heads up arts for BBC Productions, has been appointed director of arts and will be tasked with co-ordinating output across the corporation’s television, radio and online services. He will also work closely with director of music Bob Shennan. National Theatre director Nicholas Hytner has been appointed a BBC non-executive director. He will provide guidance and support for the arts push to the corporation’s most senior managers, earning £32,700 in the process. Furthermore, Tate director Nicholas Serota will form a new group of “creative leaders” to act as a “sounding board” for the arts on the BBC and earmark collaboration opportunities. The Royal Court’s Vicky Featherstone will also sit on the board, which will not be paid by the BBC for its work. Claypole said it was “exciting” that Hall was paying close attention to the arts, and rejected the suggestion that it was playing to the political classes ahead of BBC charter renewal negotiations. “It’s about sharing the arts with everyone and placing the public in the front row of British culture,” he said. 28 March 2014 | Broadcast | 7

Commissioning News

ITV adds The Dentists to access docs slate BY PeTer wHiTe

ITV is paying a visit to the dentist with an ob-doc from Keo Films that will form part of its slate of access projects. The broadcaster has ordered The Dentists, a one-off documentary set in the University Dental Hospital of Manchester. The hospital is one of the leading practices in the UK and the film will follow patients being treated, including those undergoing cutting-edge facial reconstructions. It will also investigate the “worrying level” of clearouts, a process of having teeth extracted that was common in the post-war era and is now on the rise once more. The Dentists, which will TX later this year, was commissioned by controller of popular factual Jo Clinton-Davis. Keo Films creative director Andrew Palmer is expected to be the executive producer.

“This is a privileged piece of access; an extraordinary precinct delivering pain and pleasure in very large doses,” he said. Other recent ITV ob docs include Births, Deaths And Marriages, a two-part series from Wall to Wall about the Old Marylebone Town Hall register office,

which has been the setting for weddings for the likes of Paul McCartney and Liam Gallagher, and Wild Pictures’ three-part prison series Strangeways. ITV factual boss Richard Klein, who joined last year from BBC4, is expected to order more access docs this year.

5Production follows The Limbless Mountaineer

Clearstory to pursue Nazi War Diggers for Nat Geo

CBBC orders family sitcom from The Foundation

Channel 5 has commissioned a feature-length documentary from its in-house production team following quadruple amputee Jamie Andrew as he attempts to climb the Matterhorn. The Limbless Mountaineer is the most ambitious production to come out of the broadcaster’s production unit 5Production. The 60-minute film will air in April ahead of its theatrical debut at the Sheffield Adventure Film Festival. It was commissioned by Channel 5 commissioning executive of factual and factual entertainment Jason Wells. The film will be exec produced by 5Production’s Paul Crompton and distributed internationally by DRG.

Nat Geo has commissioned World War II documentary series Nazi War Diggers from Sex Box indie ClearStory. The international channels arm of the US factual broadcaster has ordered the 4 x 60-minute series to air in the UK in May. Filmed on location in Poland and the Baltics, Nazi War Diggers will explore the archaeology and history at various battle sites, excavating relics and sharing fallen soldiers’ stories. The series was commissioned by Hamish Mykura, executive vice-president and head of international content for NGCI. It will be executive produced by ClearStory’s Russell Barnes and Molly Milton.

CBBC has commissioned a series from The Foundation fronted by Dani’s House star Millie Innes. Live-action drama The Millie Show is a family sitcom about a young girl whose parents have split up. Produced by Zodiak-owned The Foundation and filmed in Dumbarton, Scotland, it is exec produced by The Foundation’s Elaine Sperber and CBBC’s Melissa Hardinge. The series length has yet to be confirmed. CBBC has also renewed Sparticles Productions and Cake Entertainment’s The Sparticle Mystery for a third series and greenlit a second run of All At Sea from CBBC Productions. All three shows were commissioned by CBBC controller Cheryl Taylor.

8 | Broadcast | 28 March 2014

The Dentists: Keo doc is based at University Dental Hospital of Manchester

Twofour takes Educating... format to Walthamstow Twofour is heading to the Frederick Bremer School in Walthamstow,

BBC America makes comedy debut with Almost Royal order BBC America is moving into comedy for the first time after ordering aristocrat series Almost Royal from Clive Tulloh’s indie Burning Bright. The BBC Worldwide-backed US cable channel has commissioned the 7 x 30-minute series, which tells the story of an upper-class young British couple embarking on their first trip to the US. It stars Ed Gamble as Georgie Carlton and Amy Hoggart as his wife Poppy, distant descendants of the British royal family and heirs to Caunty Manor, a large country estate in Norfolk. Almost Royal is part of BBC America’s push into original programming, which includes Temple Street drama Orphan Black. It will be produced by Burning Bright, the indie behind Eddie Izzard: Marathon Man and Richard E Grant’s Hotel Secrets. The show will be directed by Katy Brand’s Big Ass Show’s Chris Faith and Marcus Liversedge. Almost Royal will be distributed by BBC Worldwide.

East London, for its latest Educating… series. The secondary school is run by headteacher Jenny Smith, who has been recognised for improving teaching and the progress of students. As with Educating Yorkshire (pictured), which picked up two Broadcast Awards in

February, and Educating Essex, the 10 x 60-minute series will observe the relationship between teachers and students as they work towards their exams. It was commissioned by C4 head of documentaries Nick Mirsky. Educating Yorkshire was C4’s highest-rated series of 2013, peaking with 4.8 million viewers. www.broadcastnow.co.uk

Rectify The critically acclaimed drama returns for series two.

“Extraordinary and heartbreaking new drama” Daily Beast

“Taut and engrossing.” New York Times

“A revelation that sets a new standard.” Los Angeles Times

“Compelling.” Variety

Rectify tops the charts at #1 The Hollywood Reporter Power Rankings

watch episodes at

itvstudiosge.com

International News

Sky Atlantic to air Gomorrah BY AndreAS WISemAn

Sky Atlantic has acquired its first foreign-language series, the hotly anticipated Italian crimedrama Gomorrah from distributors Arrow Films and Beta Film. The 12 x 60-minute series about Neapolitan crime organisation the Camorra will air in the UK with English subtitles later this year after being bought by Sky Entertainment acquisitions manager Sophie Judge. Based on Roberto Saviano’s controversial book of the same name, the Cattleya-produced series has been a top seller for Beta Film, with a US deal currently being finalised with The Weinstein Company. Last year, it was sold to Sky Germany, HBO Nordic in Scandinavia and HBO Latin America. In an exclusive interview with Broadcast to be published next week, The Weinstein Company also confirmed that it is developing an English-language version of the series with Italian production firm Cattleya. Stefano Sollima (Romanzo Criminale) directed six episodes of

Gomorrah: hotly anticipated Italian crime drama will be the first foreign-language series to air on Sky Atlantic

Gomorrah, which was shot on location in and around Naples, Barcelona, Milan and Ferrara. The remaining episodes were directed by Claudio Cupellini and Francesca Comencini. Saviano’s all-access book was adapted by Italian production company Fandango into a critically

acclaimed film, which debuted at the Cannes Film Festival in 2008. The controversial nature of Saviano’s exposé means that he has to live with a permanent police escort after receiving death threats from Neapolitan crime lords. Sky Atlantic channel director Julia Barry said the show would

build on the success of Sky Atlantic’s first bi-lingual drama The Tunnel, a Kudos remake of Scandi series The Bridge. Beta Film senior vice-president of international sales and production Oliver Bachert described Gomorrah as “a milestone of new European television”.

UKTV snaps up JJ Abrams series Almost Human Almost Human is a multi-layered, gripping drama and perfectly complements Believe

BY Peter WHIte

UKTV has made its latest highprofile US acquisition, buying JJ Abrams’ sci-fi series Almost Human from the international sales arm of Hollywood studio Warner Bros. The deal firmly establishes the multichannel broadcaster as one of the most regular buyers of US network shows alongside Sky, Channel 4 and Channel 5. The series, which will air on Watch, is thought to be the first of a number of US shows UKTV will buy this year and follows last year’s acquisition of Abrams and Alfonso Cuarón-produced Believe, which debuts on Watch this week. Almost Human, which is produced by Lost creator Abrams and 10 | Broadcast | 28 March 2014

Catherine Mackin, UKTV

Almost Human: to air on Watch

Fringe showrunner JH Wyman, is a 13-part sci-fi thriller that follows troubled detective John Kennex, played by Lord Of The Rings star

Karl Urban. It is set in 2048, when the uncontrollable evolution of science and technology has caused crime rates to soar by 400%. To combat this, the police force has implemented a new policy whereby every officer is teamed with a life-like combat-model robot. Kennex is paired with an android played by 2 Fast 2 Furious star Michael Ealy.

The show, which is produced by Abrams’ Bad Robot Productions and Bonanza Productions, airs on Fox in the US, where it has performed solidly for the broadcaster. UKTV director of programme acquisitions Catherine Mackin, who previously told Broadcast that Abrams’ sensibility fits Watch, said: “Almost Human is a multilayered, gripping drama and it perfectly complements supernatural drama Believe.” Warner Bros Worldwide Television Distribution president Jeffrey Schlesinger added: “We believe that Almost Human will be a terrific addition to Watch’s programming line-up. We look forward to the series finding a loyal following in the UK.” The show launches later this year. www.broadcastnow.co.uk

International News

C5 buys webcam erotica doc After our success with My Phone Sex Secrets, we knew the follow-up would sell far and wide

BY PETER WHITE

Channel 5 has picked up Web Cam Girls, a documentary produced by Back2Back Productions and backed by Brighton-based distributor Electric Sky. The Northern & Shell-owned terrestrial is one of a number of international broadcasters that have bought the one-off doc. The others on board so far are RTL (Netherlands), VMMA (Belgium), TV2 (Denmark), TV3 (New Zealand), TVN (Poland), Pramer (Latin America), HSCC (Israel) SBS Discovery (Finland and Norway), and ABC and Foxtel in Australia. The 1 x 50-minute film is a follow up to My Phone Sex Secrets, which was produced by Back2Back for Channel 4. Web Cam Girls looks at the bizarre world of women who work in the alternative adult industry. The webcam erotica industry is thought to be worth £80m in the UK alone, and includes such niche interests

James and Lachlan Murdoch handed new roles at Fox Rupert Murdoch’s succession planning at 21st Century Fox has entered its next stage with the promotion of James and the return of Lachlan Murdoch to the company. James Murdoch (right), who was previously deputy chief operating officer at the Hollywood studio, becomes co-chief operating officer, while Lachlan has been hired as nonexecutive co-chairman. James will now have direct responsibility for Fox Networks Group, which oversees the Fox network and its US cable channels, including FX, and will continue to oversee its interests in pay-TV services, including Sky in the UK. Lachlan has stepped down as chairman and director of Australia broadcaster Ten Network and becomes www.broadcastnow.co.uk

Stella Brisley, Electric Sky

Web Cam Girls: Back2Back doc examines the alternative adult industry

as women taking showers in baked beans or crushing tiny cars in stilettos. Webcam Girls was produced without a UK broadcaster attached,

and Electric Sky topped up the funding in return for the international rights. Electric Sky head of acquisitions Stella Brisley said: “After

non-executive co-chairman of both 21st Century Fox and News Corp.

Media International, which will distribute it internationally.

Corona teams up with Fremantle on Birds Of Prey

DRG hires execs to lead standalone formats arm

Corona Pictures, the UK indie set up by Richard Johns and Rupert Jermyn, has teamed up with Fremantle Media International to produce a TV adaptation of novel Birds Of Prey. Corona negotiated the rights to adapt Wilbur Smith’s Courtney series, which chronicles an ambitious family’s battles to secure its fortunes in 18th century Africa. Layer Cake’s JJ Connolly has been lined up to script Birds Of Prey. The two companies are now searching for a broadcaster for the TV adaption. The series will be produced by Johns and Jermyn and will be co-developed in association with Fremantle

Distributor DRG has launched a standalone formats division and hired a number of senior executives including former ITV Studios exec Jennifer Harrington. The company, which was acquired last year by Scandinavian media firm Modern Times Group, is to put significant resources into the DRG Formats division, according to Andrea Jackson, managing director of acquisitions and formats. Harrington, who has worked for BBC Worldwide and Shine International, has been appointed senior formats manager, overseeing sales into Central and

our success with My Phone Sex Secrets, we knew the follow-up would sell far and wide. “The winning combination of Back2Back’s proven production skills, together with our team’s track record for closing sales, gave us the confidence to invest in the film knowing a UK sale would be achievable.” Back2Back managing director David Notman-Watt added: “We needed a distribution partner with biceps to take this project on and Electric Sky rose to the challenge having already sold sister documentary My Phone Sex Secrets worldwide.”

Eastern Europe, while Albertina Marfil, who works at DRG, will become formats manager of sales and acquisitions, looking after the Nordics and Ireland. The division will be the sole distribution outlet for formats originating from production companies Strix, Monster, Gong, Baluba, Rakett and Paprika Latino.

Fox loses European boss Jesus Perezagua Fox International Channels’ European boss Jesus Perezagua (left) is leaving the broadcaster after 10 years at the company. He is the latest high-profile Fox executive to leave following the departure of UK boss Jason Thorp last year. Perezagua, who was president of Europe and Africa, will depart at the end of April. 28 March 2014 | Broadcast | 13

Multiplatform News In BrIef AOL boosts video clips Clips from Channel 4 News, Embarrassing Bodies and Supernanny will feature across AOL’s network of UK sites as the web giant beefs up its video presence. AOL UK has agreed deals with content producers including Endemol, ITN, Little Dot Studios and Scripps Network Inter national to offer around 250,000 UKspecific video clips. The TV show content will feature on dedicated hub AOL On and across its publisher network.

Shine chief warns of VoD scripted content ‘bubble’

VM in Amazon talks Virgin Media has entered talks with Amazon over adding stream ing service Amazon Prime Instant Video to the TiVo platform. Virgin Media chief executive Tom Mockridge (pictured) told a Broadcasting Press Guild lunch that his prior ity is growing broadband capa city rather than adding content to settop boxes, but apps remain key to his efforts to “make it as seamless as we can for customers to access all these services”.

Disney snaps up Maker Multichannel network Maker Studios has been snapped up by Disney for $500m (£303m). The deal gives Disney access to the 55,000 channels, 380 mil lion subscribers and 5.5 billion monthly video views on You Tube generated by the LAbased digital business. It will also seek to take advantage of Maker’s insight into consumers’ discov ery and interaction with short form content.

ITV buys stake in Cirkus ITV has acquired a minority stake in Nordic VoD operator Cirkus, which offers British con tent to international audiences. The broadcaster has invested an undisclosed amount in the com pany. The service, which launched in Sweden in December, is avail able through payTV platforms including Com Hem and Boxer.

