Broadcast 25th April

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25 April 2014

RATINGS ANALYSIS

INTERVIEW

BEHIND THE SCENES

Page 22

Page 18

Page 24

BBC3: which shows ITV’s Helen Warner are 16-24s watching? on breakfast news

Prey: fresh take on shooting thrillers

All3M aims to crack AFP with launch of Apollo20

Pact lobbies for kids’ liveaction credit

BY ALEX FARBER

BY PETER WHITE

All3Media has created a dedicated ad-funded programming (AFP) arm designed to help its indies crack the increasingly lucrative market.

Apollo20 has been established

by North One head of commercial and digital programming John Nolan, an AFP veteran with 20 years’ experience.

It has struck initial content deals between Little Dot Studios and Pepsi, and North One Television and Diageo-owned whisky brand Talisker, and has projects involving Maverick Television and Lion Television in the pipeline.

The company is now planning to expand its reach to indies outside of the All3M group.

All3M chief executive Farah Ramzan Golant said: “Great original content is at the heart of our business, so finding new ways of producing and funding that content is key to the future.

“We’re genuinely excited to have the newly created Apollo20 sitting within the group and look forward to exploring new opportunities with John Nolan and his team.”

Nolan said that there is greater appetite for AFP than ever before and that it is becoming more editorially sophisticated.

“Channel 4, UKTV, Sky and Discovery are committed to AFP, large media agencies are installing heads of branded content and every single creative agency has an entertainment division. It’s an important part of everyone’s mix and we are pushing at an open door,” he said.

Pact believes kids’ broadcasters such as CiTV, Channel 5, Disney and Nickelodeon will ramp up their live-action originations if it can convince the Treasury to introduce a new tax break.

Pact is lobbying for the measure, which would be similar to the credit introduced for animation last year, to apply to all live kids’ genres, including drama, comedy, factual and entertainment. The move would help UK indies compete with producers in countries such as Canada and Australia, which have similar systems in place.

Pact’s Children’s Policy Group is putting together an economic report about the proposal and is in talks with the Treasury with a view to getting the tax break introduced ahead of the general election.

Chairman Mike Watts, who is also chief executive of Horrid Henry producer Novel Entertainment, told Broadcast: “Clearly the animation and high-end drama tax credits have been massively beneficial.”

Continued on page 3

Talisker Whisky Atlantic Challenge: content deal with the Diageo brand

AFP is part of the rich mix of a buoyant market – brands don’t see themselves as filling a funding gap John Nolan, Apollo20

Nolan is charged with building on his work at North One, where he had been managing up to five projects each year.

While his previous indie was suited to producing car- gadgetand adventure-led AFP, Nolan will now have the opportunity to push into broader projects spanning food, health, music and

lifestyle. Projects will be delivered both online and as traditional TV programmes.

Nolan added: “We have a confident TV market and AFP should not be seen as a means of propping up budgets. It’s part of the rich mix of a buoyant market – brands don’t see themselves as filling a funding gap. The budgets are as big as the ideas – and no one wants to fund bad ideas.”

As well as engineering deals, Apollo20 will exec produce shows to help manage the creative process.

The creation of Apollo20 follows All3M’s decision to back group commercial and digital director Andy Taylor 12 months ago to create YouTube channel operator Little Dot Studios.

Topsy And Tim: live-action show

Editor’s Choice

Broadcast, Zetland House, 5-25 Scrutton Street, London EC2A 4HJ or email chris.curtis@broadcastnow.co.uk

Online this week www.broadcastnow.co.uk

Chris Curtis, Editor

Top News

Finding talent is never easy Two different approaches bear fruit for GMB and Spun Gold

B

roadcast has been busy recruiting in recent weeks, which has reminded us just how hard it can be to identify and secure important talent.

By the middle of May, we’ll have added two determined story-getters to our reporting team and boosted our digital skills by hiring a specialist in online content – but it’s been a long process that has taken plenty of time, effort and resource.

‘Put simply, ITV assessed the market, identified the best performer and went out and got her’ We haven’t been the only ones working hard. ITV’s approach with Susanna Reid is one example of a smart and straightforward way to attract talent.

Put simply, it assessed the market, identified the best performer and went out and got her.

It is now at pains to point out that her reported £1m-a-year salary is grossly exaggerated (£400,000 is the latest figure doing the rounds), but however much they are paying her, it makes sense.

After multiple attempts to salvage Daybreak, Good Morning Britain (GMB) will have a newsier edge and a key anchor to match. It’s not all about Reid, according to ITV daytime controller Helen Warner (see 2 | Broadcast | 25 April 2014

è The BBC has launched an investigation into audio issues affecting the first episode of drama Jamaica Inn after complaints from viewers about muffled sound.

è Channel 4 is to ‘supercharge’ its Interview, page 18), but the former Breakfast host is a crucial part of the mix.

Another way of securing talent caught my eye this week, in the shape of Spun Gold’s agreement to work with director Jane Treays for two years.

The agreement is like a less formal umbrella deal – the indie has a number of projects lined up that it will hand the director, and she will also bring her own ideas, working exclusively for Spun Gold.

Treays’ skills, honed on many highquality docs over the years, were most recently showcased in The Garden’s BBC2 smash Inside Claridge’s (pictured), and Spun Gold has been clever to secure someone of that pedigree to work on multiple series.

It has previously worked with some of the best in the business on single projects – the likes of Educating Yorkshire exec producer David Clews and former Inside Story editor Olivia Lichtenstein (who is a key figure in ITV Studios’ Broadmoor access doc, see News page 3) – but they have always moved on to other shows, with other indies.

It will be interesting to see whether the idea of tying up top-ranking factual directors catches on. If Kudos believes a talent deal with Broadchurch writer Chris Chibnall is smart business, why wouldn’t the equivalent be true for factual indies working with ob doc specialists?

Random Acts arts strand, beefing up its budget and handing it a more prominent TV slot.

è Bectu has threatened to derail production on dramas including Call The Midwife (pictured) and Doctor Who if a long-running dispute over pay for freelance grips is not resolved.

Ratings Top Five 1 BBC1’s Daphne du Maurier drama Jamaica Inn (pictured) won the Easter Monday ratings battle – smuggling in 6m viewers.

2 Britain’s Got Talent shed 1.8m viewers from its opening episode but remained Saturday’s most-watched show with 9.3m.

3 Mad Men returned to Sky Atlantic for a seventh series on Wednesday with a meagre audience of 28,500.

The death of Lucy Beale failed to boost EastEnders’ ratings as the audience of 6.4m for the Friday episode was the lowest of the week.

4

5 MTV achieved one of its best-ever launches for Ex On The Beach, which drew 360,000 viewers on Tuesday.

Team Tweets è There was no woodchipper, but it was wicked, weird and wonderful, wasn’t it? #fargo @peterzwhite

www.broadcastnow.co.uk

News & Analysis

ITV wins Broadmoor access for doc series

BY Jake Kanter

ITV has won approval from health minister Norman Lamb to secure unprecedented access to Broadmoor Hospital for an ob-doc series.

ITV Studios label Shiver has had a crew filming in the high-security psychiatric unit for several months and will continue to shoot until September as the producers aim to provide an intimate portrayal of daily life in the hospital.

The series is the culmination of a five-year campaign to secure access – a process that has been led by executive producer Jonathan Levi. He has held hundreds of meetings with Broadmoor and various levels of NHS hierarchy, and Lamb ultimately gave the greenlight to the project last year.

The 2 x 60-minute series will follow patient stories and care, providing a window onto the work of specialists and nurses, as well as support structures such as cleaning and catering.

Broadmoor was built in 1863 and houses up to 260 patients.

Some of its most notable residents have included Ronnie Kray and

Broadmoor: Shiver has unprecedented access to the high-security hospital

Charles Bronson, although ITV’s documentary will be firmly anchored in contemporary life at the hospital.

Filming is being led by producer and director Olivia Lichtenstein, the former editor of BBC strand Inside Story.

Broadmoor (working title) was commissioned by ITV controller of factual Jo Clinton-Davis and director of factual Richard Klein. It will air in a 9pm slot this autumn.

The Department of Health is currently investigating Broad-

moor over the role Jimmy Savile played at the hospital, following allegations that he sexually abused patients.

The review was in part sparked by the revelations in ITV’s Exposure: The Other Side Of Jimmy Savile, which was made by the same ITVS division as Broadmoor.

The hospital has been a rich source for TV docs. Channel 5 aired two-part series Inside Broadmoor, in which the hospital had no formal involvement, to 1.7 million viewers (6.6%) last year.

ITV rustles up celebrity cookery series for daytime ITV has used ingredients from Come Dine With Me and Through The Keyhole to create a celebrityled daytime cookery series.

It has commissioned ITV Studios to make the 30 x 60-minute Who’s Doing The Dishes?, as daytime director Helen Warner bids to pepper the afternoon schedule with “appointment-to-view” content.

The stripped series will task a celebrity with cooking a threecourse meal for four guests in their home. The diners will not know the identity of the chef and will give their verdicts on the meal while the host watches on a monitor. They will then attempt to guess the identity of the cook to win a cash prize. If their answer is incorrect, they will have to do the washing up.

Who’s Doing The Dishes? was ordered by Warner and will be exec produced by Helen Dower. The series producer is Jon Durbridge.

Warner has also ordered the 20 x 60-minute The Speakmans from ITVS. It follows therapists Nik and Eva Speakmans’ attempts to cure people with debilitating conditions such as agoraphobia. Tom Mclennan is the exec producer, while Tracey Moore is series producing. ➤ See Helen Warner interview, page 18

Indies welcome push for kids’ TV tax breaks ➤ Continued from page 1 Watts added that there is a strong case to be made for tax breaks for the kids’ sector: “There’s a view within the Treasury that they [tax credits] were very sensible provisions that provided a boost for the creative sector, and there’s a similarly strong argument for kids’ live action,” he said.

He highlighted series such as Kindle Entertainment’s Hank Zipzer, Darrall Macqueen’s pre-school live-action series Topsy And Tim and The Foundation-produced Mister Maker as examples of domestic and global successes that would be more easily replicated if a tax break were introduced. www.broadcastnow.co.uk

Mister Maker: global success

Those shows were all ordered by CBBC or CBeebies, and Watts said a tax break should encourage commercial broadcasters to return to live-action commissioning in a meaningful way.

Serious Lunch has just won a rare live-action commission from CiTV for Horrible Science, a comedy sketch show spin-off of CBBC’s Horrible Histories. It is being co-produced with Australia’s ABC and Discovery Asia.

Founder Genevieve Dexter, who has previously produced liveaction series such as CBBC’s Operation Ouch, told Broadcast that a tax break would have ensured the show was made in the UK. As it is, it may be shot in Ireland.

Camilla Deakin, co-founder of The Snowman And The Snowdog indie Lupus Films, added that the proposal was a positive move that could help bring about more

experimental projects, slightly riskier commissions and more kids’ drama. “ITV’s done some amazing things in drama recently; wouldn’t it be nice if it did the same thing in kids’ TV,” she added.

Jeremy Salsby, founder of Saltbeef TV, which makes Friday Download, said a tax break would be a positive boost in an “unfor­ giving market”.

“There’s no question that budgets have been squeezed and the kids’ audience is the toughest to crack because of the exposure to things like gaming and apps. Anything that will encourage kids’ live-action production is a good thing,” he added.

25 April 2014 | Broadcast | 3

News & Analysis In Brief Voltage wins C4 NHS doc Sanjay Singhal’s Voltage TV has picked up its first commission: an interactive documentary format for Channel 4, in which viewers give opinions on patients’ NHS treatment. NHS: The Cost Of Living (w/t), a 4 x 60-minute series, will be followed by a live debate that will explore the questions raised. It was ordered by head of documentaries Nick Mirsky.

PBS orders D-Day doc US public broadcaster PBS has ordered a one-off D-Day documentary from Windfall Films that draws on cutting-edge technology.

The hour-long film, D-Day 360 (above), will air in May ahead of the 70th anniversary of the assault. It will use techniques including light detection and ranging technology to tell the story of the invasion.

Osman to front BBC2 quiz BBC daytime has commissioned Pointless indie Remarkable Television to produce a quick-fire quiz show for BBC2. Fronted by Richard Osman, the 30 x 30minute series, Two Tribes, will air later this year. Ahead of each episode, seven contestants are asked hundreds of unexpected questions and then split into two ‘tribes’ based on their common traits before taking part in a general knowledge face-off. It was commissioned by BBC daytime controller Damian Kavanagh.

Obit: Frances Berrigan Frances Berrigan, managing director of Cicada Films, has died aged 70 after a short battle with cancer. Born in Australia, Berrigan travelled to Europe at the age of 25, joined Cicada in 1984 and became its sole owner a year later, producing and directing more than 100 films.

Details of the funeral are avail­ able from hannaberrington@ yahoo.co.uk.

For the latest breaking news www.broadcastnow.co.uk 4 | Broadcast | 25 April 2014

HBO joins BBC in co-pro for Rowling adaptation

BY Peter White

US cable network HBO has come on board BBC1’s adaptation of JK Rowling’s bestseller The Casual Vacancy.

The deal is the latest co-production between the two broadcasters following big-budget dramas such as The No. 1 Ladies Detective Agency, Rome and Parade’s End, as well as comedies including Little Britain USA. Production on the 3 x 60-minute mini-series is scheduled to start in June and run through to the end of August in south-west England.

The Casual Vacancy takes place in Pagford, a seemingly placid idyll that hides a series of running battles between its inhabitants. It begins with the death of beloved parish councillor Barry Fairbrother, leading to a vacancy on the council and an election.

The book documents the fractious campaign and explores themes of class, as well as social issues such as drugs, prostitution and rape.

The novel, which was published in 2012, was the first book produced by Rowling following the successful Harry Potter series.

Harry Potter: author JK Rowling’s new bestseller is being adapted by BBC

Bronte Film and Television, owned by Rowling and her agent Neil Blair, is producing the miniseries. Blair will also executive produce with former Ruby Films exec Paul Trij­bits and Rick Senat.

Ruth Kenley-Letts will produce.

Bafta winner Jonny Campbell is the director and the screenplay will be written by Sarah Phelps, whose credits include BBC1’s EastEnders, Great Expectations and The Crimson Field, which is currently on air.

The series, which is expected to air later this year, was ordered by

former BBC1 controller Danny Cohen and controller of BBC drama Ben Stephenson.

HBO’s involvement follows its sister company Warner Bros Entertainment acquiring the international TV distribution rights.

Warner Bros International Tele­ vision Distribution is now in talks with global broadcasters.

Separately, Rowling is working with Warner Bros on Fantastic Beasts And Where To Find Them, a film set in the Harry Potter universe.

It is her debut as a screenwriter.

Betty promotes Smith in management rejig BY jake Kanter

Betty has promoted Country House Rescue producer Neil Smith to replace Walter Iuzzolino as part of a senior management reshuffle.

Smith, previously an executive producer at the Discovery-owned indie, has been named creative director, while fellow executive producers David Emerson and Vicky Hamburger have also landed broader roles.

Emerson will become head of features, while a head of documentaries post has been created for Hamburger. As a result of the changes, Betty is on the hunt for a full-time specialist factual executive producer and a factual exec.

Neil Smith: replaces Walter Iuzzolino

Emerson, Hamburger and the new recruits will all report to Smith, who in turn will answer to chief executive Liz Warner.

As well as Country House Rescue, Smith’s credits include Bear’s Wild Weekend With Stephen Fry, The Food Hospital and Shipwrecked. His

most recent commission is Channel 4’s Best Chef Worst Chef (working title), in which culinary stars train up café and pub cooks.

Warner said: “Neil has been instrumental in creating and winning some of our biggest shows in recent months. He understands the high quality Betty demands and has the charisma and robust humour needed to pitch and win business.”

“His range of experience is rare.

He is as good at making a fact ent food format as he is with an art show or adventure show. This makes him a great fit for a port­ folio company like Betty.”

Iuzzolino left Betty last year to return to the broadcasting sector. www.broadcastnow.co.uk

News & Analysis

Spun Gold signs Treays in bid to widen output

By Jake Kanter

Inside Claridge’s director Jane Treays has joined Spun Gold TV as the indie aims to broaden its output beyond Alan Titchmarsh programming.

Spun Gold managing director Nick Bullen has created a “twoyear plan” with Treays to work on several access projects the indie has lined up. She will also be given licence to win new business for Spun Gold, but will not be able work with other indies.

Although Bullen would not provide details of the projects, Broadcast understands one is a three-part series for BBC2.

Spun Gold also has a series in with ITV to which Treays would be attached, but it is yet to be formally commissioned.

Bullen met the Inside Claridge’s director when he drafted her in to work on ITV and CNN documentary Prince William’s Passion: New Father, New Hope last year. “We really clicked,” he said, adding that he wanted to commit to Treays in a formal way. Previously the indie has worked with directing talent on a project-by-project basis.

Prince William’s Passion: Treays met Bullen when working on the ITV doc

“Alan [Titchmarsh] is fantastic and pays the bills, but we’ve always done other things and we really need to broaden the range. By having some big-name signings and going into different genres, it cements that story,” Bullen added.

Treays said: “My experiences drawn from Inside Claridge’s combined with the Spun Gold team’s reputation for making prestigious shows promise to make really engaging television.”

Spun Gold has been on a major recruitment drive recently, bringing in former ITV commissioner

Daniela Neumann and GroupM Entertainment commercial director Tim Hammond. The indie has also secured a deal with Waitrose to make 12-part live Channel 4 cookery show Weekend Kitchen, which launches this weekend.

The Garden’s Inside Claridge’s became BBC2’s best-performing documentary in six years when it averaged an audience of 3.9 million (14.8%) in 2012.

Treays’ other work includes Channel 4’s Mum, Heroin And Me and The Man With The Seven Second Memory for ITV.

Britespark wins US commission for docu-drama Britespark Films, the indie set up by former Cineflix head of documentaries Nick Godwin, has secured its second significant commission in the US. The Argonon-backed producer is making 6 x 60-minute docudrama Did He Do It? for cable channel Investigation Discovery.

The show, which launches in 2015, asks viewers to play judge and jury on real murder cases in which the guilt or innocence of the accused was in doubt. The reallife verdict is not revealed until the end of the show.

Did He Do It? is being series produced by Ben Fox, who has worked on Nutopia’s America: The Story Of Us and Horizon doc Solar Storms: The Threat To Planet Earth. It is being distributed internationally by Paul Heaney’s TCB Media in association with Argonon International.

The commission is Britespark’s second series for the Discoveryowned crime network following the 10 x 60-minute Handsome Devils, a drama-doc series profiling real-life ladykillers and conmen, produced in association with Canada’s Shaw Media.

The indie is also making Left For Dead By The Yorkshire Ripper, about serial killer Peter Sutcliffe, for Channel 5.

UKTV buys BBCW’s global series to play at home

BY Peter White

UKTV has acquired a raft of shows that were commissioned

by BBC Worldwide for its inter­ national channels.

The series include Outline Productions’ Million Dollar Intern, which follows a group of whizz-kid entrepreneurs who go undercover as interns in struggling businesses in an effort to help them.

The series will air on entertainment channel Watch alongside Best In Town, which is produced by Richard Bacon’s Mox Productions.

Best In Town features a range of businesses from dog groomers and florists to party entertainers and www.broadcastnow.co.uk

We’re open to co-production because we don’t have a UK window Tracy Forsyth, BBC Worldwide

Million Dollar Intern: airing on Watch

personal trainers as they battle it out for top ranking.

Meanwhile, Rachel Khoo’s Kitchen Notebook, produced by BBC Bristol, and Bill’s Kitchen, made by Furneaux and Edgar

Productions, will both air on Good Food.

The shows were commissioned

by BBC Worldwide as part of its drive to order more original programming for its raft of channels.

The move is being led by BBCW vice-president of commissioning Tracy Forsyth, who is looking to eventually commission around 140

hours of largely UK-produced content for channels including BBC Brit, BBC First and BBC Earth.

Forsyth said she was pleased that these shows had been snapped up in the UK. Speaking to Broadcast at the end of last year, Forsyth said BBCW would be interested in co-producing such shows with UK broadcasters in the future.

“We’re open to co-production because we obviously don’t have a UK window,” she said. “If you have an idea that’s right for the UK market and also fits our brief, we’d be interested in talking about taking the rest-ofthe-world rights.”

25 April 2014 | Broadcast | 5

Commissioning News

BBC1 revisits Chatterley’s Lover These four master­pieces present an intelligent and involving picture of Britain 100 years ago

BY Andreas Wiseman

Lady Chatterley’s Lover, Cider With Rosie, The Go-Between and An Inspector Calls will be adapted as 90-minute dramas for a BBC1 season of early 20th century British novels and plays.

Controller Charlotte Moore and drama controller Ben Stephenson have ordered the dramas, which include Line Of Duty creator Jed Mercurio’s version of DH Lawrence’s controversial 1928 novel, previously adapted for BBC1 by Ken Russell in 1993.

The sexually explicit novel, which details an affair between an upper-class woman and her gamekeeper, was censored in the UK for 30 years.

The project is a co-production between Hartswood Films and Serena Cullen Productions, and will be produced by Cullen with Sherlock exec Beryl Vertue on board as executive producer.

Meanwhile, Ben Vanstone is adapting Laurie Lee’s childhood memoir Cider With Rosie, about growing up in a Cotswold village on the verge of industrial change.