For the latest breaking news www.broadcastnow.co.uk 14 | Broadcast | 28 March 2014

lilyhammer: second series of the mob drama starring Steve Van Zandt was co-produced by Netflix and NrK BY Alex FArBer

The current level of investment in acquisitions from VoD providers such as Netflix is unsustainable, Shine Group chief operating officer Tim Robinson has warned. Speaking on a panel at the launch of the Broadcast Indie Survey 2014 last week, Robinson said that the amount of money the emerging players are currently spending on acquiring shows rep resents a bubble. “We are seeing incredibly intense competition from the Netflix, Amazon, Hulu and XBoxes of the world, particularly for highquality drama, and I don’t think that’s going to last,” he said. “There is no way it is sustain able. We all have our theories about Netflix, but I don’t think that the fierce level of competition can continue.” He added that Shine is actively attempting to sign a slew of licens ing agreements for its catalogue of shows, before the market runs out of steam. “We are trying to get as many deals done as pos sible,” he said. BBC2’s 1950s newsroom drama The Hour is among the shows that Shine has sold to Netflix. The VoD

I don’t think the intense competition is going to last. It’s not sustainable Tim Robinson, Shine Group

provider picked up the Canadian and Latin American rights to the series in March 2012. Fellow panellist Jeremy Salsby, founder of Friday Download pro ducer Saltbeef TV, said VoD pro viders are starting to work in a more sustainable way with broad casters by helping to fund projects. “Netflix and Hulu are starting to come in as cofinancers and co producers, which is perhaps a more interesting model because you still get your show on tele vision and they then have the secondary rights,” he said. Netflix coproduced the second series of Shine mob drama Lilyhammer, starring Steve Van Zandt, with Norwegian broadcaster NRK, which fully funded the debut run. About Corporate Finance man aging director Tom Manwaring said the revenues generated from VoD sales are starting to become meaningful for indies, but profit

from second screen digital content remains small. Twenty Twenty chief executive Tim Carter agreed that growth in the market for digital spinoff content from shows is starting to gather pace. “We are definitely beginning to make a bit of money from digital,” he said. “It’s small, but it’s starting to happen. There have been a few false dawns but I feel we are on a threshold where it has been worth investing money and resource.” He pointed to the success of Maverick TV in the Indie Survey. The All3Mediaowned producer, responsible for shows including Embarrassing Bodies, posted digital revenues of £6m in 2013, around 30% of its overall turnover over the 12month period. Its digital output has included web show Embarrassing Bodies Live, health sites such as My VideoDoctor and My Health Checker, an immersive tour of the Fresh Meat house and Channel 4 microsites 4Homes and 4Beauty. “Maverick has spent 10 years ploughing resources into creating an amazing digital business,” said Carter. “Its shows have backed it up and they have built off the back of it.” www.broadcastnow.co.uk

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Technology & Facilities

Calrec joins Allen & Heath in £14m private equity swoop BY GEORGE BEVIR

Audio console manufacturer Calrec has been acquired by Electra Partners for £14m, as the wave of UK kit manufacturer mergers and acquisitions continues. Electra said Calrec would become a “sister company” to Allen & Heath, another console manufacturer bought by the private equity firm last year. Both were acquired from D&M Holdings. Both brands are expected to be retained and Allen & Heath chairman Malcolm Miller will work with both companies. Calrec managing director Roger Henderson said it was an open secret that both firms had been up for sale for “some time”, given that D&M is keen to focus on its consumer audio businesses. He said: “Electra has bought us to continue to focus on our core markets, and as far as I am aware there are no plans to move Allen & Heath from its Falmouth base or us from Hebden Bridge in Yorkshire.”

Calrec Apollo: manufacturer Calrec has been bought by Electra Partners

Henderson said that despite the companies being “about as far apart as it’s possible to be in the UK”, they already share thinking on technology. “We are not closely coupled but there is a relationship between the two companies. Our R&D and manufacturing teams have swapped ideas,” he said. Henderson said a closer relationship could help the firms develop products in the “white

Aframe to launch video platform upgrade at NAB Aframe will release the latest incarnation of its cloud video platform at NAB. The company said the 3.0 version will address “longstanding inefficiencies in the first mile of content creation”, with features such as a desktop app for automated upload and a watch folder that automatically transfers files and can be configured to send files to team members. Cloud-based transcode will include file types such as Avid DNxHD XDCAM and AVC Intra.

Prime Focus hires Duthoo for digital management Prime Focus has appointed Carle Duthoo to the role of sales executive. Duthoo has been tasked with managing the “growing demand for multiplatform, digital and short-form post-production” at the Soho facility. Managing 16 | Broadcast | 28 March 2014

spaces” that exist between the two companies’ product sets. “The deal is only 48 hours old, so I don’t want to prejudge Electra’s strategy but I can imagine there are areas we don’t currently address in terms of price range and market segments,” he said. Other acquisitions this month include Quantel’s acquisition of Snell and Vislink’s purchase of Pebble Beach Systems.

Pebble Beach Systems for £14.9m. Vislink said the deal would turn the company into a full-service video capture and playout provider, with Pebble Beach’s products complementing its existing range of wireless communications technologies. director for post-production Rowan Bray said: “Carle’s presence marks our increasing requirement to meet the need for digital media and file-based post-production for all genres of programming.” Duthoo (above) joins Prime Focus from his role as managing director at Air Post Production.

Vislink buys Pebble Beach Systems in £14.9m deal Vislink has acquired Surrey-based channel-in-a-box and contentmanagement systems provider

Halo appoints Platform’s Grainger for online role Halo Post has hired online editor Rob Grainger from rival post facility Platform Post, where he had worked for five years. Halo chief executive John Rogerson said Grainger possesses “a wealth of knowledge of longand short-form for a multitude of broadcasters”. Grainger’s recent credits include

Vitec seals deal to buy SIS Live camera division Vitec Videocam has bought SIS Live’s Special Camera division, which is known for devices such as cricket’s Stump Cam. As part of the “multimillionpound” deal, four SIS Live staff will join Vitec’s Camera Corps business, including special projects manager Paul McNeil, commercial bid manager Barry Parker and chief engineer Samir Mansuri. Camera Corps founder and managing director Laurie Frost said the deal put an end to uncertainty about the future of the division following SIS Live’s exit from the OB sector last year. The assets also include Plunge Cam, which is used to follow highboard divers, and the Halibut underwater HD tracking camera, as well as exclusive camera mounting systems used for state events inside listed buildings. Cameras from the former SIS Live unit, which used to be the BBC Special Cameras division, have been used for the America’s Cup and Isle of Mann TT racing. Stump Cam is currently being used at the T20 Cricket World Cup.

Horrible Histories and Eat Well For Less, both for the BBC.

Peaky Blinders bags six Craft Award nominations BBC2 Gangster drama Peaky Blinders (pictured) has received six nominations in this year’s British Academy Television Craft Awards, including Director of Fiction; Photography; Lighting of Fiction; and Production Design. ITV’s Broadchurch is next with five nominations, while Channel 4’s Utopia received four. The awards, which honour the best behindthe-scenes talent, will take place on Sunday 27 April at Bafta in London. www.broadcastnow.co.uk

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

Buyers look forward to NAB Trade show delegates eagerly await new products from the likes of Sony and Panasonic Sony, Canon, Panasonic have all hinted they will bring out new cameras

BY GeorGe Bevir

Key industry figures have predicted that the influence of Arri’s Amira, which was unveiled at IBC in September 2013, will continue to be felt at next month’s NAB trade show. Here they reveal what else they think will be creating a buzz, and which rumoured new products they hope will be on show.

John Brennan, Procam Group

Avid Central. We’ll be exploring various solutions for our fieldbased clients to deliver content back to Dock10, endeavouring to overcome the challenges presented by limited connectivity. We’ll be reviewing a variety of real-time streaming products to support the secure distribution of our studio feeds to production teams across the campus network and further afield.

Sam Arlow Area sales manager, Fineline Media Finance There are whispers that Sony may have something new, possibly a shoulder-mounted F5. Although the F5 is extremely popular, a more streamlined, shoulder-ready version would help its popularity grow as it negates the need for bolt-on rigs. It would also be a direct competitor to the Arri Amira, which has already attracted phenomenal orders this year. There is a lot of hype and secrecy around the Blackmagic Design dealer event, which would suggest it has something worth seeing. And we’re looking forward to getting a closeup view of the new Panasonic Varicam, which has created quite a buzz since its launch.

Jamie Allan Solutions & business development, Jigsaw24 I’m looking forward to developments on the Avid Everywhere platform that will shape the way the company does business for the foreseeable future. Secondscreen and multiplatform is gathering momentum outside of the larger broadcasters, so I expect there to be a lot of interest around asset management systems. I will be checking out Levels Beyond’s Reach Engine, which made huge advancements last year and is a very scalable asset management system. 4K is becoming more of a reality and editing and finishing systems are now catching up with the need to work natively at that www.broadcastnow.co.uk

John Brennan Chief executive, Procam Group

NAB: key announcements are set to be made at next month’s show

resolution, so there is likely to be a lot of hardware and software with features that accommodate native resolution.

Danny Dawson General manager, Alias Hire I will make a beeline straight for the Canon stand to look at glass. Rumours are flying around that Canon is releasing something similar to Fujinon’s Cabrios. If it is, I would expect the Canon lenses to be cheaper or faster, and possibly even offer a wider range of focal lengths. We love the Cabrios and think lenses of that type are the future for a range of productions. Panasonic might have finally cracked the popular market with the launch of the AJ-PX270. This unit has some wonderful features, including micro P2 cards, with the exception of its small sensor. We also like the look of the Panasonic GH4 DSLR. With 4K recording, I’m sure even the most pessimistic of delegates will want a look.

Ian Jackson Client contact and DoP, VMI 4K will generate the most heat at NAB. All eyes will be on Arri, which has had little to say about its 4K plans so far – other than stating that there’s more to a creative image than resolution. Everyone from hire companies to DoPs and directors is excited about the Amira and we believe Arri’s NAB announcements are going to influence the decision-making of a lot of other manufacturers. One camera that will be exciting a certain sector is Panasonic’s GH4. It takes amazing images and comes with BNC connectors, time code in and out and XLR audio, for less than $4,000 (£2,420) with the docking kit. However, the micro 4/3 sensor could challenge some potential users.

Paul Clennell Chief technology officer, Dock10 Remote production is a big theme for us as we continue to expand our deployment of Avid Sphere and

Sony, Canon and Panasonic have all hinted that they will bring out new cameras in 2014, so it will be interesting to see if one or all will use NAB as the platform to make announcements. There is still a lot of buzz around the Arri Amira and we expect other manufacturers to bring out new solutions to compete with it. With the increasing demand for content to have a cinematic look, 35mm lenses will be on our watch list as we are always looking for ways to give our clients the specialist advice and kit they need. We’ll also keep a close eye on what new manufacturers such as Leica and Tokina are bringing to the market to help create this kind of content.

Davide Maglio Director, Loft London I see 2K to 4K GPU-based upscaling solutions as a large growth area due to the 4K demands that will start appearing this year, as well as the cost difference of 4K vs 2K scanning. I’ll also be looking for file-based standards conversion, as Cinnafilm and Alchemist OD are the only real players here and there is no really great solution in existence. 28 March 2014 | Broadcast | 17

Indie Survey launch event

Celebrating indie success The launch of the Broadcast Indie Survey 2014 brought a host of producers to the Hospital Club in London for a lively panel discussion and an evening of drinks and networking

18 | Broadcast | 28 March 2014

www.broadcastnow.co.uk

PhotograPhy by Jeremy enness

Sponsored by

Who’s who

In pictures (left to right) 1 a packed house for the panel discussion 2 true north’s mark allen checks out the survey 3 richard Watsham, UKtV; Laura mansfield, outline Productions 4 tom manwaring, about Corporate Finance

5 Jeremy salsby, saltbeef tV 6 tim Carter, twenty twenty 7 gina Fegan, UKtI 8 Broadcast’s Conor Dignam and all3media’s Farah ramzan golant discuss the survey 9 simon marett and nick Woollard, audio network; Iain Pelling, arrow media; sophie naylor, Franklin rose 10 Joely Fether, raw tV

11 tim robinson, shine group

12 Chris Curtis, Broadcast

www.broadcastnow.co.uk

28 March 2014 | Broadcast | 19

Comment

I spent a lot time thinking about stupid ideas and really smashing the wheel London Live’s Vikki Cook, Interview, page 22

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The rise of the selfie advert TV can reap the rewards with more personal ads, says Kate Bulkley

ds have always been clever and creative, and now they’re making much better use of data and interactivity to make them more personal. Sky’s AdSmart (and its like) are taking us into the era of what might be called the selfie ad. The selfie ad is all about you: where you are and who you are with. The fact that everyone is taking selfies, from Ellen DeGeneres at the Oscars (pictured) to President Obama and David Cameron at Nelson Mandela’s funeral, indicates that the trend isn’t just for the kids any more. Broadcasters, advertisers and brands are learning that the consumer really likes being talked to as an individual. There is also growing evidence that we enjoy getting something directly from an ad that is tailored to us. This may not sound new, but now we have the technology to make it happen – and on steroids. For example, online music service Spotify came up with a way to encourage its users to watch an ad for a new film. If the consumer watched it all the way through, they were rewarded by Spotify telling them which of the film characters they were most similar to, based (of course) on their Spotify music playlists. The ‘gift’ was the equivalent of taking a selfie with one of the film’s characters. It worked brilliantly and Spotify is now trying to find more selfie-inspired rewards around its adverts. After a six-month trial and nearly three months of commercial roll-out, Sky’s AdSmart has resulted in Audi finding people who are more likely to buy its cars; East Coast Trains managing to send different messages to three cities in the North that generated a 26% online sales uplift; and some companies, including BMI Healthcare and Localgiving, advertising on

TV for the first time because of this new way of reaching their audience. Sky believes that AdSmart will help it generate better results for TV advertisers. It also thinks the technology has the potential to target non-TV ad spend, a market worth upwards of £5.6bn a year. Channel 4 is also busy crunching 60 billion bits of viewer interaction data gleaned from its 4oD service, which has more than 10 million registered users. That means it can provide demographically targeted ad packages that have delivered higher ad recognition and click-through rates than traditional VoD adverts. This data-driven trading is bringing TV advertising closer to what is already happening online – while hopefully sustaining the higher value of the TV advert. And that’s not all. In his book Reputation Economics, US technology expert Joshua Klein says that due to the interactive nature of online information, a new currency is developing based on your reputation (built online) and what you have to sell. Think of Airbnb, the accommodation site where you book a stay with strangers based on their online reputation. This is a new kind of commerce that is very personal indeed. Products, brands and individuals are reaching each other differently in the digital era and this has big implications for how broadcasters fund their business and maintain their audiences. It’s a selfie that all of them need to take very seriously indeed. ➤ Kate Bulkley is a print and TV journalist and awards secretary of the Broadcasting Press Guild. Follow her on Twitter @katecomments

‘The selfie ad is all about you: where you are and who you are with’

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How caring and risk-taking Why is it so hard to find made for an inspiring film female aviation experts? Cancer victim doc is a tribute to BBC3’s backing of new talent, says Matt Robins

Covering the plight of flight MH370 shows the lack of women in the field, says Tami Hoffman

Kris: Dying To Live: novice given the reins to direct documentary for BBC3

TV sage once told me I’d never get an idea commissioned if I didn’t care about it. Which made me wonder: why would anyone pitch an idea they didn’t care about? That said, some projects come with greater emotional attachment than others. Our BBC3 documentary Kris: Dying To Live, which aired this week, left a profound mark on everyone involved. The film follows a young woman dealt the bitterest of fates – terminal cancer at the age of 23, some eight months after it was missed by her GP – and her fierce response to it. Kris Hallenga started her Coppafeel charity after her diagnosis. Her refusal to accept the inevitable and her hunger to use every minute she has to spark change for others are beyond inspiring. The evolution of this project, from a flicker of inspiration to fully fledged film, is a marvel unique to British TV and a reminder of what makes my job so good. Neil, my development AP, shot a taster in 2012. A stunning interview, filmed on a 5D, it explored Kris’s character: tough but fragile, young but philosophical. The bond between Neil and Kris was instant and the tape was heartbreakingly powerful. He was the www.broadcastnow.co.uk

‘Would this film have been possible without BBC3’s Fresh – a strand for young talent?’ natural choice to direct, but how would any broadcaster trust a novice with such a demanding project? The simple answer was BBC3’s Fresh strand, perhaps the greatest innovation of a channel that will be missed by many in its linear form. It’s hard to imagine anywhere else would hand a first-time director the keys to a 60-minute primetime doc. Kris’s moments of raw reflection are touching, and could only have been captured by Neil, who can now stand toe to toe with filmmakers of any vintage. Would any of this have been possible without Fresh – a strand for young talent? I would argue that we got this film commissioned not because we cared, but because it is impossible to watch Kris and not care. We are just the lucky ones given the chance to share her story. ➤ Matt Robins is co-creative director of October Films. He exec produced Kris: Dying To Live for BBC3, which aired on 26 March and is now available on BBC iPlayer For a longer version of this article, visit www.broadcastnow.co.uk

e’ve all become aviation experts in the days since flight MH370 disappeared. Even my usually news-averse teenage daughter has been checking each day for clues as to how 239 people could have vanished. In the din of online chatter and 24-hour coverage, the only silent voices have been the one group of people that I am most keen to find: female aviation experts. With a couple of notable exceptions (Captain Janet Alexander – you are our hero) women have been absent. At Sky News, it’s not for lack of trying. We work really hard at getting an even balance of men and women on the screen, both in terms of our staff and expert voices. We have signed up to the Broadcast pledge to improve our ratio and there’s a genuine belief in the organisation that it’s time to end the news hegemony of men in suits. My team has scoured LinkedIn, hounded airline organisations, bombarded universities, examined Twitter profiles and asked male contributors to recommend any female colleagues. But I can’t remember a search for interviewees so fruitless or so frustrating. We’ve been deluged with emails from viewers suggesting theories

or questions to put to our experts, yet not one has been a woman. So why is the aviation sisterhood so reticent? Well, there aren’t many of them. According to the British Women Pilots’ Association, only around 4% of the UK pilot workforce are female. Of the 3,500 pilots employed by British Airways, just 200 are women. The engineering professions struggle to attract women, and with pilots, there’s the additional problem of family-unfriendly hours. But there is something more profound

‘I can’t remember a search for female interviewees so fruitless or so frustrating’ holding back Britain’s women with wings: a reluctance to speculate. Does it point to a lack of confidence in their own opinions, or an aversion to going on camera and risking the exposure? If there are qualified women out there who Sky News has failed to contact, please take this article as an open invitation to get in touch now that new details are emerging. ➤ Tami Hoffman is interviews editor of Sky News For a longer version of this article, visit www.broadcastnow.co.uk

Sky News: struggling to find female aviation experts for MH370 coverage 28 March 2014 | Broadcast | 21

The Broadcast Interview London Live vikki Cook and Jonathan BoseLey

Going live in the capital London Live’s content chiefs are trumpeting the soon-to-launch channel as anything but niche. They tell Jane Marlow about their plans to compete in the mainstream arena FaCt FiLe Vikki Cook Head of news and current affairs, London Live Career May 2012-13 Director, format company Cookie Media 2009-12 Commissioning editor, Sky Channels; deputy editor, Five News 2000-09 Head of home news; head of planning; deputy editor/exec Sunrise; executive producer, Adam Boulton; output producer. All at Sky 1997-2000 Executive producer, Talk Radio 1994-97 Senior producer, Close Up West, BBC 1989-94 Bi-media producer, BBC News Jonathan Boseley Head of programming, London Live Career Jan 2012-June 2013 Founder, consultancy SideProject Sep-Dec 2012 International format exec producer and editorial consultant, Red Arrow Entertainment Group 1998-2011 Walt Disney Company/Disney Channels EMEA: vice-president, programming and production, UK and Ireland; director of programmes, Scandinavia, Middle East & Emerging Markets; senior manager, Toon Disney Channel; exec producer, live programming and production 1994-98 Senior director/ producer, live production and studio, Nickelodeon

eing given 12 months to build a 24-hour TV station that’s ready to air news as well as original and acquired programming sounds like a challenge even Anneka Rice might have baulked at. But after the London Evening Standard won the London TV licence in February last year, that is exactly the task it faced. Head of news and current affairs Vikki Cook and head of programming Jonathan Boseley were charged with pulling it off. The air of expectation, pressure and excitement is palpable as the duo talk about the build-up to next Monday, when the channel goes live to Londoners on Freeview 8, Sky 117 and Virgin Media 159. “There have been lots of big mountains to climb,” says Cook, whose public service news operation will draw on the news-gathering capabilities of the Standard. “One was building an entire TV channel within a print set-up. While there’s a lot of synergy across ESI Media [the commercial department of the London Evening Standard and The Independent], the print industry is very different to TV. The challenge is not to do with personnel, it’s the nuts and bolts of how it works.” While Cook set about integrating TV and print IT processes, discovering there was no “one-size-fits-all solution”, Boseley was setting up scheduling systems, rights management and commissioning processes. For both, establishing the channel’s tone and character was pivotal. “I had a luxurious period when I spent a lot time thinking about, frankly, stupid ideas and really smashing the wheel,” laughs Cook. “After about a week, I thought: ‘This is silly.’ The wheel is there because it works. I’ve worked in news and current affairs for 20 years so I know what works.” After establishing the core breakfast, lunch and evening news slots, she then focused on making the content the channel’s defining feature, rather than the structure. “Fresh” is a word that Boseley and Cook use a lot to describe the tone of

22 | Broadcast | 28 March 2014

this 16-34-skewed channel. For Cook and her news team, it means ‘real’. “How that translates in our newsgathering is that we are using video journalists,” she explains. “It’s not a cost-cutting thing. I truly believe it brings an authentic voice to journalism that gives a different sound to our news. It’s very conversational. A lot of people translate that as young, gimmicky or dumbed-down – but it’s none of that. There’s credible journalism at the spine of everything we do; it’s just giving it that slightly more modern feel.”

Championing content Boseley faced a two-fold challenge of communicating the content requirements of the brand new channel and getting independent producers to respond to the brief with what he refers to as “efficient” tariffs attached. “We fully fund and we want to do proper telly, but we have to work differently,” he says. “My commissioning team is myself and two others [commissioning exec Derren Lawford and comedy exec producer Sarah Fraser], which is unheard of, but we get back to people quickly. We’re turning answers around in a couple of days and turning projects around in a couple of weeks.” Quick responses, the chance to retain format rights, the offer to work with self-confessed ‘risk-takers’, heading up a light-touch commission-

ing process… Boseley makes London Live sound like an indie’s Shangri-La. He describes it as a big, hungry channel. “I’ve got to commission three hours of original content per day in peak,” he says. He believes London Live’s first tranche of programming, which includes offerings from Fresh One and 3DD, is changing perceptions about their ambition. “Wave one is what you’ll see from launch and a couple of months beyond,” Boseley explains. “Now we’re actively seeking what comes next.” Ad-funded programming will feature in ‘wave two’. “Some of the best content is brand- or ad-funded,” says Boseley. “We will get there when the time is right and we’ll be looking at how we can extend that over the whole group – The Independent, the Standard and online especially. It’s the complete package that we can offer brands that I think will be attractive.” Cook names tone as one of the three pillars of the channel, alongside technology and interactivity. “We’re the first news studio in the world to use DSLR cameras and that gives a beautiful, filmic look,” she says. “Alongside that, there’s the need to get our interactivity right, so that it’s really baked into our news and drives our editorial throughout the day, not just as a filler to make up 30 seconds before we go off www.broadcastnow.co.uk

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

London Live sCheduLe Weekdays Daytime News and current affairs 18.00 Raw strand featuring content from emerging production companies and YouTube talent. 18.30 London Go – entertainment show. Produced in-house. 19.00 Not The One Show – Louise Scodie fronts “an irreverent, inquisitive and unpredictable view of the day”. Produced in-house. 20.00 Fact ent, including: Food Junkies – 30-minute food magazine show from Fresh One. F2 Kicks Off – football freestyle pioneers Jeremy Lynch and Billy Wingrove (left, above) do street stunts. Produced by Renowned. 21.00-23.00 Comedy and drama including Peep Show and Misfits; entertainment including Alex Zane’s Funny Rotten Scoundrels – stand-up produced by Alaska Productions. 23.00 Raw strand – edgier content including Brothers With No Game (left), in which four black London twenty-somethings face work and relationship dilemmas. An adaptation of their YouTube show.

F2 Kicks Off: part of London Live’s fact ent package

Weekend highlights Saturday 09.30 Football show 14 To 1 13.30 Digital Theatre Presents 21.30 Big Night In specials Sunday 18.00 Doc strand Platform 8 19.00 8 Debate 22.00 Acquired dramas including The Shadow Line

air. We are going to be driving social media and that social message hard.” She’s realistic about what can be achieved in the allotted time. “We want to be seen and known across all platforms but I have to concentrate on what we’re going to put on the linear channel and how that seeds out,” says Cook. “That will be hard because we are starting from scratch, from a zero audience base, so to try to ramp that up very quickly is a huge ask.” Talking of the zero audience base, who are London Live’s viewers and where will they come from? Boseley says: “We haven’t gone into it saying it is a niche, local channel. It isn’t. I’m not approaching commissioning like that. I see this as the biggest www.broadcastnow.co.uk

‘I’m sure there’ll be a tsunami of critique – positive and negative – but bring it on’ Vikki Cook

mainstream channel launch on Freeview since Channel 5. Our creative and strategic ambition is to punch in that arena and we’d do ourselves a disservice if we weren’t thinking like that.”

Target demographic The published audience demographic is 16-34, but what they’re really targeting is a state of mind. Cook says: “If you aim younger, you can attract older; the other way around doesn’t work. We have to try to encapsulate London. It’s diverse, vibrant, energetic; it’s all sorts of creeds, colours, ages, sexualities – that’s what we’re trying to do.” There is potential to reach 4 million homes through Freeview, but there’s a

reluctance to put a marker on success. “We have to get on air, be credible, stay on air and look good,” Cook says. “It’s a commercial business, so of course there will be a focus on numbers, but in terms of putting a figure on it, that’s about three years out.” Now the blank canvas has been filled, but neither Boseley nor Cook expect to get things right first time. Cook says: “We’ve built everything from scratch, editorially and technically – we can’t just chuck that into a studio and think it all works. I’m sure there’ll be a tsunami of critique, both positive and negative, but bring it on. We’ve nailed our colours to the mast and are fantastically proud and excited by where we are now.” 28 March 2014 | Broadcast | 23

Production LOCAL TV

How local TV is shaping up As local TV services get ready to roll out across the country, Philip Reevell examines how one of the most biggest developments in British TV for decades is taking shape

o, welcome to London Live and, on a smaller scale, Norwich’s Mustard TV; next comes Nottingham and beyond. Over the next 12 months, local TV channels will be rolled out on an unprecedented scale as 18 more join Grimsby’s Estuary TV. The station became the first local TV channel to start broadcasting last November under the new Local Digital TV Programme Service licence, with a guaranteed Channel 8 position on the Freeview EPG. Ofcom advertised these licences in 2012 and began awarding them in the summer of that year. After a period dominated by the installation of new transmitters and a dedicated multiplex for the local channels, this year will finally reveal what viewers can expect from the new generation of local TV. 24 | Broadcast | 28 March 2014

‘London Live is possibly the main event, with opportunities for indies to contribute to its intended 50% original production’

London Live is, arguably, the main event, with opportunities for indies to contribute to its intended 50% original production (see Interview, page 22). The rollout of channels depends on transmission facilities being in place. This has been the responsibility of Comux, which won the local TV multiplex licence. It says it has antennae up and a footprint of 9.5 million UK homes. Newspaper and broadcaster involvement is a feature of the first phase of channels to go to air in the spring: regional publisher Archant’s Mustard TV in Norwich went live this week, and Notts TV, backed by the Nottingham Post, is aiming for 27 May. Nigel Dacre, who is behind Notts TV, also chairs the Local TV Network,

the industry organisation formed by all the licensees as part of their licence obligations. “It’s extraordinary we’re working with 23 licences and 15 companies,” he says. “There’s a lot of hard work to do to make sure all the organisations are collaborating and working with the network.”

Path to broadcast Most of local TV networks’ work has been focused on establishing a national sales contract with Axion Media, a new audience research deal with Barb, a contract with the BBC for payment for local news content, and the network contract with Comux. This approach is very different to any previous incarnations of local TV, and has smoothed the process of getting ready to broadcast. www.broadcastnow.co.uk

In reality TV, respecting boundaries and not inflicting emotional damage for the sake of ratings is paramount Ellen Windemuth, Behind the Scenes, page 32

It also helps that some of the new licences are held by experienced media companies, though STV is the only existing broadcaster scheduled to start up a local service. It says the first of its two channels, in Glasgow, will launch in June, and it has been recruiting production staff, including a channel controller. Made TV, which has the most licences, will be going on air in four cities in the summer: Cardiff, Bristol, Leeds and Newcastle. Made also won the licence for Middlesbrough in the second phase of the Ofcom licence process, and will launch the service 12 months after the first four. Two of the biggest licence-holders are now saying they will go on air later than planned. In Birmingham, Debra Davis says City8 is now aiming for October. In Manchester and Preston, Your TV has also set its launch date for October, having identified a number of options for its studios in Manchester. One of the characteristics of the first round of licences is the range of business models among the selected companies. It’s almost as if Ofcom’s decision-makers decided to licence a number of different approaches to see what might work. So, on a smaller scale, Latest TV in Brighton is constructing studios and targeting an 8 July launch. There are two community-driven projects. The long-standing Northern Visions group will launch in Belfast on 22 September, while in Sheffield – home of the Community Media Association, which lobbied hard for community local TV – Sheffield Live will launch in the third quarter. On a similar timescale (“the autumn”) will be the Oxford and Southampton services operated by That’s Media, run by Dan Cass, another veteran of the local TV lobby. In the meantime, the licensing process continues. Estuary TV has added Scarborough to its Grimsby operation, and two university towns – Cambridge and York – both have channels, the latter of which is eyeing an early 2015 launch. Bay TV in Liverpool added Mold to its original licence, and is part of the group that won Swansea, but last week learned that Ofcom had rejected its bid for Bangor, despite it being the only bidder. A third phase of licences, including Stoke and Carlisle, is scheduled to be completed this year, which will bring the total to 47. www.broadcastnow.co.uk

Once the channels launch, the real test will begin. Will viewers watch them? Will advertisers pay enough? Many are sceptical that the advertising-based model will be sufficient to sustain the levels of production and staffing predicted in some of the more ambitious plans. More generally, there was the news last autumn that Sky had decided to shut down its Tyne & Wear service. The regional press also continues to suffer – in Liverpool, the Daily Post has been closed. There’s a bigger question as to what is the most appropriate form for a digital media operation at a local level. As Luke Gaydon of video hosting platform Brightcove points out: “We’re now spending more than two hours daily on connected devices, and we’re consuming content in diverse ways, using multiple devices together to complement our viewing experiences.” He argues that local TV needs “not only first-rate content, but unified, innovative experiences across all screens”.