ITV pilots sitcoms from Green Wing writers Darren Boyd and Katherine Parkinson have been lined up to star in two separate ITV sitcoms from the writers behind Channel 4’s cult comedy Green Wing. ITV has piloted The Delivery Man and is preparing to shoot a test episode of Semi Detached. The Delivery Man features Spy actor Boyd (right) as a policeman who changes career to become a midwife. The comedy was written

by Robert Harley and James Henry, who worked together on C4’s Green Wing. It will be produced by Moniker Pictures. Separately, Hat Trick Productions is to film a pilot of Semi Detached with The IT Crowd’s Parkinson. It follows the life of Ellie and the tenants of a house she 6 | Broadcast | 25 April 2014

Ben Stephenson, BBC1

Lady Chatterley’s Lover: 1993 series starred Joely Richardson and Sean Bean

The drama will reunite Origin Pictures with Jamaica Inn director Philippa Lowthorpe.

Adrian Hodges is adapting and executive producing LP Hartley’s The Go-Between, a novel about an elderly man who pieces together his childhood memories after finding his diary from 1900.

The adaptation is being made

by BBC Drama Production and is

executive produced by Sue Hogg and produced by Claire Bennett.

Rounding out the season is a version of JB Priestley’s play An Inspector Calls. The detective thriller, set in 1912, is being made by Greg Brenman’s indie Drama Republic.

Casting is under way on all four projects, which are scheduled to begin shooting later this year.

inherits. The single-camera show was written by Oriane Messina and Fay Rusling.

Channel 4 orders Shed of the Year series

Educating Yorkshire pupil heads to Stammer School Educating Yorkshire star Musharaf Asghar is to appear in a Twofour doc about stammerers for Channel 4. The hourlong doc, Stammer School (w/t), will follow Asghar and a cast of stammerers as they attempt to overcome their speech impediments.

Asghar shot to fame in September after he overcame a crippling stammer to pass his English GCSE during an episode of Twofour format Educating Yorkshire. Stammer School will be exec produce by Twofour’s Andrew Mackenzie and David Clews.

Channel 4 is to go behind the scenes at Britain’s “prestigious” Shed of the Year competition for a three-part series. Amazing Spaces presenter George Clarke will front the Plum Pictures series, which will feature insights from craftsman William Hardie, architect Laura Clark and industrial designer Max McMurdo. The Shed of the Year competition, which is sponsored by Cuprinol, has been running since 2007 and attracts 2,000 entries from across the UK. Clarke and his team will travel the country going inside some sizedefying spaces and meeting their eccentric owners.

A League of Their Own’s future secured until 2017 Sky 1 has struck a deal to keep James Corden-fronted panel show A League Of Their Own on air until 2017. The sports entertainment

Moore said the season of films would “explore and contextualise the enormous changes in the way men and women lived in the 20th century”.

Stephenson said that themes such as the role of women, class, sexuality and the impact of World War I will “ebb and flow across each film”.

“I hope that viewed together, these four masterpieces will present an intelligent and involving picture of what it was like to live in Britain 100 years ago,” he added.

For details of all commissions, see

http://greenlight.broadcastnow.co.uk

show (below), which is produced

by CPL Productions, will return for three further 10-part series from next year. Each series will comprise 8 x 60-minute episodes of the main show and 2 x 60-minute instalments of spin-off A League Of Their Own Unseen. Sky 1 director

Adam MacDonald described the panel show as one of the channel’s strongest returning series. “Its popularity with Sky customers is a thing to treasure,” he said. Murray Boland is the executive producer alongside Danielle Lux, Jim Pullin and Barbara Lee, while David Taylor is the series producer. www.broadcastnow.co.uk

SAVE THE DATE

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Last year’s event sold out in 3 weeks, check broadcastnow.co.uk for details of when tickets go on sale Join the conversation @MBIEvents #CFF

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International News

Netflix bets on price hike We are committing to larger-budget shows and rapidly expanding our original production

BY PETER WHITE

Netflix believes its global price hike can help it commission more big-budget original series and become a one-stop-shop for top US shows around the world.

The SVoD service revealed at its first-quarter financial results that it would increase the price of its subscription to new customers by up to $2 (£1.20), following its lead in Ireland, where it increased the price from ¤6.99 to ¤7.99 (£6.60).

Chief content officer Ted Sarandos told investors that the price increase would allow it to compete with premium US channels such as HBO for quality original programming.

“We are committing to largerbudget shows,” he said. “We are rapidly expanding our original production… I think about it like a sports team where the bidding gets quite high on a couple of key pieces of talent, but the overall salaries are kind of in check.”

Netflix’s latest orders include Narcos, a 10 x 60-minute drama

Legendary launches TV distribution division The Hangover (below) producer Legendary has launched an international TV distribution division following the appointment of former Sony Pictures Television president Michael Grindon.

Legendary Worldwide Distribution will sell the company’s own shows, after it established a TV production arm led by former Warner Bros exec Bruce Rosenblum last year, as well as third-party productions. The sales division will be run by Grindon, who spent more than 15 years at Sony.

He most recently worked with Media Rights Capital on the global distribution of Netflix series House Of Cards. Legendary has several series in development, including a comedy fronted by South African 8 | Broadcast | 25 April 2014

Ted Sarandos, Netflix

Hemlock Grove: original programming is key to Netflix’s growth plans

about Pablo Escobar and the Medellin Cartel, and Grace And Frankie, a comedy starring Jane Fonda and Lily Tomlin. It has also ordered sci-fi drama Sense8 from The Matrix creators the Wachowski brothers and Babylon 5 creator J Michael Straczynski.

Separately, Netflix is ramping up the number of premium US series it acquires across its global

services, which now include Holland, Canada, Latin America, UK and Ireland. Launches in France and Germany are set for later this year.

Sarandos said it was looking to become a first-choice home for US acquisitions, rivalling the likes of Sky and Channel 4 in the UK and their counterparts in other territories.

comedian Trevor Noah, co-produced with Will Smith’s Overbrook Entertainment, and a drama from Chuck co-creator Chris Fedak.

Chinese Film & TV Summit.

Panel discussions are planned to cover topics including co-production, financing and distribution opportunities.

Chinese delegation comes to UK for film and TV event A delegation of Chinese TV executives is heading to London in September to forge ties with UK indies and broadcasters as part of the Screen China event. The four-day event is scheduled to run from 12 September and has been organised by the Allied China Europe Society with the China Record Cultural Media Company and CTV AudioVisual. The Chinese delegation, expected to include directors, location scouts and businesses interested in funding British TV productions, will attend a strand of the conference titled the British

Passion Distribution ships Teen Killers to Australia Australian public broadcaster ABC and Belgian network VMMA have acquired Teen Killers: Life Without Parole (below), a one-off doc that aired on BBC3, from Passion Distribution. The doc, produced by film-maker Joshua Rofe, was originally made as a 90-minute feature film before being reversioned to air on BBC3, where it recorded an audience of 635,000 (3.7%), beating the slot average of 442,000 (2.6%). The film, which aired as part of the Crime And Punishment season, follows a number

It has recently purchased Miramax’s Robert Rodriguez-produced movie spin-off From Dusk Till Dawn and Breaking Bad prequel Better Call Saul in the UK, plus the remake of Fargo in a number of other markets. Channel 4 bought the show in the UK. “Being a single buyer for multiple territories puts us in a unique class of buying, and we hope to realise some economic advantage of that,” Sarandos said.

“We can co-ordinate a massive marketing relationship with the studios and networks that produce those shows and be a onestop for them in a world that’s pretty fragmented.”

of juveniles who are serving life in prison without parole in the US.

Shine America to produce talent show for Tru TV Shine America is producing entertainment format Fake Off for US cable channel Tru TV. Fake Off is an 8 x 60-minute Kabuki-inspired talent competition, produced by the US division of Lis Murdoch’s indie, in which performers reimagine iconic moments in pop culture. The series is part of the Turner-owned network’s latest slate, which also includes Core Mediaproduced gameshow Hair Jacked, Electusproduced docusoap Local News, Lionsgate’s Way Out West and car format Motoring City Masters from Bunim/ Murray and Aegis Media’s AFP division The Story Lab. www.broadcastnow.co.uk

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Multiplatform News In Brief Tivo tie-up boosts Netflix The number of Netflix subscribers has grown to 14% of the UK’s online population – bolstered by the launch of the service on Virgin Media’s Tivo platform, according to a survey from Decipher Media. The bi-annual Mediabug survey of 3,000 consumers revealed a steady increase in Netflix subscription rates from 10% of the UK’s online population in November 2013.

The proportion of subscribers planning to leave after the service’s free trial period expires has also fallen from 39% to 25%.

Wright signs pizza deal Ian Wright’s footballthemed YouTube channel Ball Street has signed a sponsorship deal with pizza chain Papa John. The channel, started 12 months ago by former TalkSport sales director Matt Wilson, focuses on clubs outside of the top six Premier League teams. It launched weekly chat show The 451 Show, which will run to the end of the season, last week.

Sky trials Twitter tool Sky is trialling a mobile Twitter tool that allows its customers to watch or record TV shows by clicking on icons that appear in tweets. #WatchOnSky enables Sky’s 3.7 million Twitter followers to open picture links embedded within tweets to either jump to IPTV service Sky Go or send a remote recording request to their Sky+ box. According to Sky, it marks the first time a broadcaster has let users access live TV and set recording via a Twitter feed.

BBC attracts record hits BBC.com reached a record 96 million unique users in March 2014, generating an alltime high of 1.3 billion page impressions. Major global news events including the crisis in Ukraine and the disappearance of Malaysia Airlines flight MH370 helped drive the traffic.

For the latest breaking news www.broadcastnow.co.uk 10 | Broadcast | 25 April 2014

Somethin’ Else to create Strange Hill High game

BY Hera Hassan

Somethin’ Else is to develop CBBC’s first 3D multiplatform game and has picked up the social media content contract for BBC Radio 4 and 6 Music.

The multiplatform indie is to create an interactive digitalonly episode of animated series Strange Hill High, which is written

by The Simpsons and Futurama show­runner Josh Weinstein.

The game will launch on desk­ top, mobile and tablet devices later this spring to coincide with the start of the comedy mystery show’s second series.

The game begins when Templeton, one of the show’s main characters, opens a time capsule to reveal William Kempe, an Elizabethan jester from the school’s mysterious past.

Gamers take control of Templeton and fellow pupils Mitchell and Becky to complete a series of skillsbased challenges and puzzles to restore the school to normal.

It is the first game Somethin’ Else has produced for the BBC and follows its Bafta-winning Channel 4 Education game Nightmare High, launched in 2012, which aimed to help 10-12 year-olds make the transition to senior school.

The indie has worked closely with Weinstein and script editor Andrew Burrell on the Strange Hill High game to ensure it offers the same detail, humour and style as the TV series. It also features the voices of main cast members Richard Ayoade, Ben Smith and Emma Kennedy.