Hyperlocal rivals The opportunity for local services on digital media is developing at pace. In contrast to just 19 new TV channels, there are now around 500 hyperlocal websites in the UK, according to David Harte of Birmingham University, who has researched the subject for Nesta. He notes that 80 of the hyperlocal websites post daily updates, and Birmingham has the highest number outside of London. Nesta sees the development of hyperlocal as key and is assessing applicants in a £2.5m joint competition with the Technology Strategy Board. The funds will be invested “in projects that demonstrate the potential of hyperlocal media technologies to serve communities across the UK”. Launching TV channels into this environment requires a clear-sighted view of where broadcast news and local programmes might fit in. The regula-

Mustard TV: launched this week

LOCAL TV LAUNCH DATES Estuary TV (Grimsby)

Launched November 2013

Mustard TV (Norwich)

Launched 24 March

London Live

31 March 2014

Notts TV (Nottingham)

27 May 2014

Bay TV Liverpool

June 2014

STV Glasgow

June 2014

Made in Bristol

Summer 2014

Made in Cardiff

Summer 2014

Made in Leeds

Summer 2014

Made in Tyne & Wear (Newcastle)

Summer 2014

STV Edinburgh

June 2014

Latest TV (Brighton & Hove)

8 July 2014

City8 (Birmingham)

October 2014

SLTV/Sheffield Live

Summer/autumn 2014

That’s Oxford

Autumn 2014

That’s Solent (Southampton)

Autumn 2014

NvTv (Belfast)

22 September 2014

Your TV Manchester

1 October 2014

Your TV Blackpool & Preston

1 October 2014

Cambridge Presents

Winter 2014/15

The York Channel

Winter 2014/15

Yorkshire Coast TV (Scarborough)

Winter 2014/15

Bay TV Clwyd (Mold)

TBC

Made in Teesside (Middlesbrough)

Summer 2015

‘Local TV needs not only first-rate content, but unified, innovative experiences across all screens’ Luke Gaydon, Brightcove

tory framework has been tweaked to favour local television in such a way that it has attracted interest from newspapers and broadcasters. It has also attracted investment into new companies. Much now depends on the impact of the new services. Watch out for the first licence to change hands – and the valuation put on it. It’s unlikely to be as much as the $2.7bn paid last year by the Tribune Group in Chicago for 19 local TV stations in 16 American markets, but who says local TV can’t be a successful business?

London Live: launching 31 March 28 March 2014 | Broadcast | 25

Production focal international awards

archive stories at their best The Focal International Awards recognise projects from all over the world that have used historical footage to great effect. Adrian Pennington explores this year’s pick of the bunch This year’s Focal International Awards attracted a record number of non-UK submissions – 98 of the total 239, from 19 countries – highlighting its “growing international awareness”, according to the event’s organiser, Julie Lewis. Entrants to the awards, held in association with AP Archive, are moving away from

“using the same old archive as wallpaper while the narrator describes the footage”, suggests juror Wayne Lovell. “The reality is that viewers are more than capable of seeing and understanding the message the archive is conveying.” The criteria that each category is judged against include whether the programme’s

narration is factually accurate, and how novel the material is. “An execrable programme that showed authentic filmed images of the Wright brothers’ first flight could be forgiven a lot,” notes juror Jerry Kuehl. Ahead of the ceremony on 30 April, Broadcast previews the shortlisted projects in selected categories.

son decided to document the aftermath. New Life Of Family Album is a personal exploration combining old Super-8 footage and stills with intimate shots capturing the current state of affairs. “It didn’t quite work for me, but each of the three jurors had their own favourites so we arrived at the shortlist by consensus,” says Flasque.

Best Use of footage in a History ProdUction 9/11 Firehouse On 11 September 2001, half the members of Ten House fire unit, the closest fire station to the Twin Towers, were killed. Testimony Films’ 9/11 Firehouse traces events through the survivors’ testimony, using footage and audio meticulously researched from video, SIM card and mobile phone. “Any one of the videographers and photographers who rushed out to record the events that day might have captured a shot of our firefighters,” says producer/ researcher Andy Attenburrow. “I wanted the film to capture what it felt like to be one of the firefighters. That meant matching the archive as closely as possible to the detail relayed in interviews.” Juror Wayne Lovell found the piece “sympathetically cut, without over-exploiting the more dramatic and disturbing images that emerged that day, which has happened in previous productions.”

Before The Revolution Through the eyes of Israelis living and working in Tehran just prior to the 1979 Islamic revolution, Heymann Brothers’ Before The Revolution reveals a hidden side to this now-vilified state. “Until I encountered the variety of 8mm films [from families and diplomats supplemented with AP and ITNReuters archive], I had a good story, but with no means of telling it as a documentary,” explains 26 | Broadcast | 28 March 2014

Arctic Defenders

Before The Revolution: ‘astonishingly beautiful’

director Dan Shadur. “Not only were the films astonishingly beautiful, they were describing a point of view that does not exist anymore.”

limbo following the closure of public broadcaster ERT last June.”

Silent Balkans

The United States Of Amnesia

Greek documentary Silent Balkans narrates the story of the Balkan wars (1912-1914) as the nation states in the region broke free from the Ottoman Empire. “It’s well-paced and edits together clips of various quality with insight,” observes Lovell. “The region’s archives are, at best, only partially online, but communication with archivists in the Balkans is now quite straightforward and we often received material quickly through FTP,” says Anemon production head Leonidas Liambeys. “The Greek archive, though, is stuck in legal

Best Use of footage in a factUal ProdUction

The late political and cultural polymath and critic Gore Vidal is the subject of producer director Nicolas Wrathall’s The United States Of Amnesia. Commentary by those who knew Vidal blends with footage from BBC/T3 Media, NBC and ITN Source. “It is well presented and the use of archive makes sense in the narrative, rather than being plonked there as padding,” remarks juror Matt Flasque.

New Life Of Family Album When the father of a Slovak family left home following divorce, his

Arctic Defenders tells the story of how a radical Inuit movement led to the largest land claim in Western civilisation, incorporating material from CBC TV, Inuit Tapiriit Kanatami and various Canadian government sources. “Using personal archives and doggedly searching for rare material from Canada’s public and private archives allowed us to tell the historical back story in a way that had not been told before,” says director John Walker. “This film had striking production values and used archive rarely seen on this side of the Atlantic,” notes Flasque.

Best Use of footage in a natUral History ProdUction All three finalists tell stories of camera operators who pioneered wildlife photography.

Edwardian Insects On Film A radio broadcast about amateur photographer Percy Smith piqued exec producer Emma Morgan’s ➤ interest and led to Mentorn www.broadcastnow.co.uk

187135475, Wayne Lynch/Getty Images 187135475, Wayne Lynch/Getty Images

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Production focal international awarDs Best Use of sPorts footage

Edwardian Insects On Film: ‘the birth of natural history film-making’

Media’s Edwardian Insects On Film. While several of Smith’s short films are available on YouTube, including one depicting a housefly holding dumbbells, the production sourced material from the BFI, BBC NHU and Bradford’s National Media Museum. Morgan also tasked cameraman Charlie Hamilton James with reconstructing some of Smith’s timelapse inventions using an original Edwardian camera. “This archive is fundamental to the birth of natural history filmmaking and includes sequences that inspired Sir David Attenborough,” Morgan says.

be sensationalising Edward’s life. It took a year to persuade them we were telling a positive story. “Aside from being a previously hidden first-person record of the future king, we wanted to show that far from being a playboy prince – as many historians would have him – Edward was deeply concerned with animal welfare.” Pagliero also tracked related safari footage to the National Cash Register in Ohio. “There are great untapped archives out there,” he says.

Wild Cameramen At Work

Inform Educate Entertain

BBC Scotland series Wild Cameramen At Work fuses the BBC’s natural history archive with interviews to reveal the risks faced by five expert camera operators. “We were overwhelmed by how much our audience enjoyed seeing key parts of the wildlife archive again, carefully woven with new stories and insights from the men who shot the material themselves,” says producer Sandy Raffan.

Music act Public Service Broadcasting sampled public information and propaganda films from the 1930s and 1940s for their EP The War Room and debut album Inform Educate Entertain. Their live shows, including an upcoming concert at London’s RAF Museum, incorporate video footage from classic government films Dig For Victory and Night Mail. “It reimagines how archive footage can be used and creates an immersive experience through the live shows,” notes juror Caroline Ward. Peter Fydler, BFI head of B2B sales, adds: “When people use our archive, the results are, on the whole, fairly predictable, but what these guys have done is unique and engages a whole new audience with archive.”

Edward VIII: The Lion King An investigation to unearth the 1928-1930 movies shot by the then Prince of Wales on African safari sprung from development producer Sarah Peat’s reading of his memoirs. “We traced cans with 7,000ft of black-and-white 16mm to the BFI,” says producer/director George Pagliero of Tigress Productions’ Edward VIII: The Lion King. “The Palace initially denied the film’s existence, wary that we’d www.broadcastnow.co.uk

Best Use of footage on a Digital/non-tV Platform

Makers The website accompanying PBS and AOL TV series Makers charts

Trials Of Muhammad Ali: ‘a study in perseverance’

Trials Of Muhammad Ali Few lives are as well-documented as Muhammad Ali’s, but The Trials Of Muhammad Ali, from US producers Kartemquin Films and Kat White, delves into the boxer’s spiritual and political struggles with material from ABC News VideoSource and ESPN Productions. “You get sucked into a rabbit hole searching for footage, where one tip leads you to another source, and that source sends you on to another,” says producer Rachel Pikelny. “It was a study in perseverance, not ceasing until we found that gem and thinking of unusual ways to find what we needed to tell the story.”

The Battle Of The Sexes The 1973 tennis match between Billie Jean King and Bobby Riggs is the centrepiece of New Black Films’ theatrically released The Battle Of The Sexes, which contends that the event, watched live by 100 million people, was pivotal in the struggle for gender equality. “Nobody had told the wider story of the birth of women’s professional sport and how

the women who made American history by asserting their human rights. Video views have passed 42 million since launch in February 2013 and producer Kunhardt McGee was invited to the White House to screen excerpts. “A powerful social commentary, including Hilary Clinton and Oprah Winfrey, is set alongside archive footage illustrating key

this extraordinary match came about,” says producer/director James Erskine. From ABC’s original telecast, Erskine spotted spectators with film cameras and began tracking them down to find angles of the match that hadn’t been seen before. More detective work led him to locate original footage of the ‘Mother’s Day Massacre’, an earlier match between Riggs and Margaret Court. This trail led to LA’s probate courts and the daughter of a man who had acquired the footage at auction.

Hunt Vs Lauda: F1’s Greatest Racing Rivals The duel for the 1976 F1 championship between Niki Lauda and James Hunt is the subject of Lion TV doc Hunt Vs Lauda: F1’s Greatest Racing Rivals. Austrian broadcaster ORF helped entice Lauda to relive the bitter battle in a unique interview. “F1 archive is notoriously hard to clear but we were able to source all the key moments and find unseen footage that captured the spirit of 1976,” says producer/ director Matthew Whiteman.

moments in the civil rights movement, which makes essential and inspiring viewing,” says Ward.

Timeline WW2 Timeline WW2 is an iPad app from Ballista Media in which Dan Snow presents a history of World War II with user-selectable audio commentary. Featuring more than 100 clips, images, interactive maps ➤ 28 March 2014 | Broadcast | 29

Production FOCAL INTERNATIONAL AWARDS

Goodbye Granadaland: ‘a comprehensive retrospective’

and text from the British Pathé and US Government and Armed Forces Archive, the project was shortlisted “for its immediacy and engaging format, which gives the audience an intimate experience,” says Ward.

BEST USE OF FOOTAGE IN CURRENT AFFAIRS Das Auto: The Germans, Their Cars And US Shown as part of BBC2’s Germany season, Das Auto: The Germans, Their Cars And Us documents Germany’s post-WWII economic power and the automobile industry at the heart of it. “We knew that archive was as important as interviews and commentary, so we gave researcher Barry Purkis a wide remit to find cultural material like

adverts and sitcoms, not just newsreels of VWs rolling off factory production lines, which gave a flavour of the period in each country with humour and nostalgia,” says producer Fatima Salaria.

The Disappeared Archive footage underpins the harrowing narrative of The Disappeared, which relates the hidden story of at least 15 people murdered and buried in secret graves by the IRA during Northern Ireland’s troubles. Erica Starling Productions used archive from BBC NI, UTV Archive, ITV Wales, Fremantle Media Archive and

AP “to capture a specific time and place so that viewers could place themselves at the heart of this conflict”, says producer Alison Millar.

comprehensive retrospective,” notes juror Janet McBride.

We Steal Secrets: The Story Of WikiLeaks

Quality Balls – The David Steinberg Story is a biographical documentary showcasing the life and work of the stand-up comedian, featuring footage from the early years of Chicago comedy club Second City, and recent HBO programming. “We had so much footage that the biggest challenge was ensuring we only used that which best showcased David’s tone and unique perspective,” says Nolan MacDonald, development manager at Canadian producer Nightingale. “We worked closely with David to decide which clips to use, which was invaluable to us, but came with its own set of challenges when it came to locking down a final cut.”

Universal Pictures’ We Steal Secrets: The Story Of WikiLeaks details the creation of Julian Assange’s (below) controversial website, which facilitated the largest security breach in US history. Producer/director Alex Gibney licenced content from Flickr photographers in the Netherlands and France, Vimeo videographers in Brazil, YouTube users in Iceland and Malaysia, and archive houses in the US, UK, Australia, Sweden and Egypt, amassing 85 sources and negotiating for archive in six languages.

BEST USE OF FOOTAGE IN AN ENTERTAINMENT PRODUCTION Goodbye Granadaland ITV Entertainment and Shiver mined ITV’s own archive to produce a celebration of the studios that dominated Manchester’s TV landscape for 57 years. Goodbye Granadaland includes 1960s staff-training programmes, early behind-thescenes footage of Coronation Street and home-movie footage from Granada staff. “The production excels in narrowing down a vast amount of material to create a

Quality Balls – The David Steinberg Story

The Coronation Year In Colour ITN Productions’ The Coronation Year In Colour draws on rare colour home-movies of Britons on holiday, showing off new cars and houses in 1953, following post-war gloom. “Since ITN Source held film of the Coronation itself, we felt we could create an evocative documentary told through eyewitness narrative and personal archive to convey a sense of time and place,” explains executive producer Emma Read. Footage was discovered in private collections, commercial libraries, educational institutions and local cine clubs.

Image licensing Two million years of history at your fingertips bmimages.com

www.broadcastnow.co.uk

28 March 2014 | Broadcast | 31

Behind the Scenes Generation Cryo

Taking the back seat on an emotional ride It was essential that we let the participants follow their own path on the difficult journey to find their sperm-donor dad, says Ellen Windemuth Ellen Windemuth Executive producer

ur development team first came across Wendy Kramer and the Donor Sibling Registry (DSR) in 2008. Wendy founded the DSR in 2000 to assist kids conceived as a result of sperm, egg or embryo donation who wanted to get in touch with half-siblings or donors. The traditional family structure in the Western world has changed radically over the years and I set to work with Wendy to produce a documentary examining the sensitive and emotional issues that donors, kids and parents have to face. In 2011, Off the Fence produced a single film for the Style Network in the US. Style Exposed: Sperm Donor told the story of Boston attorney Ben Seisler who, while in law school, had donated sperm from which more than 70 children had been conceived. We got amazing reviews and ratings, plus exposure on various talk shows. However, the story we really wanted to tell was that of a donor-conceived teenager on a journey to find their halfsiblings, and hopefully their donor. We took the idea to Marshall Eisen, Dave Sirulnick and Nomi Leidner at MTV news and docs, who immediately saw the potential in the idea and commissioned six one-hour episodes. We hired showrunner Mike Lang and found an amazing 18-year old woman, Bree, to be the central focus of the series. What followed was a series

32 | Broadcast | 28 March 2014

that redefines what it means to be a modern family. Bree had always hidden the fact that she was sperm-donored. After her two mums split up when she was three, Bree bounced between both homes. Like most teenagers, she was attempting to find out who she was and visited the DSR in the hope of learning more about her family history. We followed her across the US as, armed with this information, she set out to meet her half-brothers and sisters, and enlist their help in tracking down details of their mutual donor – the anonymous ‘donor 1096’. Along the way, what starts off as a meeting of strangers becomes an intense and emotional bonding of family.