Somethin’ Else head of moving image and digital Ian Sharpe said the indie was well positioned to produce a “bold blend of narrative and gameplay” thanks to the digital experience it had gained through previous work with the likes of Channel 4, The Wellcome Trust and Canongate Books.

Separately, Somethin’ Else has been appointed to create richmedia content to be distributed across social media to promote BBC Radio 4 and 6 Music.

Strange Hill High: game launch will coincide with second series debut

Our first game for the BBC will feature a bold blend of narrative and gameplay Ian Sharpe, Somethin’ Else

The indie, which produces a wide variety of traditional shows including Gardeners’ Question Time, 1Xtra’s 10pm specialist music shows and Radio 5 Live’s 606 programme, will deliver content for the two stations including images, videos and infographics around live shows, events and marketing campaigns.

It plans to develop formats around ongoing strands and events that can be reused. New audiences will be targeted, along with specialinterest groups for programmes such as Radio 4’s In Our Time and Desert Island Discs.

Somethin’ Else expects to deliver more than 100 pieces of content a month for each station, across up to 10 campaigns. The work will primarily be distributed on Facebook and Twitter but will also extend across other platforms including Instagram, Vine, Audioboo, Sound Cloud and Google+.

The project, due to run for an initial six-month period, will be led by producer Simon Poole with Kate Cooper-Owen and Alex Burnard.

Somethin’ Else managing director Steve Ackerman said: “Our aim is to extend the content and engage with audiences that the shows aren’t reaching. Our work will be focused on helping these BBC brands develop the conversation with their audiences.”

Earlier this year, Somethin’ Else was responsible for managing the social media output around The Brit Awards, helping the ceremony generate more than 4 million related messages on Twitter on the day of broadcast. www.broadcastnow.co.uk

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Technology & Facilities Creative review

Bear Grylls: Extreme Survival Caught on Camera Post Clear Cut Pictures Client Betty TV Brief Picture and audio post for the series, which is made up of clips of people in dangerous situations.

How it was done The clips used a variety of frame rates, resolutions and standards that required conversion via Alchemist, so that senior colourist Graeme Hayes could complete a smooth, even finish using Da Vinci Resolve.

To maintain realism in spite of the poor-quality audio or mute material, the tracklay needed to be congruent with the quality of the source material, so each audio clip was treated separately with EQ, and sometimes distortion, to give a more realistic sound. Dubbing mixer Adam Wood had to build up a lot of the sounds from scratch, using as much of the original material as possible to give it a raw and exciting feel.

Watch it Sundays, 9pm, Discovery

Happy Valley

Da Vinci’s Demons

Post Dock10 Client Red Production Company Brief Manage end-to-end post-production of the six-part crime thriller in which a staged kidnapping spirals out of control and a rural police officer finds herself at the centre of a series of brutal crimes.

How it was done Shot on location in and around Hebden Bridge in Yorkshire, daily rushes were transported to Dock10 and transcoded using Da Vinci Resolve to produce a working grade for the edit.

Colourist Jamie Parry used Baselight to create a combination of layers, mattes and shape tracking, in addition to subtle effects such as ‘camera shake’, to bring a nuanced look and feel to the programme. Head of audio Mark Briscoe worked closely with director Euros Lyn on the sound design to ensure the gritty audio complemented the dynamic and edgy visuals.

Watch it Tuesdays, 9pm, BBC1

VFX Union VFX Client Adjacent Productions Brief Recreate Renaissance-era Florence for the second series of the drama about the early life of the painter.

How it was done Union completed 250 shots in total, from design and pre-visualisation to final execution.

Visual effects supervisor Adam Gascoyne said Union made significant upgrades to many of its in-house tools to achieve creative and technically challenging shots. The main developments were within Union’s water and ocean simulations pipeline. Using Houdini’s ocean toolkit and some proprietary software, oceans were created in various states, from stormy to calm. A new procedural tool was also developed to create buildings. Using Maya and Python script, a library of period buildings and features was assembled and textured using photos of ancient areas of Florence.

Watch it Fridays, 10pm, Fox UK

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

DME invests in compliance kit to meet DPP deadline

BBC’s Poldark starts shooting at Bottle Yard

Deluxe Media Europe (DME) has spent almost £100,000 on compliance equipment in readiness for the Digital Production Partnership-led October deadline for the file-based delivery of programmes. DME’s purchases include Minnetonka Audio­ Tools server, Emotion Systems’ EFF Enterprise, Tektronix rasterisers and Tektronix Cerify licences.

Head of digital media Ian Beushaw (pictured) said: “As the gatekeepers for UK broadcasters’ material, we not only test for DPP compliance but also, in the event of failure, we can make the technical adjustments needed to bring the file into line with the DPP spec.”

Filming has begun on BBC drama Poldark at Bottle Yard Studios in Bristol. The film and TV prod­ uction space will be home to Mammoth Screen’s production team for the next six months as they shoot in Bristol and Cornwall for the adaptation of Winston Graham’s 18th-century saga.

12 | Broadcast | 25 April 2014

Broadcast Text rebrands Access services firm Broadcast Text International has rebranded as BTI Studios. Over the past two years, the company has acquired Primetext, Chello Zone Studios and IMS. Chief executive Björn Lifvergren said: “We couldn’t have achieved so much over the past five years without

the relationships we have built with our clients, and through our integration as BTI Studios we will be able to offer our clients an even better service, tailored to their specific needs.”

BBC S&PP invests in Front Porch Digital systems BBC Studios and Post Production’s Digital Media Services (DMS) division has invested in Front Porch Digital’s DIVArchive content storage management and DIVAdirector digital asset management systems. The Front Porch Digital systems will allow DMS to offer long-term storage for clients’ assets alongside existing services such as film and tape digitisation, DI restoration and DPP delivery.

Vision Mixers Guild holds roadshow for freelancers The Vision Mixers Guild will hold its fourth annual roadshow at Sky

Studios next week. Chairman Trevor Bailey said the event was organised to help freelancers keep up to date with the latest equipment from the likes of For-A, Sony, Ross, Grass Valley (above) and Snell. The day-long event will take place on Tuesday 29 April at Sky’s Osterley headquarters.

Gearhouse provides bespoke system for Sky F1 Gearhouse Broadcast is providing Sky Sports with a flyaway production set-up for its Formula 1 coverage. The bespoke system is made up of four pods that connect with www.broadcastnow.co.uk

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

The Farm turns to files for programme archive service

BY George Bevir

The Farm has launched a storage service for finished programmes that it believes will help production companies with the shift to file-based delivery.

The post firm’s Spots service (Single Programme on the Shelf) has been designed to act as a replacement for a prod­ uction company’s clone tape and the other elements that made up a ‘shelf archive’, and put an end to the practice of storing finished programmes on removable drives.

As an alternative to charging a production company to make a clone of a delivery tape, the Farm will store a one-hour programme for three years for a fee of £500. At the end of the three-year period, companies will be asked if they want to keep the programme in storage or remove it.

The Farm joint managing director David Klafkowski added: “The driver for this is [incoming Digital Production Partnership

Sky Sports’ on-site production facilities. Distribution, routing and camera control kit is installed in an MCR pod, while the EVS, Avid and SAN storage is housed in a server pod. Another area houses the 5.1 audio control room, while the fourth is dedicated to storage.

The Farm: storage service aims to help indies shift to file-based delivery

delivery spec] AS-11. AS-11 should be treated as a transmission deliver­able, not an editable archive. This is the answer to production companies’ questions about what to do when they move to 100% file-based delivery.

Putting a programme on spinning disk is not a solution, and pro­viding producers with HD Cam SR tapes is not a solution with any longevity.”

The highest possible editable version of a programme, prefer­ ably as a flattened or consolidated NLE sequence, together with finished audio stems, graphics packages, a high-quality viewing version and information such as photosensitive epilepsy and AQC reports, will be stored locally.

A copy will reside in “deeper” storage, potentially Microsoft Azure or Amazon’s cloud service.

to develop a plug-in that will give Cinema 4D (below) users access to the Houdini Engine. Side Effects Software co-founder and chief executive Kim Davidson said: “Artists can now use Houdini

being used for ITV’s new daytime quiz show Ejector Seat. It delivers all the game-play information, data feeds, sound effects and lighting controls, and provides information for the synchronisation of sound and lighting effects.

Ionoco chief executive Simon Ingram said: “Ejector Seat is a great idea, but it needs great technology to make it work. Chairs have to move in the right direction at the right moment, and be perfectly synchronised with sound and lighting effects.”

DPP launches digital guide to file-based delivery The Digital Production Partnership (DPP) has launched a handbook called A Producer’s Guide to File Delivery to help production companies with the shift away from tape. The guide, published six months ahead of the October deadline for the move, covers topics including QC checks and creating MXF files.

Maxon links with Side Effects for 4D plug-in 3D software firm Maxon is to partner with Side Effects Software www.broadcastnow.co.uk

Digital Assets inside Cinema 4D, making it easier to add the flexibility and power of Houdini’s procedural tools to their existing creative process.” The plug-in is slated for release before the end of the year.

Ionoco provides stage tech for ITV quiz Ejector Seat An Ionoco stage-control system is

Broadcast firms win Queen’s Award for Enterprise VFX firm Axis and Adder Tech­ nology were among the companies to receive a Queen’s Award for Enterprise. Axis, a Glasgow-based facility whose clients include the BBC, Warner Bros and Sony Pictures, was recognised for its international trade. Keyboard, video

First production at Space Project to start in June The team responsible for the Sharp Project in Manchester is putting the finishing touches to a new £10m, drama-focused studio facility.

The Space Project, which will offer five studios ranging in size from 8,891 sq ft to 11,194 sq ft, will be handed over by builders at the end of next month, with the first production expected to be based there from June.

Along with room for production offices, the 360,000 sq ft complex will have space for seven longterm tenants. A shortlist of companies that provide ancillary services to the industry and are keen to be based at the West Gorton site will be drawn up this week.

Project director Sue Woodward said: “We want to create an ecology that is similar to the Sharp Project.”

The selected companies are expected to be in place at the Space Project by the end of June.

Woodward added that she expects the studio facility to be running at full utilisation within three years.

and mouse specialist Adder was honoured with an award in the innovation category.

Arqiva upscales Community Channel for HD service The Community Channel has launched a 24-hour HD service on Freeview channel 109, using Arqiva’s new DTT upscaling technology to turn its standard-definition feed into 1080i. Community HD is the first channel to use the Arqiva technology.

RTS Young Technologist Award opens for entry Entries are now open for the RTS Young Technologist Award.

The aim of the award, which is open to early career engineers in broadcast, is to advance education in the science, practice, technology and art of television. The closing date for the competition is 16 June.

25 April 2014 | Broadcast | 13

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Comment

It definitely doesn’t feel like the last-chance saloon. It’s really exciting for everybody Helen Warner on Good Morning Britain, Interview, page 18

Zetland House, 5-25 Scrutton Street, London EC2A 4HJ Editor Chris Curtis 020 3033 2718 Features Editor Robin Parker 020 3033 4202 News Editor Jake Kanter 020 3033 4205 Web Editor Alex Farber 020 3033 4204 International Editor Peter White 020 3033 4271 Senior Reporter Andreas Wiseman 020 3638 5066 Technology and Facilities Editor George Bevir 020 3033 4207 Production Editor Dominic Needham 020 3033 4201 Group Art Director, MBI Peter Gingell 020 3033 4203 Head of Production and Art, MBI Mark Mowbray 020 3033 2817 Contributors Kate Bulkley, Stephen Price Group Commercial Director, MBI Alison Pitchford 020 3033 2949 Conference Director, MBI Charlotte Wheeler 07702 381809 Events Manager, MBI Mai Le 020 3033 2950 Sales Manager Sonya Jacobs 020 3033 2935 Business Development Director Patricia Arescy 020 3033 4287 Business Development Executive Donogh Hurley 020 3033 4232 Recruitment Sales Executive Hannah Grix 020 3033 2889 Sales Administrator Justyna Zieba 020 3033 2694 Marketing Executive Sheryl Rood 020 3033 2872 Production Manager, MBI Jon Cooke 020 3033 4296 Chief Executive, MBI Conor Dignam 020 3033 2717 Advertising Fax 020 3033 2604 Subscription Enquiries 01604 828706 Customer Services Email help@subscribe.broadcastnow.co.uk 0203 033 2620 The formula to email individual members of staff is: firstname.surname@broadcastnow.co.uk The formula to email individual members of staff with MBI after their job title: firstname.surname@mb-insight.com

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16 | Broadcast | 25 April 2014

Orange Is The New Black: original commissions are key for Netflix

Netflix must stay a step ahead SVoD service has to innovate to keep rivals at bay, says Kate Bulkley

T

he recent Netflix results looked impressive: the world’s highest-profile SVoD service reached 48 million subscribers globally – up 4 million on the quarter, with international subs accounting for 1.8 million of that increase. The service also predicts its international business will reach profit this fiscal year, with launches expected in Germany and France.

But look a little closer and the Netflix situation is more complex than the headlines suggest. Not only did chief executive Reed Hastings announce a “one-to-twodollar increase” in its monthly subscription rates but he launched a diatribe against the impending consolidation of US cable companies Comcast and Time Warner, complaining that it will concentrate too much power over fast internet access into the hands of one company.

Netflix is feeling the heat. It needs to bring in more money to fund original and purchased content, and it is concerned that as usage of its streaming service increases (a good thing) the cost of delivering those streams also increases (a bad thing).

Who bears that cost is the subject of a hot debate between those who own the pipes and the services such as Netflix that use them to deliver content. In the US, Netflix has agreed a paid deal that directly connects its service to Comcast’s subscribers to ensure high-quality streaming video delivery, adding to its costs.

As if these pressures were not enough, there is a growing phalanx of Netflix pretenders keen to sign up video customers. From Amazon to Yahoo! to Microsoft’s Xbox and Google’s YouTube, all are taking the original production page out of the Netflix playbook.

They are also competing for third-party content and some, like Amazon and Google, are pushing hard-

ware that they hope will be more successful in locking people into video services that they control.

Google has launched Chromecast, a dongle that makes your TV a ‘smart’ net-connected device at a fraction of the cost of buying a new set from Samsung or LG. And Amazon believes its Kindle Fire device will do for its video service what the Kindle did for e-books.

It will hope so, given that Decipher’s Mediabug research shows that Netflix’s UK subs have grown to 14% of all UK online video subscribers over the past six months, while Amazon’s (previously Lovefilm) subs have fallen to 6%.

Netflix is the frontrunner among UK SVoD services, but the fight for online video dominance is far from over. Sky now has ondemand-capable boxes in more than a quarter of its homes and 70% are connected to its VoD service.

Its OTT service Now TV is also said to be growing nicely, although we are waiting for a formal update.

Amazon and Google will force Netflix to continue to innovate, such as following its UK Virgin Media/ Tivo deal with a US equivalent, and talking to Vodafone about offering its service to the phone company’s customers.

So House Of Cards series three and a whole bunch of other shows will have to be made soon if the Netflix results are going to continue to be positive. Meanwhile, expect more Netflix-like moves from rivals, as well as more devices and bundling and pricing innovations. ➤ Kate Bulkley is a print and TV journalist and awards secretary of the Broadcasting Press Guild. Follow her on Twitter @katecomments

‘The Netflix situation is more complex than the headlines suggest’

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TV must not cut corners on sound

Comment

Broadcast, Zetland House, 5-25 Scrutton Street, London EC2A 4HJ or email bcletters@emap.com

Commissioning is comedy gold TV production is like a white-collar Game Of Thrones, says Will Smith

Fraser Barber Head of production, sound diploma, NFTS

A

s complaints over BBC1’s Jamaica Inn (below) have shown, drama audiences often think that sound is badly recorded when they can’t hear the dialogue. Sometimes this may be true, but more likely it’s to do with a bad location, compromised filming or an unclear performance.

You can only record what the actor is delivering and if that is not clear enough by the last take, there is nothing you can do about it on location. Some directors try to get the actors to speak up but others encourage the mumbling, or just leave it to the dialogue editor to ‘sort out’ in the edit, when it is often too late.

Tight production schedules don’t always allow enough time after filming to sort out any issues.

This was certainly true on a recently cancelled BBC drama that had a lot of people complaining about the clarity of the dialogue.

Sound crews often don’t have enough people. On most big dramas, I reckon you need two boom ops and one sound assistant.

Ask us at the planning stage and we can avoid sound problems later, especially if we can discuss mic needs with costume designers.

This is an exciting time to enter the industry. There’s a renewed awareness of the importance of sound in TV and film. We need to train a new generation of sound recordists to deliver the high quality that audiences deserve. ➤ Fraser Barber is a sound recordist whose TV credits include Little Dorrit, Black Mirror and The Tunnel. For more info on the NFTS Production Sound diploma, visit nfts.co.uk www.broadcastnow.co.uk

Pond: Rufus Jones and Lucy Montgomery Star in Will Smith’s Comedy Blap for Channel 4, set in a TV indie

Will Smith Writer, actor and stand-up comedian

I

don’t envy television commissioners. It can be a thankless, high-pressure job: people don’t survive so much by commissioning hits as by not commissioning failures. That’s a tall order given the alchemical nature of television – did anyone predict the soaraway success of The Great British Bake Off? You have to make decisions people don’t like, override opinions and deliver bad news.

If the figures and the awards aren’t there, the vultures start circling. Part of the pitch for my Channel 4 Comedy Blap was that it was “a white-collar Game Of Thrones”. Pond follows the fortunes of a production company of the same name. I initially worried that this setting might seem indulgent or of limited appeal, but if the characters and situations are engaging, it doesn’t matter where you set something. Dad’s Army wasn’t enjoyed solely

by ex-members of the Home Guard, after all.

TV production is a rich seam for humour. There’s a madness that descends on a show in crisis. At the worst moments, you have people understandably desperate to guarantee a hit (an impossibility), each sure of their own opinion, which must differ from everyone else’s to justify their job.

‘TV is a rich seam for humour. There’s a madness that descends on a show in crisis’ So you end up with executives whose sole suggestion at a gameshow run-through is that the contestant’s name badges be two centimetres higher, or that the buzzer in the quickfire round sounds like a message alert. Others might swan into a chatshow edit to ask if the guests on the sofa can retrospectively be moved closer together.

Hopefully, Pond doesn’t feel excluding to the lay-person when it can comprise arguments about a show in production whose title

morphs from Cupcake Community Service to Blood And Cakes via Leonard Nimoy’s Pool Party.

None of the characters in Pond is based on a specific executive or commissioner, but some incidents are inspired by real events. A producer came to see a live reading of a sitcom written by some friends of mine. He said he wanted to commission a script; then, when their agent got in touch, he denied ever having met them, let alone having seen their sitcom or promised to pay them for it.

My personal low point was an entertainment show on which the producers booked a live turkey for 4 July. Neither host nor guests were American, but we were asked to “write some ad-libs in case the turkey clucks”. I pointed out that turkeys were associated with Thanksgiving and had nothing to do with 4 July. An exec retorted that it was America’s national bird.

I responded (correctly) that this was the bald eagle, but was told testily: “Well I’m sorry Will, but we’ve booked the turkey.” And, as I later learned, at a higher rate than the writers.

For a longer version of these articles, visit www.broadcastnow.co.uk 25 April 2014 | Broadcast | 17

The Broadcast Interview HELEN WARNER ITV DAYTIME

‘It’s not all about Susanna Reid’

GMB team: (l-r) Sean Fletcher, Susanna Reid, Ben Shephard and Charlotte Hawkins

ITV’s director of daytime tells Jake Kanter why she’s confident that Good Morning Britain can succeed where Daybreak failed

T

here was more than a whiff of déjà vu when Broadcast sat down with Helen Warner to discuss ITV’s new breakfast show. The conversation was strikingly similar in September 2010, when Warner’s predecessor Alison Sharman was banging the drum for Daybreak.

‘New queen of breakfast TV’ was the headline that adorned our piece four years ago. With the benefit of hindsight, it had a touch of hyperbole about it, given Daybreak’s subsequent well-documented failings. The breakfast show has chewed up and spat out three editors, countless presenters and several set redesigns attempting to find its feet, with all the grace of a viewer’s befuddled morning stagger to the shower.

ITV is putting Daybreak out of its misery today; from Monday, it’s hello to Good Morning Britain. “It was clear that keeping and evolving Daybreak wasn’t going to be enough to change people’s habits in the morning,” Warner explains.

The ITV director of daytime launched the biggest piece of audience research she has ever been involved with to pinpoint what needed to change. It took ITV into viewers’ houses to assess their morning rituals; BBC Breakfast and Sky News fans were spoken to at length; and Warner travelled to the US to inspect NBC’s Today programme and Good Morning America on ABC. The results, she says, were clear: Daybreak was not providing the news fix viewers craved in the morning and efforts to address this were not working. Simply put, Daybreak’s light topical

FACT FILE

touch drove viewers into the arms of rivals – and they have not returned.

Warner says: “One thing that came out of the research was that there wasn’t enough distinction between Daybreak, This Morning and Loose Women. We want to refocus the shows and make sure there is a distinct voice for each. The voice for Good Morning Britain will be news.”

News focus Career 2013-present Director of daytime, ITV 2011-2013 Full-time author 2007-2011 Head of daytime, Channel 4 2006-2007 Commissioning executive, ITV daytime 2004-2006 Head of development, GMTV 2001-2002 Editor, This Morning 2000-2001 Series editor, Better Homes/ Better Gardens 1999-2000 Launch editor, Loose Women 1998 Series editor, What Will They Think Of Next?