Emotional pain The relationships they formed were instant and intense, and there were some emotional and often painful issues to tackle, especially for the nonbiological parents, one of whom broke down in tears when he heard that his son had decided to join Bree and the others on their search. He also struggled immensely with his wife’s wish to meet the donor, while on the other hand, his donor-conceived daughter stayed on his side and refused to engage with her donor father. Bree kept a video diary of her fourmonth journey, which we used to stay as close to her experience as we could. It was paramount that the kids were empowered, without editorial interference, to express their own deeply personal experience. Our biggest concern throughout was to make sure we didn’t interfere in what they wanted to do or how they wanted to do it.

‘our biggest concern throughout was to make sure we didn’t interfere in what they wanted to do or how they wanted to do it’ Ellen Windemuth

GEnEration Cryo

Production company Off The Fence Productions tX 9pm, Wednesday 9 April, MTV UK Commissioner Dave Sirulnick Director Michael Lang Executive producers Ellen Windemuth; Michael Lang Executives in charge of production Karen Meehan; Fareed Elcott Editor David Wadsworth Post houses Christy’s Editorial; CCI Digital Summary Series following 18-year-old Bree as she tries to track down her half-siblings and their sperm-donor father.

Ellen Windemuth My tricks of the trade n Never let your crew get too tired,

hungry or lonely.

n Maintain regular contact with your

commissioning editor. Better to over-communicate and achieve a consensus on key issues than risk damaging the relationship and going over budget. n If the going gets really tough, pause, calm everyone down and look at your options. Sound out everyone involved, make an informed decision and implement it. n Bear in mind Churchill’s advice: “If you’re going through hell, keep going.”

www.broadcastnow.co.uk

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

Even with our reasonable budget, the numerous filming locations, large cast and crew and tight schedule made it financially challenging. From start to finish, we had eight months to produce six one-hour shows. We needed a large production and post team and started edits while still filming. Having a music supervisor on board helped us keep to our music budget while still fulfilling MTV’s requirements, including numerous contemporary tracks. When the series was broadcast on MTV in the US, the cast appeared on the Today Show and the New York Times described the series as “fascinating”. US Weekly called it “groundbreaking’. More importantly, the series opened up many family discussions and helped parents understand more about the curiosity and connection their donor-conceived children have with their genetic relatives. On a personal level, it was a rollercoaster ride. It taught me how sensitive you need to be to the vulnerabilities of people undergoing a transformational experience. For anyone in reality television, respecting people’s boundaries and steering clear of inﬂicting emotional damage for the sake of ratings is paramount and fundamental to success. www.broadcastnow.co.uk

Clockwise from bottom left: Bree’s half-brother Jonah; audio supervisor Byron Miller and DoP Patrick Metcalfe with donor siblings (left to right) Will Chaifetz, Jesse Clapoff, Hilit Jacobson, Jayme Clapoff, Jonah Jacobson and Jesse Bogdan; Bree; right: DoP Trevor Hansford and showrunner Mike Lang

Generation Cryo a LeGaL MineFieLD Karen Meehan Executive in charge of production

Every ob doc encounters legal, contractual, privacy and ethical issues. This series brought these topics into acute focus. We had to secure work permits for everyone under 18 and obtain filming permits and location agreements in eight US States, each with its own regulations and requirements. As we were filming minors and entering people’s homes, we also had to run background checks on all the crew. The critical legal issue was the donors’ anonymity. As the kids unearthed more and more information about the donor, we were walking into a legal and ethical minefield. We had to think long and hard about what we could and could not disclose. Revealing too much left us open to the risk of litigation. Naturally we would have loved to tell the whole story but our legal team advised us that we had to be cautious and reveal only a limited amount of

information about the donor. Eventually, we found a middle ground that enabled us to stay true to the real-life drama of the narrative of the search while respecting legal boundaries. Parents’ participation was essential and they were understandably worried about how their children would be portrayed on screen, the emotional fallout from the broadcast of the series in their schools and communities, and the overall perception of the kids as donor-conceived. We addressed all their concerns and accommodated them wherever possible, stressing that we had no desire to sensationalise what was already a highly emotional journey for these families. After months of negotiation and patiently listening to everyone’s concerns, talking through their worries, we ﬁnally managed to get all of the cast agreements signed.

28 March 2014 | Broadcast | 33

MipTV Listings ALFRED HABER

The Annual Grammy® Awards

2015 21St Annual Screen Actors Guild Awards®

MIP Booth: Palais 1, P-1.L50 MIP telephone number: +33 (0)4 92 99 83 00

Running time 1 x 120 minutes Genre Awards special Description One of the awards season’s premiere events in which actors vote solely for actors in honoring the finest film and television performances of the year.

The Beatles: The Night That Changed America – A Grammy® Salute

Alfred Haber Distribution, Inc. 111 Grand Avenue, Suite 203 Palisades Park, New Jersey 07650 Tel: +1 (201) 224-8000 Fax: +1 (201) 947-4500 info@haberinc.com www.alfredhaber.com

Executives attending Alfred Haber, President Andrew Haber, Vice President, International Sales Christopher Brouder, Vice President, International Sales Steven Weiser, Vice President, Domestic & International Sales Patricia Villagran, International Sales Exec Jennifer Askin, International Sales Consultant

PROGRAMME LISTINGS 2015 57th Annual Grammy® Awards

Running time 1 x 210 minutes Genre Music special Description Music’s Biggest Night® will deliver exhilarating performances and exceptional ratings when the world’s brightest megastars light up the stage on television’s most prestigious music event.

Airshow

Beyond Distribution MIP Booth: R7.B16

Running time 1 x 150 minutes Genre Music special Description The international hit that celebrates the 50th anniversary of The Beatles’ groundbreaking U.S. debut performance on The Ed Sullivan Show. Features many musical superstars as well as a memorable reunion of Sir Paul McCartney & Ringo Starr performing classic Beatles songs.

Top Twenty Funniest

Running time 38 x 60 minutes Genre Reality Description Comedic commentary charts the best viral videos, home movies, surveillance clips, event footage and news bloopers, as we count down to the world’s most hilarious video.

Hillbilly Preppers - Atlanta

Running time 6 x 30 minutes Category Factual reality Description Barry and his boys are here to train you, arm you and build you anything you can dream up to protect yourself, even if it is against invading aliens.

Manufactured

Running Time 13 x 30 minutes Category Science & Technology Description From the inventors through to the factory floor workers, Manufactured tells the story of iconic products – from the Stetson hat, Toto Drake II toilet to Jack Daniel’s whiskey.

Beyond Distribution 41/42 Berners Street, London W1T 3NB, Tel: +44 (0) 20 7323 3444 Fax: + 44 (0) 20 7580 6479

3 Chefs, 1 City

PROGRAMME LISTINGS

Running Time 13 x 30 minutes Category Factual Description 3 Chefs, 1 City explores the world’s greatest foodie destinations with the guidance of three culinary leaders in each city, including Heinz Beck, Wolfgang Puck and Alvin Leung

Airshow

Asia Rising

Executives attending Mikael Borglund, CEO & Managing Director Michael Murphy, General Manager Munia Kanna-Konsek, Head of Sales Yvonne Body, Head of Acquisitions Danika Porter, Head of Marketing Sherry Fynbo, Senior Vice President Sales Joanne Azzopardi, Vice President Sales Marzenna Czubowicz, Vice President Sales Zoe Wilson, Sales Executive

34 | Broadcast | 28 March 2014

Running Time 8 x 60 minutes Category Factual reality Description This is the most dangerous part-time profession on the planet. From the ground it looks glamorous, but every year pilots push too hard and pay the ultimate price.

Running Time 10 x 30 minutes Category People & Society Description Asia Rising provides a prescient and passionate perspective on the power and scope of Asia in the decades ahead, and how the shift to the East will impact the worlds.

www.broadcastnow.co.uk

MipTV Listings Cineflix Rights

The Copacabana Palace

Impostors

MIP Booth: R7. L27

Cineflix Rights 1st Floor, 1 Lorenzo Street, London, WC1X 9DJ, UK Tel: +44 (0)20 3179 5050 Fax: +44 (0)20 3179 5051

Executives attending Chris Bonney, CEO Rights, Cineflix Media Kate Llewellyn-Jones, Senior VP, Sales Management Sandra Piha, Senior VP, Programme Sales Lucinda Gergley-Garner, Senior VP Sales and Acquisitions, North America Sabrina Ayala, VP and General Manager, Italy, Iberia, and Latin America

PROGRAMME LISTINGS Impostors

Running time 6 x 60 minutes Genre Crime & Investigation Description Impostors explores the dirtiest path to success; deceit. This series uncovers the shocking tales of some of the world’s best con artists who manipulated, schemed, and tricked others to catapult themselves into a world of influence, prestige, and luxury.

Rambam Gets His Man

Running time 6 x 60 minutes Genre Crime & Investigation Description Steve Rambam is the world’s foremost expert in cases of hardcore disappearance and the go-to private investigator for cases that nobody else can solve. Now Rambam and his team are allowing cameras into their world as they relive some of their greatest cases.

Entertainment One Television

Tim Ferriss

Running time 1 x 60 minutes Genre Documentary Description As Brazil prepares to host the 2014 world cup, we follow the staff and guests of the country’s most famous, historic and exclusive hotel. Through the doors of the Copacabana Palace we will see the richest country in Latin America and one of the newest powerhouse economies of the world.

Stonehenge Empire

Running time 2 x 60 minutes Genre History Description Stonehenge Empire rediscovers and redefines a lost civilisation with exclusive access to the biggest archaeological survey ever undertaken of Stonehenge’s sacred landscape. Combining new archaeological evidence, dramatic reconstructions, and state-of-the art CGI, this documentary creates a complete picture of the how the landmark would have looked in its prime. Stonehenge Empire

Halt & Catch Fire (AMC)

Running Time 10 x 60 minutes Category Drama Series Description A dynamic illustration of the American dream in the 1980s with three underdogs who overthrow corporate empires during the personal computer boom.

MIP Booth: C15. A5

The Red Road (Sundance TV)

Running Time 6 x 60 minutes Category Drama Series Description A hard-hitting drama from Sundance Channel that revolves around a cop struggling to keep his family together while policing two clashing communities.

Entertainment One Television 145 King St. East, Third Floor Toronto, Ontario, Canada M5C 2Y7 Tel: 011 + 1 + (416) 309-4200

Matador (El Rey Network)

Executives attending Darren Throop, President & CEO, Entertainment One John Morayniss, CEO, Entertainment One Television Peter Emerson, President, Entertainment One Television International Prentiss Fraser, SVP, Worldwide Sales & Acquisitions, Entertainment One Television International Valerie Cabrera, EVP, Entertainment One Television International

www.broadcastnow.co.uk

PROGRAMME LISTINGS TURN (AMC)

Running Time 10 x 60 minutes Category Drama Series Description In this epic drama, a farmer and a group of his friends become unlikely spies and turn the tide in America’s fight for independence.

Running Time 13 x 60 minutes Category Action Series Description In a game of life and death, DEA agent Tony Bravo is recruited to investigate a mysterious mogul who owns one of the greatest soccer teams.

Close Up Kings (Discovery UK, OLN)

Running Time 8 x 60 minutes Category Street Magic Series Description Three of the best sleight-ofhand artists pull off carefully orchestrated and artfully executed Ocean’s Eleven style magic tricks in major cities across the US.

28 March 2014 | Broadcast | 35

MipTV Listings Passion Distribution

production for BBC One

Derek Season 2

World’s Angriest…

MIP Booth: P4.C18

Passion Distribution Ltd Elsinore House 77 Fulham Palace Road London W6 8JA Tel: +44 (0)207 981 9801

Executives attending Sally Miles, CEO Nick Rees, Managing Director Emma Simpkins, Director of Sales Hana Palmer, Head of Sales – Formats & Scripted Nick Tanner, Senior Sales Manager

TVF International

Running time 6 x 60 minutes Genre Factual Entertainment Description This shocking clip-show series features some of the most extraordinarily angry moments ever caught on camera by ordinary members of the public. A Mentorn Media production for Channel 5

PROGRAMME LISTINGS Running time 6 x 30 minutes Genre Drama / Comedy Description The bittersweet comedy about a group of outsiders living on society’s margins returns for a second season. The series, written and starring Ricky Gervais was a massive success in its first season, becoming Channel 4’s highest rating comedy in 2013.

Running time 3 x 60 minutes Genre Factual Entertainment Description More young women are turning to lap dancing to make a living. Strippers meets dancers, club owners and punters hell-bent on having a good time, discovering how the dancers handle the stigma attached to their profession and the impact it has on their friends, family and relationships. A Firecracker Films production for Channel 4

Joanna Lumley Meets will.i.am

Mail Order Murder

Derek Season 2

Running time 1 x 60 minutes Genre Documentary Description He’s a global superstar, who’s made it against all the odds. And now, he’s giving access-all-areas to Joanna Lumley. She will spend time with him at his mansion in Los Feliz, meeting his friends and family. A Rain Entertainment Media and Big Red

The Tim Ferriss Experiment

MIP Booth: R7.C40

PROGRAMME LISTINGS The Tim Ferriss Experiment

TVF International 375 City Road, London, EC1V 1NB Tel: +44 (0) 20 7837 3000

Executives attending Alice Hamlett, Head of Programming and Acquisitions Harriet Armston-Clarke, Sales Manager Will Stapley, Senior Sales Executive Anna Budashevskaya, Senior Sales Executive Julian Chou-Lambert, Senior Programming and Sales Executive

36 | Broadcast | 28 March 2014

Strippers

Running Time 13 x 30 minutes Category Lifestyle Description Lifestyle guru Tim Ferriss pushes himself to the edge, decoding tough-to-master tasks – parkour, rally car racing, surfing, digital dating – with master efficiency. Each episode goes step-by-step through new skills, providing takeaways that can be translated into everyday life. Commissioner: HLN

Brazil From Above

Running time 6 x 30 minutes / 1 x 60 minutes Category Event Description From the aerial specialists behind bestselling international franchise The World From Above come these beautiful tailor-made editions, just in time for the World Cup in Brazil. The stunning programmes feature incredible footage of Brazil’s coastlines, cities and stadiums.

Running time 6 x 30 minutes Genre Crime & Investigation Description You can’t buy love. But you can buy marriage. This series explores the dark side of Mail Order Marriages. Where the dreams of the perfect life end in deceit, lies, disaster… and murder. Pioneer Productions for Investigation Discovery

Slaves To Habit

Running Time 1 x 52 minutes Category Science Description Smoking, overeating, compulsive shopping, nail-biting… This revealing new documentary takes an indepth look at bad habits, the behaviour that surrounds them, and the startling new science on the interaction between brain chemistry, habit and self-control. Commissioner: CBC

Bridge The Gap

Running Time 3 x 60 minutes Category Travel Description From motorcycle rides across East Africa, to rap battles in Haitian slums and escaping venomous bees in Uganda, Chris Bashinelli connects with the places he visits by playing, partying and working alongside local people to better understand their cultures. Commissioner: PBS

Living The Life Running Time S1 12 x 50; S2 10 x 50; S3 8 x 50 Category Celebrity Description This trailblazing biography show allows pairings of well-known celebrities to open up about their private and professional lives – from Stephen Fry talking with Rolling Stones bassist Bill Wyman, to a heart-to-heart between illusionist Derren Brown and film composer Hans Zimmer. Commissioner: Sky Arts www.broadcastnow.co.uk

S E LA V SA

Presented by:

NC HA O ET

20 A WEEK OF INSPIRATION FOR A YEAR OF INNOVATION 2-6 JUNE | LONDON David Abraham Chief executive Channel 4

MEDIA

Josh Berger President and managing director Warner Bros Entertainment

Paul Dempsey President, global markets BBC Worldwide

Adam Crozier Chief executive ITV

Simon Fox Chief executive Trinity Mirror

Sarah Wright Head of acquistions Sky

SUMMIT

WEDNESDAY 4 JUNE | BAFTA

This one-day thought-leadership event brings together leaders across a range of pioneering media and customer-focused companies. From 3D to Ultra HD, discover how media and content companies set their strategies in a world of constant innovation.