1995-1997 Producer/ features editor, This Morning Family Married with two children Hobbies Watching TV; writing novels; running

To this end, Daybreak’s Matt Barbetfronted 6am News Hour will be ditched and the entire 150-minute show will be governed by the morning’s headlines.

Local news bulletins will also be increased and live-linked from the London studio to ensure there is a sense of “everyone being involved”.

Furthermore, Daybreak’s competition spots will be taken out on the road by Andi Peters in the new show.

The topicality extends to Good Morning Britain’s talent line-up, which has turned to presenters with a breakfast news pedigree. Susanna Reid is a high-profile capture from the BBC, where she sat on the Breakfast sofa, while former GMTV host Ben Shephard will return to the fold. ITV has also poached Sunrise presenter Charlotte Hawkins and Sean Fletcher, a regular anchor for Sky Sports News.

“It’s not all about Susanna,” Warner stresses, categorically denying reports that ITV has paid the presenter £1m

to prise her away from the BBC. She also dismisses any comparisons with Christine Bleakley’s ill-fated transition to ITV four years ago. “I don’t think it is similar to the Christine situation,” Warner argues. “As a breakfast presenter, Susanna is already very well known at that time of day.”

This may be the case, but it’s hard to deny that Warner’s choices have some echo of those made by her predecessor. Sharman also carried out a big piece of research before

RATINGS DAYBREAK VS BBC BREAKFAST Programme

2011

2012

2013

714,200 (17.4%)

671,900 (16.9%)

632,500 (16.04%)

1.6m (35.4%)

1.5m (35%)

1.5m (34.8%)

Weekday average comparison. Source: Attentional

18 | Broadcast | 25 April 2014

www.broadcastnow.co.uk

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

ITV DAYTIME CHANGES Daybreak ITV factual commissioner Neil Thompson replaced Karl Newton as editor last year. He will relaunch Daybreak as Good Morning Britain next week, giving the programme a clearer focus on news.

Lorraine Sue Walton, vice-president of commissioning for Scripps EMEA, took over from Emma Gormley earlier this year. Gormley was promoted to managing executive producer of ITV Studios’ daytime output, effectively replacing creative director for daytime and lifestyle Fiona Keenaghan.

This Morning Saturday Night Takeaway series producer Peter Ogden has replaced editor Adam Vandermark. Ogden will be tasked with reducing news-led features and newspaper reviews, while heightening This Morning’s magazine tone.

Loose Women Former GMTV showrunner Martin Frizell was appointed editor this year, replacing Emily Humphries. Warner wants Loose Women to carry fewer features and focus more on topical chat.

ditching GMTV, she too travelled to the US to learn from ABC and NBC’s breakfast brands, while an emphasis on news was an important part of her Daybreak plans (remember John Stapleton’s bizarre Farepak investigation, just three minutes into the debut episode?).

Warner argues the difference this time around is that ITV won’t be “throwing the baby out with the bath water”. This is despite renaming the show Good Morning Britain, and changing its presenting line-up, set (which she won’t discuss) and editorial tone.

“Daybreak hasn’t always resonated with viewers, but there are definitely things from it that we want to take forward into Good Morning Britain.

That’s the biggest lesson: don’t trash everything that’s gone before; take what worked with you and build on it,” she says.

One thing that won’t be repeated is Daybreak’s splashy launch in www.broadcastnow.co.uk

‘The biggest lesson is: don’t trash everything that’s gone before; take what worked with you and build on it’ Helen Warner

2010, with Good Morning Britain taking a “softly, softly” approach.

“We’re going to do promos when the show’s on air. This will include what you’ve missed and what’s coming up tomorrow. It’s not going to be the same as the Daybreak push,” Warner explains.

So what does success look like?

“Obviously our aim is to grow the audience; we wouldn’t be doing it if we weren’t hoping to grow the audience. But we’re in it for the long game,” Warner says.

Doing so will involve arresting three years of audience declines (see box, left)

The Jeremy Kyle Show Responsibility for the Salford-produced show was handed to ITVS director of entertainment Siobhan Greene last year.

➤ 25 April 2014 | Broadcast | 19

The Broadcast Interview

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

HELEN WARNER ITV DAYTIME by winning back the ‘switchers’ – a broad demographic of people that Warner is convinced are still open to the idea of a “really good breakfast show” on ITV. “Housewives with children is still the core audience, we haven’t really lost ground on that,” she adds. “We hope that over time, people start recognising that it’s a good show, come to it, like it, and stay with it.

That will help the rest of the schedule – it will give us the springboard.”

There are also signs that the strategy will play well with advertisers.

Dominic Williams, trading director of media agency Aegis Media, told trade title Campaign last month: “ITV has been very sensible – for the first time since 2009, it has a team of breakfast specialists coming in.”

Warner hasn’t been set any targets by ITV, but is “confident” she can turn the ship around. “ITV will always be in breakfast, as it should be. It definitely Number of hours opened up by The doesn’t feel like the lastAlan Titchmarsh chance saloon. It’s really Show ending exciting for everybody,” she says.

Daybreak: high-profile signings Christine Bleakley and Adrian Chiles were soon ditched

100

Beyond breakfast Now more than nine months into the director of daytime job, Warner’s responsibilities extend well beyond breakfast, and the Daybreak relaunch has not prevented her from making her mark elsewhere in the ITV schedule.

As well as parachuting in ITV factual commissioner Neil Thompson as Good Morning Britain editor, she has overseen senior management changes on Lorraine, This Morning and Loose Women (see box, page 19).

She says the brands are in “pretty good health”, but has tasked the leadership teams with “sharpening the focus” to ensure they each offer viewers something unique.

“All brands, especially longrunning ones, need reinvigorating from time to time. They’re very tough, these daily shows, and I’ve done them, so I can say it from experience. It’s a draining job,” the former Loose Women editor explains.

She admits the changes have been “unsettling” for ITV Studios’ daytime team, with one source telling Broadcast in 2013 that the unit was in “turmoil”. Something had to give, though, with ITV chief executive Adam Crozier publicly stating in February that the broadcaster’s daytime www.broadcastnow.co.uk

performance last year had been “disappointing”.

“Peter Fincham got me in to address the daytime performance. It’s a massive job, encompassing 6am to 6pm in the schedule every day, and I think it does need a dedicated person,” Warner argues.

She is also preparing to launch four other shows next week, including ITV Studios-produced Jo Frost: Family Matters and Remarkable Television quiz Ejector Seat, which is fronted by Andi Peters.

One ITV insider describes Warner as an “instinctive commissioner”.

They say this can have its pitfalls – one of her first ITV orders, Auf Wiedersehen My Pet, hasn’t been a roaring success – but could stand her in good stead with slots to fill.

Among her priorities will be filling the 3pm void left by The Alan Titchmarsh Show in 2015 and building on The Chase with other quizzes. The 2pm slot, meanwhile, is given over to factual entertainment, and among Warner’s new commissions

‘ITV will always be in breakfast.

It definitely doesn’t feel like the last-chance saloon’ Helen Warner

is ITV Studios’ Who’s Doing The Dishes?, which she describes as a cross between Come Dine With Me and Through The Keyhole (see News, page 3).

“There’s a lot of hours to fill, but we get pitched a lot of good stuff – it’s a good problem to have. There’s no sense of a ‘it’ll do for daytime’ mentality, which there has been in the past,” she explains.

For producers, this is where Warner will earn her corn, but ultimately it is Good Morning Britain that will probably define her reign at ITV. The queen of breakfast crown is very much up for grabs.

Ejector Seat: Remarkable TV quiz hosted by Andi Peters (left) launches next week

25 April 2014 | Broadcast | 21

Ratings Analysis BBC3

Has BBC3 fulfilled its remit?

As the youth channel awaits approval for its move online in 2015, Stephen Price takes a look at how it has performed over the past eight years – and whether it is meeting its objectives

O

n Thursday 6 March it was made official: in autumn 2015, BBC3 will cease transmitting as a linear TV channel and become online-only as part of the BBC’s pre-licence fee settlement cost-cutting exercise.

Director general Tony Hall described it as “difficult” but “strategically right” and, crucially, “financially necessary”. Director of television Danny Cohen reiterated the cost imperative. Given a free hand, he said, the move would still be four to five years away. No such free hand was available, however, and, subject to BBC Trust approval following public consultation, the move is on.

Facing this new world, (the now outgoing) BBC3 controller Zai Bennett spoke at Bafta on 24 March about making BBC3 more like Netflix by laying some “big bets” on fewer but more ambitious shows. Big-name BBC3 suppliers Ash Atalla (Roughcut TV) and Jimmy Mulville (Hat Trick) have not been shy about accusing the BBC of making a mistake.

So it is either a “strategically right” but difficult choice or, in Atalla’s words, one of the BBC3’s “worst ever” decisions. Either way, Bennett is heading off to run Sky Atlantic, which is a different kettle of fish altogether.

Time, that great and final arbiter, will reveal all. But with the thick end of 18 months remaining until the move online, how is the linear channel fairing?

Back in 2006, the earliest data available, BBC3’s share of audience for its transmitted hours (7pm-4am) was 1.8% for individuals; among its core 16-24 audience, it was 2.7%. By 2009, it had risen to 2.5% of individuals and 5% of 16-24s.

In 2013, BBC3’s share stood at 2.9%, down 2% on an Olympicsfuelled 2012, and level for 16-34s (6%). However, its 16-24 targeting was paying off, with share up 3% to

22 | Broadcast | 25 April 2014

‘Up to 4 April this year, BBC3 is up 5% year on year to 7.6% share of 16-24s’

1m

Live rating for The Call Centre on 8 April, with another 839k after four repeats

The Call Centre

BBC3 SHARE YEAR TO 4 APRIL 2013/14 2013 vol (000s) Individuals 371.40 16-24s 73.14

2013 share (%) 2.76 7.18

2014 vol (000s) 356.70 76.20

7.6%, putting it ahead of Channel 4 (7%). In 2014, up to 4 April, its share of 16-24s remains steady at 7.6%, with overall share down slightly to 2.8%.

Acquisitions strategy So what of the shows? Acquired programming does well on most digital channels, and BBC3 is no exception. Family Guy (below) – crucially, not available on iPlayer – is one of the channel’s best and most consistent performers, with one edition from May 2012 nudging 2 million. It was still doing similar numbers last July, when it became BBC3’s secondmost-watched broadcast of the year with 1.9 million/11%, behind a Match Of The Day semi-final Confederations Cup tie between Brazil and Uruguay on 26 June (2.1 million/8% from 8.50pm).