INTERNATIONAL

TV FORUM

THURSDAY 5 JUNE | BAFTA

A must for distributors, producers and buyers, this day will look at the challenges that distributors face to snap up the best content. Plus discover how these companies can be best placed to play a key role in the television, film and advertising communities.

Richard Bradley Managing director Lion TV

Catherine Mackin Director of programme acquisitions UKTV

For the full speaker line-up and programmes visit www.creativeweek.co.uk

Join the conversation

@MBIEvents #creativeweeklondon

Book your place today: +44 (0) 20 3033 2889 | www.creativeweek.co.uk * Save 20% off your full week pass when you book by 31 March

Headline partner

Partners

For sponsorship details contact Broadcast: sonya.jacobs@mb-insight.com | 020 3638 5057 or patricia.arescy@mb-insight.com | 0203 638 5063 Screen International/shots: andrew.dixon@mb-insight.com | 020 3033 2928

Marketplace Repairs

auctions

To advertise here, contact Hannah Grix on 020 3033 2889 email hannah.grix@broadcastnow.co.uk

TRANSFERS & SALES

Business Opportunity

specialist camera equipment the world’s leading specialist camera company

ELSTREE STUDIOS

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Abu Dhabi Triathlon 2014

Please mention Broadcast when replying to adverts

TO LET AT ELSTREE STUDIOS Fully equipped audio post facility with two mixing areas, foley suite, voice over booth and avid edit system.

PRIMETIME EMMY AND BAFTA AWARD WINNER www.acsmedia.com

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Open to rental offers and possible profit sharing. Most recently used for ITV’s Your Face Sounds Familiar. Please call 020 8953 1600 info@elstreestudios.co.uk www.elstreestudios.co.uk

To advertise in the Marketplace section please contact: Hannah Grix 020 3033 2889 hannah.grix@mb-insight.com 38 | Broadcast | 28 March 2014

“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

www.broadcastnow.co.uk

Appointments

To advertise here, contact Hannah Grix on 020 3033 2889 email hannah.grix@broadcastnow.co.uk

Presteigne Broadcast Hire

EXPERIENCED PROFESSIONALS NEEDED TO JOIN OUR TEAM IN CRAWLEY PRESTEIGNE is looking for three talented and experienced individuals to help grow our business globally: îSales Manager who is primarily responsible for managing client relationships; maintaining and increasing sales with new and existing customers and managing our Dry Hire and Field Sales Teams îBid Engineer who can turn customers’ ITTs into innovative and competitive bids îHire Desk Co-ordinator who can listen to our customers’ needs and provide “best fit” dry hire solutions

“I want to let you know how delighted we have been with the response to the recruitment advertisements we have recently been running in Broadcast.

Competitive salary and benefits package on offer (including pension and BUPA).

For more information about the roles, please call Fiona on 01293 651300 or send your CV to fionaw@presteignecharter.com PRESTEIGNE is a leading dry hire and complete multi-production solution provider with extensive experience in RF, Audio, Video, EVS, HD and 3D with the expertise to offer worldwide solutions to meet a wide range of production needs.

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

www.presteignecharter.com

Please mention Broadcast when replying to adverts Closing Date: 4th April 2014

WE’RE HIRING BROADCAST IS GROWING AND WE HAVE A NUMBER OF EXCITING ROLES TO FILL ACROSS THE BUSINESS. Recruitment and Classified Sales Manager Corporate Subscriptions Sales Manager Ad Ops Executive Events Administrator To apply please email your CV to vacancies@mb-insight.com stating the role you are applying for in the subject line.

All applications must be submitted by 18th April 2014

www.broadcastnow.co.uk

28 March 2014 | Broadcast | 39

Ratings Mon 17 Mar – Sun 23 Mar

Charity pays off for BBC1 Sport Relief pulls in the viewers as well as the cash, while ITV’s The Widower launches on a high BY Stephen price

I was a cub scout for just a week. Consequently, I missed the bit about being prepared, always. Last week, this lack of preparedness found me sitting in the Royal Opera House in Muscat in a borrowed suit with trousers two inches too short, wildly inappropriate shoes and surrounded by elegantly robed locals who must have been wondering who this berk was. Still, after the wailing finale and under the cover of darkness, my flappy trousers made their escape; a blessed relief. In contrast, the Sport Relief dished out by BBC1 on Friday only made things worse for ITV at 9pm. More cheerily, The Widower continued ITV’s Monday winning streak. On Monday at 9pm, ITV launched the three-part, true-life drama series whose 5 million/22% (450,000 +1) was too much for the fourth episode of BBC1’s Silk, which slipped to a live ratings series low of 3.9 million/17%. On Tuesday, ITV’s Champions’ League coverage of Chelsea v Galatasaray averaged 4.3 million/ 19% (48,000 +1). Opposite, BBC1’s Holby City achieved 4.8 million/ 21% at 8pm, followed by Shetland’s 4.9 million/22% at 9pm, just 350,000 short of last week’s decent opening. At 8pm on Wednesday, the second and last episode of ITV’s You Saw Them Here First lost 1 million on last week, drawing 2.7 million/13% (110,000 +1). BBC1’s DIY SOS: The Big Build’s 4.9 million/23% (1.7 million more than Waterloo Road in the slot 40 | Broadcast | 28 March 2014

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 24 26 27 28 29 30 31 32 33 33 35 36 37 38 38 40 41 42 42 44 45 46 47 48 49 50

Title

Day

Start

Viewers (m) (all homes)

Share %

Broadcaster/ Producer*

Coronation Street Sport Relief 2014 Coronation Street Coronation Street EasEnders EasEnders EasEnders Emmerdale Coronation Street Countryfile Emmerdale Ant & Dec’s Saturday Night Takeaway Emmerdale The Voice UK Emmerdale Emmerdale Emmerdale The Voice UK Results Antiques Roadshow Coronation Street Casualty The Widower BBC News At Six BBC News At Six BBC News BBC News At Six BBC News At Six The National Lottery Live BBC News BBC News At Six DIY SOS: The Big Build Mr Selfridge BBC News At Ten Shetland Holby City The One Show BBC News At Ten BBC News At Ten The One Show BBC News At Ten BBC News The One Show BBC News At Ten Champions League: Chelsea V Galatasaray The Musketeers Match Of The Day The Cube The One Show ITV News & Weather Silk

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

19.30 19.00 20.30 19.30 20.00 19.30 19.30 19.00 19.30 19.00 19.00 19.00 19.00 18.45 19.00 20.00 19.00 20.50 20.00 20.30 21.25 21.00 18.00 18.00 22.15 18.00 18.00 20.40 22.00 18.00 20.00 21.00 22.00 21.00 20.00 19.00 22.00 22.00 19.00 22.00 18.35 19.00 22.00 19.30 21.00 22.30 20.25 19.00 18.30 21.00

8.34 7.80 7.74 7.59 7.14 7.10 6.94 6.93 6.90 6.63 6.54 6.40 6.36 6.21 6.21 5.96 5.95 5.89 5.77 5.72 5.61 5.48 5.35 5.29 5.29 5.28 5.14 5.03 5.02 4.98 4.91 4.89 4.85 4.85 4.75 4.73 4.62 4.49 4.49 4.48 4.37 4.34 4.34 4.29 4.24 4.21 4.17 4.10 4.07 3.90

38.86 34.93 32.94 35.67 31.26 32.80 32.41 34.24 31.48 30.27 33.70 27.92 31.03 27.62 30.78 28.02 29.74 27.62 24.66 23.77 29.01 23.81 30.60 31.20 29.93 29.98 28.86 24.32 26.61 29.53 22.79 21.50 24.93 21.56 20.71 23.47 25.79 24.55 21.93 25.56 22.54 21.43 24.59 19.04 18.63 33.75 19.56 20.17 21.50 16.95

ITV BBC1 ITV ITV BBC1 BBC1 BBC1 ITV ITV BBC1 ITV ITV ITV BBC1/Wall to Wall ITV ITV ITV BBC1/ Wall to Wall BBC1 ITV BBC1 ITV BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 ITV BBC1 BBC1/ITV Studios BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 ITV BBC1 BBC1 ITV/Objective Productions BBC1 ITV BBC1

Figures include HD and +1 where applicable

Sport relief

the Widower www.broadcastnow.co.uk

All BARB ratings supplied by: Attentional

Source: BARB

51 52 53 54 55 55 57 58 58 60 61 62 63 63 65 66 67 67 69 70 71 72 73 74 74 76 77 78 79 79 81 81 83 84 85 86 87 87 89 90 91 92 93 94 95 96 97 98 99 100

Title

Day

Start

Viewers (m) (all homes)

Share %

Broadcaster/ Producer*

Catchphrase Sport Relief 2014 Crimewatch Davina – Beyond Breaking Point... I Never Knew That About Britain Pointless ITV News & Weather ITV News & Weather Pointless ITV News & Weather ITV News & Weather Pointless Law & Order: UK Harry's South Pole Heroes Pointless Celebrities: Sport Relief 2014 Pointless The Chase The Chase The Chase Student Nurses: Bedpans And Bandages The Chase Holiday Hit Squad The Chase Bang Goes The Theory University Challenge After The Floods. Tonight Sport Relief 2014 Line Of Duty You’ve Been Framed! A-Z Of Animals BBC News BBC News At One Sport Relief: The Best Bits You Saw Them Here First BBC News At One Pointless Celebrities The Great British Sewing Bee BBC News At One Blandings BBC News At One Ade At Sea Crimewatch Update Mary Berry Cooks ITV News & Weather Inside Rolls-Royce Question Time ITV News & Weather ITV News At Ten & Weather Match Of The Day 2 Turks & Caicos Panorama: A Week In A&E: Condition...

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

19.00 22.00 21.00 21.00 20.00 17.15 18.30 18.30 17.15 18.30 18.30 17.15 21.00 20.00 17.15 17.15 17.00 17.00 17.00 20.00 17.00 20.00 17.00 19.30 20.00 19.30 22.35 21.00 18.00 17.10 13.00 17.25 20.00 13.00 17.20 20.00 13.00 18.05 13.00 20.30 22.40 20.30 22.00 21.00 22.35 18.45 22.00 22.25 21.00 20.30

3.90 3.85 3.70 3.65 3.54 3.54 3.52 3.51 3.51 3.49 3.45 3.42 3.38 3.38 3.37 3.35 3.31 3.31 3.28 3.27 3.17 3.10 3.05 3.02 3.02 3.01 3.00 2.96 2.92 2.92 2.90 2.90 2.89 2.86 2.84 2.83 2.81 2.81 2.71 2.69 2.66 2.61 2.50 2.49 2.43 2.42 2.33 2.30 2.29 2.27

17.81 20.48 16.13 17.30 15.51 24.35 18.94 19.29 24.52 18.39 19.23 24.12 14.73 14.42 23.81 24.22 24.34 24.26 23.65 14.56 23.98 14.63 22.66 14.10 13.23 14.05 32.15 12.91 15.78 20.58 42.89 17.28 13.45 42.93 17.34 12.33 42.24 15.45 40.85 12.75 19.09 11.11 13.25 11.82 21.87 12.11 13.70 19.39 11.54 9.66

ITV BBC2 BBC1 BBC1 ITV/Potato BBC1/Remarkable ITV/ITN ITV/ITN BBC1/Remarkable ITV/ITN ITV/ITN BBC1/Remarkable ITV/Kudos Film & TV ITV/Twofour BBC1 BBC1/Remarkable ITV ITV ITV ITV/Twofour ITV BBC1/Twofour ITV BBC1 BBC2 ITV BBC1 BBC2/World Productions ITV BBC1 BBC1 BBC1 ITV/Shiver BBC1 BBC1/Remarkable BBC2/Love Productions BBC1 BBC1/Mammoth Screen BBC1 ITV BBC1 BBC2/Love West ITV/ITN C4/The Garden BBC1/Mentorn ITV/ITN ITV/ITN BBC1 BBC2/Carnival Films/Heyday Films 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.

Ade At Sea www.broadcastnow.co.uk

turks & caicos

last week) probably had something to do with that. At 9pm, BBC1’s Crimewatch’s 3.7 million/16% defeated ITV’s Law & Order: UK’s 3 million/13% (328,000 +1), more than 650,000 short of last week. On Thursday after Emmerdale (5.8 million/27%; 140,000 +1), ITV launched Ade At Sea at 8.30pm with just 2.6 million/12% (64,000 +1). Opposite from 8pm, BBC1’s Holiday Hit Squad achieved 3.1 million/15%. At 9pm, BBC1’s Davina – Beyond Breaking Point For Sport Relief won overall with 3.7 million/17%, while ITV documentary Dangerous

‘Drama The Widower continued ITV’s Monday winning streak with 5m/22%’ Dogs (2 million/9%; 270,000 +1) was edged out by C4’s Inside Rolls-Royce (2.1 million/10%; 360,000 +1) and BBC2 drama Turks & Caicos (2.3 million/12%). On Friday, BBC1’s Sport Relief averaged 7.8 million/35% between 7pm and 10pm, 2 million more than 2012. At 9pm, ITV’s Edge Of Heaven fell to a series low of 1.2 million/5% (45,000 +1) behind C4’s Gogglebox (1.8 million/8%; 417,000 +1). The first live show of this series of BBC1’s The Voice: UK achieved 6.2 million/28% (6.45pm-8.40pm) on Saturday, followed by the results show’s 5.9 million/28%; the lowest rating of this series so far. At 7pm, ITV’s Ant And Dec’s Saturday Night Takeaway squeaked past with 6.1 million/ 27%; 316,000 +1. After The Cube’s 3.9 million/18% (250,000 +1) from 8.30pm, ITV’s brave scheduling of The Americans wasn’t rewarded as it sank to 900,000/5% (88,000 +1) at 9.30pm, 340,000 short of last week. At 9.25pm, BBC1’s Casualty achieved 5.6 million/29%. At 8pm on Sunday, BBC1’s Antiques Roadshow (5.8 million/ 25%) defeated ITV’s Harry’s South Pole Heroes (3.2 million/ 14%; 174,000 +1), while at 9pm, BBC1’s The Musketeers (4.2 million/19%) was beaten by the finale of ITV’s Mr Selfridge (4.6 million/21%; 300,000 +1).

See over for digital focus, plus channel and genre overviews 28 March 2014 | Broadcast | 41

Ratings Mon 17 Mar – Sun 23 Mar Channel Overview

Babies deliver on BBC2 & C4 BY Stephen price

This week, BBC2 launched a sort of farming version of Call The Midwife, with more bleating, less screaming and a fear of mint sauce. Channel 4’s own baby delivery service showed its mettle in the face of the fearsome The Plantagenets, while a Line Of Duty was drawn, but not definitively. On Monday, the brand new defeated the very old as BBC2 doc series The Plantagenets launched with 1.7 million/7%, behind the new arrivals in C4’s One Born Every Minute with 1.8 million/8% (240,000 +1). Channel 5’s Can’t Pay? We’ll Take It Away! did well, but still trailed with 1.3 million/6% (170,000 +1). With threads dangling for the inevitable series three, the climax of the second series of BBC2’s Line Of Duty climbed again to a live high of 3 million/13% on Wednesday at 9pm. It was well ahead of C4’s repeat of Peter Kay Live At The Bolton Albert Halls (1.8 million/8%; 350,000 +1) and C5’s NCIS (900,000/4%; 155,000 +1). On Sunday, BBC2’s Lambing Live: Farming Families launched with 1.8 million/8%, ahead of C4’s The Million Pound Necklace: Inside Boodles (1.4 million/6%; 380,000 +1) opposite. The best of C5’s Great Escape night was the movie itself: 1 million/5% (113,000 +1) from 5.45pm.

Source: BARB

WEEK 12 Average hours per viewer Daytime Share (%) Peaktime Share (%) w/c 17.03.14 Peaktime share (%) w/c 18.03.13 yEAr TO DATE Average hours per viewer Audience share (%) Audience share (2013)

BBC1 5.76 19.47 24.46 21.84 BBC1 6.17 22.37 21.69

BBC2 1.48 4.31 7.74 6.38 BBC2 1.94 7.04 5.66

ITV1 3.76 14.04 18.78 21.46 ITV1 4.26 15.44 16.32

C4 1.46 5.18 6.58 6.50 C4 1.61 5.85 6.16

Start

Viewers (m) (all homes)

C5 0.99 4.51 3.59 4.18 C5 1.11 4.02 4.06

Others 11.82 52.49 38.85 39.64 Others 12.49 45.28 46.11

Total 25.25 100.00 100.00 100.00 Total 27.59 100.00 100.00

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

TOP 30 BBC2, CHANNEL 4 AND CHANNEL 5 Title

Day

Share %

Broadcaster

Sport Relief 2014

Fri

22.00

3.85

20.48

BBC2

University Challenge

Mon

20.00

3.02

13.23

BBC2

Line Of Duty

Wed

21.00

2.96

12.91

BBC2

The Great British Sewing Bee

Tue

20.00

2.83

12.33

BBC2

Mary Berry Cooks

Mon

20.30

2.61

11.11

BBC2

Inside Rolls-Royce

Thu

21.00

2.49

11.82

Turks & Caicos

Thu

21.00

2.29

11.54

BBC2

Rio

Sun

18.10

2.19

10.64

Gogglebox

Fri

21.00

2.17

9.51

The Hairy Bikers’ Asian Adventure

Thu

20.00

2.14

10.10

C4 BBC2

One Born Every Minute

Mon

21.00

2.07

8.99

Peter Kay Live At The Bolton Albert Halls

Wed

21.00

2.04

8.86

C4 C4

Food Prices: The Shocking Truth

Tue

21.00

2.03

9.03

Mastermind

Fri

20.00

1.94

8.66

BBC2

Lambing Live: Farming Families

Sun

20.00

1.84

7.88

BBC2

Louis Theroux’s LA Stories

Sun

21.00

1.78

7.83

BBC2

An Hour To Save Your Life

Tue

21.00

1.77

7.88

BBC2

The Million Pound Necklace: Inside Boodles

Sun

20.00

1.77

7.54

Dad’s Army

Sat

19.30

1.75

7.62

BBC2

Shop Secrets: Tricks Of The Trade

Mon

20.30

1.74

7.39

Undercover Doctor: Cure Me, I'm Gay

Tue

22.00

1.69

11.08

The Plantagenets

Mon

21.00

1.69

7.36

Gardeners’ World

Fri

20.30

1.68

7.00

BBC2

The Hoarder Next Door

Thu

20.00

1.64

7.72

Antiques Road Trip

Tue

19.00

1.63

7.81

BBC2

W1A

Wed

22.00

1.61

9.01

BBC2

Top Gear: Burma Special

Mon

19.00

1.50

7.21

BBC2

Kirstie’s Best Of Both Worlds

Tue

20.00

1.50

6.54

Can't Pay? We’ll Take It Away!

Mon

21.00

1.46

6.36

QI XL

Sat

21.30

1.46

7.56

BBC2

Figures include HD and +1 where applicable

DAyTIME SHArE (%) w/c 17.03.14

PEAKTIME SHArE (%) w/c 17.03.14

Multichannel 38.85

1.7m

Audience for Channel 4 doc Undercover Doctor: Cure Me, I’m Gay (Tuesday, 10pm) 42 | Broadcast | 28 March 2014

BBC1 24.46

ITV1 18.78

C5 3.59 C4 6.58

BBC2 7.74

Multichannel 52.49

1.6m BBC-set comedy W1A started ahead of the 991,000 slot average (Wednesday, 10pm)

BBC1 19.47

ITV1 14.04

C5 4.51

BBC2 4.31

C4 5.18

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

Day

The Dumping Ground Octonauts Sarah & Duck Hank Zipzer Octonauts Tree Fu Tom Katie Morag Peter Rabbit Newsround Octonauts

Fri Sun Sun Tue Tue Sun Sun Sun Wed Fri

toP 10 factuaL ProGrammes Start

Viewers (Age 4-15)

17.45 280,100 08.45 241,300 08.55 240,300 17.00 223,600 08.00 217,800 09.15 214,900 17.40 212,100 09.00 210,600 08.15 198,100 08.00 197,100

Share (%)

Channel

Title

15.86 19.37 18.76 16.18 16.35 16.75 12.51 16.41 16.33 15.37

CBBC CBeebies CBeebies CBBC CBeebies CBeebies CBeebies CBeebies CBBC CBeebies

1 2 3 4 5 6 7 8 9 10

Countryfile Antiques Roadshow DIY SOS: The Big Build The One Show The One Show The One Show The One Show Davina – Beyond Breaking Point... I Never Knew That About Britain Harry's South Pole Heroes

Day

Start

Viewers (millions)

Share (%)

Channel

Sun Sun Wed Tue Thu Mon Wed Thu Mon Sun

19.00 20.00 20.00 19.00 19.00 19.00 19.00 21.00 20.00 20.00

6.63 5.77 4.91 4.73 4.49 4.34 4.10 3.65 3.54 3.38

30.27 24.66 22.79 23.47 21.93 21.43 20.17 17.30 15.51 14.42

BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 ITV ITV

➤ the dumping Ground topped the table after not registering last week. It was comfortably ahead of its rivals, with CBeebies’ octonauts proving to be the show’s closest competitor. Overall, the pre-school channel had a good week, grabbing seven entries.

➤ The antiques roadshow returned after a short break to claim second place in the table, as Top Gear’s 21st series came to a close last week. BBC1 dominated proceedings, bagging the top eight places. Harry’s south Pole Heroes was a new ITV entry.

toP 10 drama ProGrammes

toP 10 entertainment ProGrammes

Title

1 2 3 4 5 6 7 8 9 10

Casualty The Widower Mr Selfridge Shetland Holby City The Musketeers Silk Law & Order: UK Line Of Duty Turks & Caicos

Day

Start

Viewers (millions)

Share (%)

Channel

Sat Mon Sun Tue Tue Sun Mon Wed Wed Thu

21.25 21.00 21.00 21.00 20.00 21.00 21.00 21.00 21.00 21.00

5.61 5.48 4.89 4.85 4.75 4.24 3.90 3.38 2.96 2.29

29.01 23.81 21.50 21.56 20.71 18.63 16.95 14.73 12.91 11.54

BBC1 ITV ITV BBC1 BBC1 BBC1 BBC1 ITV BBC2 BBC2

Title

1 2 3 4 5 6 7 8 9 10

➤ In the absence of any big-hitting new dramas, casualty took advantage to climb to the top. This should not take anything away from the performance of the widower, which turned out to be one of Jeff Pope’s best efforts to date. turks & caicos featured for BBC2.

uP Sport Relief up 2 million

down Saturday Night Takeaway falls 510,000

down The Voice drops 490,000

uP Casualty rises 430,000

1 2 3 4 5 6 7 8 9 10

Champs L’ge: Chelsea V Galatasaray Match Of The Day Match Of The Day 2 Final Score Match Of The Day Live Uefa Champions League Live Ford Saturday Night Football Live Uefa Champions League Football Focus The Sport Relief Games Show

Viewers (millions)

Share (%)

Channel

Fri Sat Sat Sat Sat Sat Sun Fri Thu Mon

19.00 19.00 18.45 20.50 20.40 20.25 19.00 22.00 17.15 17.15

7.80 6.40 6.21 5.89 5.03 4.17 3.90 3.85 3.54 3.51

34.93 27.92 27.62 27.62 24.32 19.56 17.81 20.48 24.35 24.52

BBC1 ITV BBC1 BBC1 BBC1 ITV ITV BBC2 BBC1 BBC1

uP Countryfile up 290,000

down Catchphrase falls 850,000

uP Mr Selfridge adds 150,000

toP 10 current affairs ProGrammes Day

Start

Viewers (millions)

Tue Sat Sun Sat Sun Wed Sat Wed Sat Sun

19.30 22.30 22.25 16.30 7.25 19.00 17.00 19.30 12.00 13.15

4.29 4.21 2.30 1.90 1.38 1.36 1.26 1.12 1.09 1.02

Share (%)

19.04 33.75 19.39 14.82 25.30 6.36 6.74 5.08 14.83 10.08

Channel

ITV BBC 1 BBC 1 BBC 1 BBC 1 Sky Sp’ts 1 Sky Sp’ts 1 Sky 1 BBC 1 BBC 1

➤ Football netted every place in the sport table, apart from a special sport relief show on BBC1 on Sunday. Chelsea’s champions League win over Galatasaray was the cream of the crop, while there were three places for Premier League highlights show match of the day. next week comedy and current affairs www.broadcastnow.co.uk

Start

➤ sport relief peaked with 10.3 million, while its average was 2 million higher than its last outing in 2012. It easily topped the entertainment line-up, leaving ant & dec’s saturday night takeaway trailing. the Voice uk’s first live round sank to a series low.

toP 10 sPort ProGrammes Title

Sport Relief 2014 Ant & Dec’s Sat Night Takeaway The Voice UK The Voice UK Results The National Lottery Live The Cube Catchphrase Sport Relief 2014 Pointless Pointless

Day

Title

1 2 2 2 5 6 7 8 9 10

Crimewatch Tonight: After The Floods Crimewatch Update Question Time Panorama: A Week In A&E The Andrew Marr Show Dispatches: What’s In Your Trolley? The Disappearance Of Flight 370 The Agenda On Assignment

Day

Start

Viewers (millions)

Share (%)

Channel

Wed Thu Wed Thu Mon Sun Mon Fri Mon Wed

21.00 19.30 22.40 22.35 20.30 09.00 20.00 21.00 22.35 22.35

3.70 3.01 2.66 2.43 2.27 1.33 1.23 1.13 0.96 0.94

16.13 14.05 19.09 21.87 9.66 17.48 5.39 4.96 7.64 7.39

BBC1 ITV BBC1 BBC1 BBC1 BBC1 C4 C5 ITV ITV

➤ crimewatch was on top of the news and current affairs pile after pulling in 3.7 million viewers for BBC1 on Wednesday night. There was also a rare appearance from Channel 5 with its live show the disappearance of flight 370.

See over for demographic and digital focus 28 March 2014 | Broadcast | 43

Ratings Mon 17 Mar – Sun 23 Mar Demographic focus Channels

Individuals Share (%)

Source: BARB

Adults ABC1 Share (%)1

Adults ABC1 Profile (%)2

Adults 16-34 Share (%)1

Adults 16-34 Profile (%)2

Male Share (%)1

Male Profile (%)2

Female Share (%)1

Female Profile (%)2

55.36

BBC1

23.15

27.90

48.84

14.05

10.44

22.68

44.64

23.55

ITV

15.10

13.31

35.74

12.06

13.74

12.41

37.47

17.35

62.52

5.68

7.43

53.00

2.98

9.02

5.81

46.58

5.58

53.43

BBC2 C4

5.62

5.78

41.69

7.60

23.23

5.49

44.46

5.74

55.54

4.22

3.64

35.00

3.80

15.48

3.83

41.39

4.54

58.60

ITV2

2.37

2.08

35.56

4.49

32.55

1.83

35.18

2.82

64.81

ITV3

2.24

1.98

35.71

0.65

5.02

1.81

36.71

2.61

63.29

1.75

1.64

37.92

5.04

49.40

1.66

43.16

1.83

56.81

Sky Sports 1

1.50

1.86

50.18

2.30

26.31

2.31

70.12

0.82

29.89

Film 4

1.43

1.18

33.31

1.28

15.33

1.78

56.55

1.15

43.49

BBC3

1.38

1.28

37.42

3.45

42.85

1.48

48.60

1.31

51.42

Dave

1.33

1.35

41.04

2.26

29.14

1.80

61.54

0.94

38.43

More 4

1.28

1.38

43.38

1.22

16.40

1.19

42.13

1.37

57.85

ITV4

1.19

1.03

35.02

0.91

13.19

1.73

66.18

0.74

33.79

Sky 1

1.04

1.08

42.23

2.04

33.79

1.22

53.65

0.88

46.38

5 USA

0.92

0.75

33.02

0.75

13.90

0.83

40.90

1.00

59.12

BBC4

0.83

1.23

60.16

0.35

7.29

0.98

54.17

0.70

45.83

Drama

0.71

0.62

35.44

0.21

5.19

0.69

44.26

0.72

55.74

Yesterday

0.70

0.64

36.83

0.15

3.76

0.97

63.10

0.48

36.95

26%

More than one in four of the 2.5 million watching Channel 4 doc Inside Rolls-Royce were over 65, up from the 16% average. C4 snared 10.8% of all 65+ viewers at the time, more than double the 4.7% 10pm Thursday average. Men made up 56% of the audience, up from the 40.8% 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

BBC3 prison doc doubles BY Stephen price

At my school, the careers advice service ranked in the education hierarchy somewhere below the upkeep of general sanitation. More useful for life would have been a course in Machiavellian manoeuvring. BBC4 did its best to fill that void on Wednesday, while BBC3’s best of the week had the irony-ometer going berserk. BBC3 launched the first of three-parter Life And Death Row on Monday at 9pm with 1 million/4%; five repeats added another 1.3 million. E4’s best was How I Met Your Mother on Thursday at 8.30pm (920,000/4% incl +1), just ahead of ITV2’s best: 910,000/5% for Celebrity Juice on Thursday at 10pm. ITV3’s best was an episode of Doc Martin on Saturday at 8pm with 910,000/4%. The second of BBC4’s How To Get Ahead, this week at Renaissance Court, achieved 345,000/1.5% on Wednesday at 9pm, just behind last week’s 363,000/1.7%. 44 | Broadcast | 28 March 2014

Source: BARB

DIGITAL HoMes

Top 30 MuLTICHAnneL pRoGRAMMes Title

1 2 3 4 5 6 7 7 7 10 11 11 13 14 15 16 16 18 18 20 21 22 23 23 25 25 27 28 29 29

Live Champions League Saturday Night Football Live Champions League Life And Death Row Live Spanish Football How I Met Your Mother Celebrity Juice Hollyoaks Doc Martin Hollyoaks Live Ford Super Sunday Hair Endeavour The Only Way Is Essex Hollyoaks Hollyoaks Live Ford Super Sunday Uefa Europa League Live The Big Bang Theory Live Chelsea V Arsenal Midsomer Murders The Big Bang Theory Hollyoaks Only Connect Sp’l: Spt Relief Inspector De Luca The Only Way Is Essex Prostitution: What's The... Breakfast Edward VII: Prince/Pleasure The Big Bang Theory