2014 share (%) 2.76 7.56

Y-o-y vol change (%) -3.96 4.18

Y-o-y share change (%) 0.00 5.29

Family Guy’s audience sits squarely in the target demographic: the 29 October episode was last year’s most-watched BBC3 show among 16-24s (526,000/27%).

BBC3 still relies on movies, often playing family friendly films pre-watershed. Last year, it had seven films in its top 20, led by yet another outing for Raiders Of The Lost Ark at 8pm on Christmas Eve (1.6 million/6%).

However, there were just two films in the 16-24s top 20 for 2013, the best being 5 October’s Pirates Of The Caribbean: Dead Men Tell No Tales (207,000/12%).

The debut of Doctor Who spin-off Torchwood remains BBC3’s biggest ever original commission, with 2.5 million/13% back in October 2006, before the franchise moved to BBC2 and then BBC1. Gavin & Stacey is another transfer

hit, peaking with 1.9 million/8% before its move to BBC1.

Last year, nine titles in BBC3’s top 20 were homegrown. After football, the best was Doctor Who Live: The Afterparty (1.6 million/ 6%), aired after the show’s 50th anniversary special on BBC1.

Of the top 20 for 16-24s, 13 titles were commissions, with Sun, Sex And Suspicious Parents topping the list with 311,000/20% on 8 January at 9pm. Interestingly, The Doctor Who Live show was only BBC3’s 16th best UK programme for 16-24s (192,000/9%).

A strong repeats strategy is essential for digital networks.

BBC3’s hit docu-soap The Call Centre, for example, returned for a new series on 8 April at 9pm with 1 million/4% in live ratings.

By the end of the next day, it had been repeated four times, adding another 839,000, with three more parts to come. Series one, which launched on 4 June 2013 at 9pm, achieved a consolidated rating of 1.2 million/5%; seven repeats took it beyond 3 million.

The first episode of series two of Jack Whitehall comedy Bad Education launched on 3 September 2013 at 10pm with 1 million/5%, adding another 1.8 million via seven repeats. Among 16-24s, the premiere transmission achieved 197,000/12%, with another 631,000 for repeats.

In a sign of things to come, that episode also premiered on iPlayer, gathering 2.9 million requests. According to figures supplied by the BBC, the series averaged 2 million iPlayer requests per episode, including recent repeats. In comparison, recent www.broadcastnow.co.uk

Data supplied by Attentional

Source. BARB

documentary series Life And Death Row averaged 997,000 requests per episode, while series one of The Call Centre averaged 774,000.

In the mysterious cyber place where BBC3 is heading, there has been loud and endless talk about VoD network Netflix’s Breaking Bad and House Of Cards. US broadcast technology firm Procera Networks has estimated that 15% of American Netflix subscribers on one unspecified internet service watched the first episode of House Of Cards during a six-to-eighthour period one day in February.

In the fourth quarter of 2013, Netflix was claiming 31.7 million American subscribers. However, Netflix doesn’t publish its numbers and Nielsen Media (America’s version of Barb) doesn’t track the audience. Reports suggest BBC3’s online audience will be measured

by Barb, which should hopefully deliver an independent measure of online viewing.

Clearly there’s a healthy VoD appetite for the right stuff online, but moving BBC3 from the linear schedule with an online catch-up to being exclusively on-demand is a big leap in the dark: breaking new shows with no traditional ‘lead in’ might be four or five years premature.

Nevertheless, by autumn 2015, BBC3 could be the pre-eminent online brand, with big-bet Netflixstyle content benefiting from the might of the BBC brand, to the point where other VoD networks begin to complain about a toostrong BBC. At least that would be familiar ground.

BBC3 TOP 10 UK COMMISSIONS OF ALL TIME (2006-2014) Programme

Date

Day

Start

Viewers (m)

Share (%)

1

Torchwood

22 Oct 2006

Sun

21.00

2.52

12.91

2

Gavin And Stacey

16 Mar 2008

Sun

21.00

1.89

7.70

3

Junior Doctors: Your Life In Their Hands

15 Mar 2011

Tue

21.00

1.69

6.17

4

Being Human

10 Jan 2010

Sun

21.30

1.61

5.73

5

Doctor Who Live: The Afterparty

23 Nov 2013

Sat

21.00

1.58

5.60

6

Doctor Who Confidential

5 Jul 2008

Sat

19.45

1.46

8.09

6

Don’t Tell The Bride

8 Nov 2011

Tue

21.00

1.46

5.16

8

Our War

7 Jun 2011

Tue

21.00

1.44

5.82

9

Sun, Sex And Suspicious Parents

22 Feb 2012

Wed

21.00

1.42

5.40

10

Horne & Corden

10 Mar 2009

Tue

22.30

1.37

8.69

Programme

Date

Day

Start

Viewers (m)

Share (%)

1

Match Of The Day Live

26 Jun

Wed

20.50

2.07

7.82

2

Family Guy

21 Jul

Sun

22.20

1.94

10.76

3

Raiders Of The Lost Ark

24 Dec

Tue

20.00

1.59

5.98

4

Doctor Who Live: The Afterparty

23 Nov

Sat

21.00

1.58

5.60

5

Shrek The Third

30 Mar

Sat

20.30

1.23

5.31

6

Pirates Of The Caribbean: The Curse of the Black Pearl

26 Jan

Sat

20.30

1.22

5.24

7

Russell Howard’s Good News

20 Jun

Thu

22.00

1.20

5.74

8

The Call Centre

4 Jun

Tue

21.00

1.17

4.78

9

Oscar Pistorius: What Really Happened?

11 Mar

Mon

21.00

1.13

3.91

9

Sun, Sex And Suspicious Parents

15 Jan

Tue

21.00

1.13

4.13

Date

Day

Start

Viewers

Share (%)

BBC3 TOP 10 INDIVIDUALS (2013)

BBC3 TOP 10 16-24s (2013) Programme 1

Family Guy

20 Oct

Sun

22.00

526,000

26.95

2

American Dad!

15 Dec

Sun

23.20

313,000

24.00

3

Sun, Sex And Suspicious Parents

8 Jan

Tue

21.00

311,000

19.48

4

Snow, Sex And Suspicious Parents

12 Nov

Tue

21.00

268,000

15.15

5

The Call Centre

11 Jun

Tue

21.00

252,000

13.61

6

Russell Howard’s Good News

23 May

Thu

22.00

243,000

14.18

7

Bad Education

10 Sep

Tue

22.00

233,000

14.30

8

Match Of The Day Live

22 Jun

Sat

20.50

232,000

12.57

9

Sweat The Small Stuff

22 Oct

Tue

24.30

216,000

37.86

10

Some Girls

13 Oct

Sun

22.45

215,000

16.32

audience data system

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enquiries@attentional.com 25 April 2014 | Broadcast | 23

Behind the Scenes prey

Rewriting the rules for drama A brilliant script that veered from the norm forced us to reinvent the production process, and showed there’s no one-size-fits-all way to shoot a television drama, says Tom Sherry Prey

Production company Red Production Company TX 9pm, Mon 28 April, ITV Length 3 x 60 minutes Commissioner Steve November Director Nick Murphy Writer Chris Lunt Executive producer Nicola Shindler Producer Tom Sherry Post house Molinare TV & Film Summary Policeman, family man, wanted man: detective sergeant Marcus Farrow goes on the run after he is wrongly accused and arrested for an inhumane crime.

Tom Sherry My tricks of the trade n Good waterproofs.

One day of being cold and wet is enough to justify the cost. n Good caterers. There’s no excuse for boring, poorly cooked stodge. n Pick the crew carefully.

Filming is a team sport and when they gel it’s the best fun. n Sleep. Be ruthless about bedtime as the morning always comes too soon. n Enjoy every minute like your first day, and treat it like it might be your last.

Tom Sherry Producer

“I

t’s all about the script.” It’s become a bit of a cliché to say that – and what do we even mean by it? Often it’s simply a way of acknowledging that the writer has given us something brilliant.

That was certainly the case with Prey. Writer Chris Lunt – a newcomer to TV – delivered a truly gripping read, fast-paced and with a powerful, emotional heart.

This script wasn’t just enthralling, but structurally different too. I’d expect an hour-long script on ITV to have about 60 scenes; Prey had 120.

ITV had given us a realistic budget for a primetime three-part drama, but not one that would allow for twice the filming time to accommodate the increased scene count – a massive number of locations and action sequences.

This is what I mean by it being all about the script: it forced us to completely rethink the entire prod­ uction process.

Our director Nick Murphy instantly understood that a conventional shoot just wouldn’t work. He wanted to find every possible way to get the maxi­ mum value on screen. We embarked on a process of rigorously questioning

every preconceived idea we had. Just because we had done something in a particular way before, it didn’t mean we would this time. It wasn’t a ploy to save money, but to guarantee we spent it to maximum effect.

On the technology front, we quickly discovered that the Alexa M camera was capable of far more than we realised, particularly in low light conditions. We were fortunate to find DoP Chas Bain, who agreed we could be much bolder by not lighting and by making the camera work harder. That was our first rule.

‘We embarked on a process of rigorously questioning every preconceived idea we had about the production process’ Tom Sherry

We didn’t have a generator and carried only a couple of battery panel lights. The rest was done with avail­able light and practical lamps – no lighting rigging time and no cables to avoid. It was quick, 360-degree filming.

Our search for speed and efficiency on the shoot led us to the second rule: Scrap the whole ‘video village’.

Anyone who has seen a drama unit in action will recognise the sight of a group sat huddled on deck chairs

Reviewing the action: producer Tom Sherry, John Simm and director Nick Murphy

24 | Broadcast | 25 April 2014

under a gazebo staring at monitors.

This complicated set-up is due to a number of factors. First, the director and producer need to see the framing on-screen during the shoot and to communicate with cast and crew on set via radios and runners, and they need the space to discuss the shoot in private.

Streamlined approach Instead, we had two small monitors wirelessly connected: one for the director and the other carried by me. Anyone who wanted to see something could ask or just look at the set. With this more streamlined approach, the crew was more mobile and more involved.

One by one, we went through every department: we lost the sound trolley and carried the recorder in a portabrace. The grip lost the dolly and track, which made us quicker and more flexible in small locations. We even binned the tea table.

But it wasn’t all about cuts – the locations department, for example, was doubled. The stripped-down approach freed up the schedule, giving us more time for stunts and ambitious chase sequences, and we allotted more time in post-production.

Most radical of all, the script supervisor was replaced with a dictaphone.

This is where I should point out that we wouldn’t want to export some ideas that worked well on this specific project to every set.

What this production clearly showed is that there is no ‘one-sizefits-all’ approach to filming drama.

Just as each script is unique, so is each production.

That said, sometimes you just can’t plan for the unexpected. When lead actor John Simm hurt his leg, walking, let alone running, became impossible.