Figures include HD and +1 where applicable

Day

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

Start

19.00 17.00 19.30 21.00 19.30 20.30 22.00 19.00 20.00 19.00 15.30 21.00 21.00 22.00 19.00 19.00 12.30 17.30 18.30 12.00 20.00 18.30 19.00 20.30 21.00 22.00 22.00 08.00 20.00 18.30

Viewers (millions)

Share (%)

1.36 1.26 1.12 0.97 0.93 0.92 0.91 0.91 0.91 0.89 0.88 0.88 0.85 0.84 0.82 0.81 0.81 0.80 0.80 0.78 0.76 0.75 0.74 0.74 0.72 0.72 0.71 0.70 0.69 0.69

6.36 6.74 5.08 4.21 4.11 4.35 5.47 4.44 4.11 4.57 6.15 3.90 4.57 5.20 4.07 3.99 8.17 4.09 4.30 9.07 3.35 3.95 3.71 3.13 3.80 4.32 4.67 11.36 3.20 3.78

Channel

Sky Sports 1 Sky Sports 1 Sky 1 BBC3 Sky Sports 1 E4 ITV2 E4 ITV3 E4 Sky Sports 1 BBC3 ITV3 ITV2 E4 E4 Sky Sports 1 ITV4 E4 BT Sport 1 ITV3 E4 E4 BBC4 BBC4 ITV2 BBC3 BBC News BBC4 E4

Channels

Share (%)

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

23.15 15.01 5.69 5.62 4.22 46.22 2.37 2.24 1.75 1.50 1.43 1.38 1.38 1.38 1.33 1.28 0.84 1.14

Figures include HD and +1 where applicable

723k Launch figure for BBC4’s latest Saturday night European crime drama, Inspector De Luca.

www.broadcastnow.co.uk

All BARB ratings supplied by: Attentional

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

Title

Day

Start

Viewers (000s) Share (all homes) %

Broadcaster/ Producer*

Live Uefa Champions League Live Ford Saturday Night Football Live Uefa Champions League Live Spanish Football Live Ford Super Sunday Live Ford Super Sunday Live Chelsea V Arsenal Storage Hunters Storage Hunters Hawaii Five-0 The Walking Dead The Simpsons Elementary Bones Stella Modern Family The Simpsons The Simpsons Gavin & Stacey Gavin & Stacey Gillette Soccer Saturday QI XL The Simpsons Gillette Soccer Saturday Criminal Minds Live ICC World Twenty20 Cricket The Simpsons NCIS: LA Arrow New Tricks NCIS The Simpsons The Simpsons Storage Hunters The Simpsons The Simpsons Missing: Flight MH370 The Simpsons The Simpsons Castle Storage Hunters QI XL Dynamo: Magician Impossible Storage Hunters Storage Hunters Storage Hunters QI XL The Simpsons The Simpsons An Idiot Abroad 2

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

19.00 17.00 19.30 19.30 15.30 12.30 12.00 20.30 20.00 21.00 21.00 18.30 21.00 21.00 21.00 20.30 19.00 18.00 22.20 21.40 15.00 20.00 19.00 12.00 21.00 13.00 18.30 22.00 20.00 21.00 21.00 19.00 19.00 15.30 19.30 20.30 20.00 18.30 19.30 21.00 20.00 20.00 21.00 16.30 15.00 20.30 21.00 19.00 19.30 21.00

1,361,300 1,262,700 1,119,500 929,700 881,800 807,400 780,200 661,100 656,900 537,500 486,400 453,900 452,600 425,500 416,400 407,600 402,600 383,100 380,800 380,500 377,600 377,400 377,200 376,600 365,800 345,200 337,900 337,400 329,800 329,200 328,400 325,900 319,400 317,100 315,600 315,600 308,200 301,600 300,300 298,000 295,900 293,700 291,000 290,800 289,400 286,900 286,700 285,300 284,300 282,100

Sky Sports 1 Sky Sports 1 Sky 1 Sky Sports 1 Sky Sports 1 Sky Sports 1 BT Sport 1 Dave/T Group Dave/T Group Sky 1 Fox Sky 1 Sky Living Sky Living Sky 1/Tidy Productions Sky 1 Sky 1 Sky 1 Dave/Baby Cow Dave/Baby Cow Sky Sports 1 Dave/Talkback Sky 1 Sky Sports News Sky Living Sky Sports 2 Sky 1 Sky 1 Sky 1 Drama Fox Sky 1 Sky 1 Dave/T Group Sky 1 Sky 1 Sky 1 Sky 1 Sky 1 Alibi Dave/T Group Dave/Talkback Dave/Inner Circle/Phil McIntyre Dave/T Group Dave/T Group Dave/T Group Dave/Talkback Sky 1 Sky 1 Pick

Figures include HD and +1 where applicable

Hawaii Five-0 www.broadcastnow.co.uk

The Smoke

6.36 6.74 5.08 4.11 6.15 8.17 9.07 2.83 2.91 2.36 2.11 2.32 2.01 1.85 1.82 1.73 1.99 2.14 2.33 2.01 3.46 1.78 1.87 3.62 1.59 3.44 1.79 2.17 1.56 1.61 1.44 1.59 1.65 3.08 1.46 1.33 1.35 1.62 1.37 1.41 1.32 1.25 1.27 2.14 2.93 1.19 1.27 1.43 1.33 1.39

482k Total audience for Dave’s two primetime showings of Dara O Briain’s School Of Hard Sums

Sums add up for Dave BY STepHen price

There is a natural physical twitch in the legs of men of a certain age whenever they walk past a game of football in the park. There is the half hope that the ball will come careening over so these youths will see just how much the professional game missed out. It does, and then it’s wildly shanked into a passing mother and child, and the laughter is killing. Watching footy remains the safest and best option. Seven of the top 10 this week revolve around football, with the Champions’ League tie between Manchester United and Olympiakos on Sky Sports 1 on Wednesday topping the table, with an average of 1.4 million/6.4% from 7.00pm. Sky 1 simultaneously showed the match, adding 1.1 million/5.1% to deliver 2.5 million. Sky 1’s next best was Hawaii Five-O on Sunday with 538,000/ 2.4%. Homegrown comedy drama Stella achieved 416,000/1.8% on Friday at 9pm, while Sky 1’s other UK commission, The Smoke, achieved 220,000/1% in its premiere slot on Thursday at 9pm, beating last week’s sub-200,000 effort. On Dave, Dara O Briain’s School Of Hard Sums achieved 260,000/2% on Tuesday at 10pm, nearly caught by the 8pm Wednesday repeat: 222,000/1%. Not far behind, the Disney Channel’s best was US sitcom Good Luck Charlie on Friday at 5pm (258,000/2%). 28 March 2014 | Broadcast | 45

Ratings Mon 10 Mar – Sun 16 Mar

All BARB ratings supplied by: Attentional

Consolidated Ratings

C4 scores big with space BY Stephen price

The Hitchhiker’s Guide To The Galaxy states, boldly but not inaccurately, that space is big. Really big. Furthermore, it adds by way of reinforcement, it’s mind-bogglingly big and vast and huge. After watching the film Gravity it’s clear to me that it is also vastly, hugely, mindbogglingly dangerous. So I’ve ripped up my astronaut application form and am off to the pub instead. But Channel 4 has been more intrepid, hitching its space trousers up and embarking on a bit of a space trip. As you do. Back on Earth, Modern Family found that its new slot was to its liking, while Top Gear ended its latest journey in good fettle.

Channel 4: Live From Space Channel 4’s Live From Space

Source: BARB

season was very consistent. Sunday 16 March’s lap around the planet was the best with 2.3 million/8% after 371,000 watched and recorded. Wednesday’s Astronauts: Living In Space finished on 2.2 million/8% after adding 523,000, while the smallest of the trio, Astronauts: Houston We Have A Problem on Thursday 13 March, came in with 2 million/8% after 342,000 recorded and watched.

Sky 1: Modern Family Since moving to Monday at 8.30pm this year, Sky 1’s hit US sitcom Modern Family has achieved its best ratings for the channel. Previously its Friday best was 917,000/3.8% on 5 October 2012. The first Monday episode, on 17 February, achieved 895,000/ 3.4% at 8pm followed by 876,000/ 3.4% at 8.30pm, but each episode since has vied for top spot. This week’s episode on 17 March achieved 1.01 million/4% after 513,000 recorded and watched, only the second episode to breach 1 million. The other, the best so

far, was on 3 March with 1.04 million/4% after 441,000 recorded and watched.

BBC2: Top Gear The 21st series of BBC2’s Top Gear ended on Sunday 16 March at 8pm. After more than 950,000 recorded and watched – the best non-drama performance of the week – the second part of the Burma Special ended in Thailand on 7 million/ 24%, its biggest audience since Christmas 2009 when the boys went to Bolivia (7.1 million/27%). The repeat on Monday 17 March added another 2 million. This series has averaged 6.5 million/21% compared with 5.2 million/16% for the winter 2013 series.

Audience for Top Gear’s series 21 finale after 950,000 recorded

BBC1: Shetland

UP Line Of Duty rises 270,000

The first episode of BBC1’s Wallander-ish series Shetland achieved 6.4 million/24% after 1.2 million recorded and watched. The twopart pilot had an uneven ride in 2013 with 8 million/27% on Sunday 10 March followed by 5.7 million/ 20% the following Monday.

TOP 30 CONSOLiDaTeD RaTiNGS: RaNkeD By GaiN

1 2 3 4 5 6 7 8 9 10 11 12 12 14 15 16 16 18 19 20 21 22 23 24 25 26 27 27 29 30

7.0m DOWN DCI Banks down 130,000

Title

Day

Start

Viewers (m) (all homes)

Share %

Gain (m)

Gain %

DCI Banks Jonathan Creek Law & Order: UK Silk Shetland Mr Selfridge The Musketeers Line Of Duty Casualty Top Gear Coronation Street The Voice UK Ant And Dec’s Sat Night Takeaway Top Gear Coronation Street The Voice UK The Mentalist EastEnders Gogglebox Coronation Street EastEnders One Born Every Minute Coronation Street Elementary Stella Celebrity Juice The Following Waterloo Road EastEnders Revolution

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

21.00 21.00 21.02 20.59 21.00 21.02 21.03 21.02 21.32 19.59 20.32 19.25 19.00 18.59 19.32 19.45 21.02 19.29 21.00 20.29 19.59 21.00 19.30 21.00 21.00 22.04 21.59 20.01 19.28 22.00

6.51 6.82 5.36 5.16 6.37 6.08 5.45 3.73 6.15 7.01 8.38 7.56 8.09 2.35 8.72 7.72 2.02 7.87 3.48 9.04 8.12 3.18 8.52 1.00 1.11 2.01 0.83 3.80 6.60 0.66

23.04 26.76 19.71 18.57 24.30 22.91 20.80 13.99 28.22 24.36 32.96 30.06 32.56 10.26 39.18 27.43 7.58 34.91 13.56 35.40 33.24 11.44 38.96 3.76 4.34 10.76 4.67 16.63 29.85 3.40

1.52 1.39 1.31 1.22 1.18 1.13 1.11 1.10 0.97 0.95 0.92 0.83 0.83 0.81 0.80 0.79 0.79 0.75 0.74 0.73 0.71 0.70 0.69 0.68 0.66 0.65 0.64 0.64 0.62 0.57

30.50 25.70 32.40 30.90 22.80 22.90 25.70 41.80 18.70 15.80 12.40 12.40 11.40 53.00 10.10 11.50 64.10 10.50 27.00 8.80 9.60 28.30 8.80 213.70 146.20 48.20 351.60 20.30 10.30 675.50

Broadcaster ITV BBC1 ITV BBC1 BBC1 ITV BBC1 BBC2 BBC1 BBC2 ITV BBC1 ITV BBC2 ITV BBC1 C5 BBC1 C4 ITV BBC1 C4 ITV Sky Living Sky 1 ITV2 Sky Atlantic BBC1 BBC1 Sky 1

Figures include HD and +1 where applicable

46 | Broadcast | 28 March 2014

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ALL A TWITTER

sandwiches to risk a diabetic coma. It’s a tough job, but some of us have to do it…

The Broadcast Indie Survey was good – but failed to mention what The Charlatans are up to.

Afternoon tea: Bafta’s F&M spread

Judges have their cake... Awards judging can be a lively affair, but the passionate debate is usually fuelled solely by tea, fruit and a biscuit or two. No such half measures for Bafta’s Audience Award, however: the Academy and sponsor the Radio Times locked journalists into a room with nothing but champers, wine and enough Fortnum and Mason cakes and

London Live launched in glamorous style this week with a party at nightclub One Embankment. The local TV station pulled out all the stops with canapés from its forthcoming culinary series Food Junkies and talent including Alex Zane and The Drag Queens Of London, who were last seen heavily flirting with head of programming Jonathan Boseley.

Old Neighbours never die An online Ramsay Street-set zombie drama starring Neighbours cast members (below) has received funding from Screen Australia. Off Cuts is getting flashbacks to Jim Robinson’s (aka Alan Dale) star turn in series two of Tony Jordan’s ITV show Moving Wallpaper...

@callummay (Callum May) News producer

Mad morning – tried to sit next to @achrisevans and Gemma Arterton at BBC Arts event, but told it was Alan Yentob’s chair! @DrJaninaRamirez (Dr Janina Ramirez) History presenter

Love the idea The One Show is coming from Hay-on-Wye Festival as part of the big Arts push. What next – EastEnders in French with subtitles? @hattrickster (Jimmy Mulville) Managing director, Hat Trick Productions

Louise Holmes Vice-president, director of programming, Comedy Central UK

Launch night’s a drag

@RolandMooreTV (Roland Moore) Creator, Land Girls

Jonty Claypole to become new BBC director of arts. Which, I hope, will mean Rentaghost gets recommissioned at last.

AND FINALLY ...

Broadcast’s inaugural Indie Survey launch event was a swinging affair, with a jazz band accompanying the drinks, nibbles and industry chat that followed our expert panel session. We can only apologise to any commuters subjected to some impromptu busking from refreshed guests brandishing the ukuleles donated by sponsor Audio Network.

Tell us one of your most hilarious faux pas Mistakenly referring to Snog Marry Avoid? as Snog Me in a room full of BBC3 commissioners. The offer was minuted as ‘generous, but politely declined’. Who is your pin-up? Steve Cram, Nigel Havers and Andy Samberg have all held that dubious honour at various points. What’s the worst rejection you’ve ever had? “It’s not that you didn’t get the job, it’s just that someone else did.” What’s the most unusual drink you’ve ever had? Yak butter tea in a remote hut in Tibet. It tasted like it sounds. What words or phrases do you most overuse? I occasionally use my six-year-old daughter’s favourite phrase: ‘For actual true life.’ It doesn’t quite have the same ring when I say it. Who would you put in the Celebrity Big Brother house? Adam Hills, Jarred Christmas, Shappi Khorsandi, Jason Byrne, Joe Wilkinson, Luisa Omielan and Russell Kane. It would be brilliant to hear their day-to-day conversation. If you could be reincarnated, who or what would you come back as? Sophia Loren (pictured). Life was more glamorous then.

It’s still not too late to attend the world’s content development market… 7-10 April 2014 Palais des Festivals, Cannes, France miptv.com

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48 | Broadcast | 28 March 2014

20/02/14 12:44