For a story in which he is quite literally on the run, that is more than a little limiting. Again, we managed to use the situation to our advantage, editing as much as we could and selecting exactly what we wanted to shoot on his return. www.broadcastnow.co.uk

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

Fugitive: Jon Simm as DS Farrow; below: shooting with the Alexa M Top down: crash scene; John Simm (DS Marcus Farrow) and crew filming at Salford Central station; DS Farrow on the run; Simm with Rosie Cavaliero (acting chief inspector Susan Reinhardt)

prey SHOOTING ON THe rUN Nick Murphy Director Our approach on Prey was a purely creative decision. In my earliest conversations with producers Tom Sherry and Nicola Shindler, I made clear I wanted to make it this way – and not because I wanted to save money; I didn’t. This was about redistributing resources, not shaving them, and although Tom got it at once, many of the crew were initially sceptical. We could see that winning them around wouldn’t be easy.

I never waited more than three minutes between set-ups. Sometimes I allowed rehearsal, sometimes not. But once we began shooting, the cast stayed on set until the scene was completed.

DoP Chas Bain and I picked the Alexa M as the main tool, using almost exclusively two prime lenses. Handheld, the ‘M’ is off-shoulder, giving what we called a ‘Bolex Mode’ – a flexibility to run and turn into corners and corridors that a conventional Alexa couldn’t manage.

I never once had to move on from a scene until I was happy. Every slate covered the

www.broadcastnow.co.uk

entire scene with countless evolving takes, and yet it still left us extra time in the schedule for the action sequences. We were so light on our feet, moving at a moment’s notice around dozens of locations in two minibuses and a truck. It gave the drama an agility and scope that is otherwise impossible on a television budget.

Carnival’s Gareth Neame calls the production machine ‘the beast’ and he’s right: it can take over and eat a project. Tom and I fought the beast throughout filming, redeploying its resources where we wanted them. We finished the shoot surrounded by converts.

25 April 2014 | Broadcast | 25

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25 April 2014 | Broadcast | 27

Ratings Mon 14 Apr – Sun 20 Apr

Parking problem for ITV Sextuplets doc falls short against BBC’s Parking Mad but drama Undeniable proves unbeatable

BY Stephen Price

Having made it through the neverending rain with the increasingly panicky impression that January might not actually have ended, the spring bewilders us with a sudden phalanx of bank holidays showering themselves upon our pasty, sun-starved faces and the chance to watch a Bond movie or six.

Then, no sooner has Easter gone than May beckons with its double bill of bookending holidays.

Meanwhile, telly, our constant companion, delivers hours of stuff with which to escape the almanac and its cruel humour. This week, competitive cooking simmered away, a swathe of drama ended and miracles ranged from the sublime (sextuplets) to the ridiculous (parking).

On Monday, the final instalment of ITV’s two-part thriller Undeniable achieved a nice and chunky 5.4 million/24% (340,000 +1) at 9pm; 380,000 short of last week’s opener. Opposite, the second episode of BBC1’s factual series Treasure Hunters stayed in the same losing position as last week with 2.7 million/12%.

On Tuesday, the final episode of BBC1’s detective series Shetland drew its smallest live audience of 4.1 million/19% after Holby City’s 4.5 million/21% at 8pm. On ITV, a repeat of Midsomer Murders averaged 2.2 million/10% (260,000 +1).

Wednesday’s edition of BBC1’s MasterChef at 8pm achieved 4.5 million/22%, seeing off ITV’s Big Star’s Little Star (3.9 million/19%; 230,000 +1). At 9pm, ITV’s Law & Order: UK 28 | Broadcast | 25 April 2014

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

Title

Day

Start

Viewers (m) (all homes)

Share %

Broadcaster/ Producer*

Britain’s Got Talent Coronation Street Coronation Street Coronation Street Coronation Street EastEnders Coronation Street EastEnders EastEnders Emmerdale Countryfile Emmerdale EastEnders Emmerdale Undeniable Emmerdale Emmerdale Emmerdale BBC News Antiques Roadshow Endeavour The Crimson Field MasterChef BBC News BBC News At Ten MasterChef Have I Got News For You BBC News At Six Holby City BBC News At Six BBC News At Ten BBC News At Six BBC News At Six BBC News At Ten BBC News At Six Law & Order: UK Parking Mad BBC News At Ten Casualty BBC News At Ten Shetland Big Star’s Little Star BBC News MasterChef Amazing Greys Pointless Celebrities Match Of The Day ITV News & Weather The One Show The National Lottery: In It To Win It

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

19.00 19.30 20.30 19.30 19.30 20.00 20.30 19.30 20.00 19.00 19.00 19.00 19.30 19.00 21.00 19.00 20.00 19.00 22.00 20.00 20.00 21.00 20.00 18.35 22.00 20.00 21.00 18.00 20.00 18.00 22.00 18.00 18.00 22.00 18.30 21.00 21.00 22.00 20.40 22.00 21.00 20.00 22.10 20.30 20.20 19.00 22.30 18.30 19.00 19.50

9.31 8.05 7.73 7.36 7.12 7.10 6.71 6.59 6.41 6.31 6.30 6.28 6.26 6.24 5.75 5.74 5.54 5.40 5.13 5.05 5.02 4.80 4.62 4.57 4.55 4.53 4.46 4.45 4.45 4.40 4.39 4.34 4.32 4.31 4.31 4.30 4.29 4.24 4.22 4.14 4.12 4.10 4.08 3.80 3.75 3.73 3.65 3.63 3.62 3.61

45.44 39.89 35.34 38.60 36.26 33.47 30.05 33.80 30.80 35.47 30.08 33.74 31.96 33.86 25.64 31.96 26.08 30.65 24.68 21.79 21.37 20.20 21.87 24.76 24.72 21.94 20.60 27.94 21.32 29.26 23.72 29.17 29.57 24.77 26.86 19.96 20.62 23.42 20.40 22.17 19.27 19.86 22.90 16.99 18.29 18.63 27.21 21.07 19.44 17.37

ITV/Syco TV/Thames ITV ITV ITV ITV BBC1 ITV BBC1 BBC1 ITV BBC1 ITV BBC1 ITV ITV/TXTV ITV ITV ITV BBC1 BBC1 ITV/Mammoth Screen BBC1 BBC1/Shine TV BBC1 BBC1 BBC1/Shine TV BBC1/Hat Trick Productions BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 ITV/Kudos Film & TV BBC1/Century Films BBC1 BBC1 BBC1 BBC1/ITV Studios ITV/12 Yard Productions BBC1 BBC1/Shine TV ITV BBC1/Remarkable TV BBC1 ITV/ITN BBC1 BBC1

Figures include HD and +1 where applicable

Parking Mad

The Walton Sextuplets At 30 www.broadcastnow.co.uk

All BARB ratings supplied by: Attentional

Source: BARB

51 52 52 54 55 56 57 58 59 60 61 62 63 64 64 66 67 68 69 70 70 72 73 74 74 76 77 77 79 80 80 82 82 82 85 86 87 88 89 90 91 92 93 93 93 96 97 98 99 100

Title

Day

Start

Viewers (m) (all homes)

Share %

Broadcaster/ Producer*

Off Their Rockers The One Show The Guess List The One Show ITV News & Weather Catchphrase BBC News Pointless ITV News & Weather I Never Knew That About Britain The Chase ITV News & Weather Pointless Celebrities Bang Goes The Theory Match Of The Day 2 The Walton Sextuplets At 30 ITV News & Weather Monkey Planet Pointless The One Show The One Show Lewis Tonight: Britain’s Young Drinkers The Chase Gogglebox Pointless A Question Of Sport The Chase Outnumbered F1: The Chinese Grand Prix – Highlights The Graham Norton Show Pointless Pointless The Chase Weekend Escapes With Warwick Davis Ade At Sea The Chase The Treasure Hunters You’ve Been Framed! And Famous 4 ITV News & Weather The Big Allotment Challenge Shrek Forever After BBC News At One BBC News At One Midsomer Murders ITV News At Ten & Weather ITV News At Ten & Weather Have I Got A Bit More News For You Mastermind BBC News At One

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

19.30 19.00 21.30 19.00 18.30 18.45 18.40 17.45 18.30 20.00 17.00 18.45 17.45 19.30 22.25 21.00 18.30 21.00 17.15 19.00 19.00 21.00 19.30 17.35 21.00 17.15 19.30 17.00 21.30 14.30 22.20 17.15 17.15 17.00 20.00 20.30 17.00 21.00 18.00 18.30 20.00 17.15 13.00 13.00 20.00 22.00 22.00 22.35 20.00 13.00

3.59 3.58 3.58 3.50 3.42 3.41 3.38 3.37 3.35 3.33 3.26 3.25 3.24 3.16 3.16 3.14 3.12 3.07 3.06 3.03 3.03 2.97 2.96 2.95 2.95 2.93 2.90 2.90 2.89 2.87 2.87 2.85 2.85 2.85 2.81 2.79 2.78 2.73 2.63 2.58 2.46 2.44 2.42 2.42 2.42 2.41 2.27 2.24 2.23 2.18

16.49 19.44 18.90 19.50 21.28 17.24 21.32 23.56 20.38 15.68 25.43 19.48 18.51 15.68 21.46 15.10 19.62 14.26 22.93 17.20 16.43 13.97 15.13 21.22 13.90 24.72 14.76 25.85 13.90 21.12 19.70 24.72 23.84 25.08 13.50 13.31 25.49 12.19 17.35 14.16 11.79 17.85 36.60 34.86 11.43 13.64 12.45 18.11 10.71 35.96

ITV BBC1 BBC1/12 Yard Productions BBC1 ITV/ITN ITV BBC1 BBC1/Remarkable TV ITV/ITN ITV ITV ITV/ITN BBC1/Remarkable TV BBC1 BBC1 ITV ITV/ITN BBC1 BBC1/Remarkable TV BBC1 BBC1 ITV ITV ITV C4/Studio Lambert BBC1/Remarkable TV BBC1 ITV BBC1/Hat Trick Productions BBC1 BBC1/So Television BBC1/Remarkable TV BBC1/Remarkable TV ITV ITV/Love Productions ITV ITV BBC1 ITV ITV/ITN BBC2/Silver River BBC1 BBC1 BBC1 ITV/Bentley Productions ITV/ITN ITV/ITN BBC1/Hat Trick Productions BBC2 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.

Monkey Planet www.broadcastnow.co.uk

The Big Allotment Challenge

wrestled victory back off BBC1 with 3.9 million/19% (230,000 +1), beating Monkey Planet on 3.1 million/14%, the second best of the primate three-parter.

The best of BBC1’s MasterChef this week was Thursday’s 4.6 million/22%, which was behind ITV’s Emmerdale’s 5.4 million/ 25% (180,000 +1) but oceans ahead of Ade At Sea’s 2.6 million/13% (160,000 +1) at 8.30pm.

At 9pm, BBC1’s four-parter Parking Mad began well with 4.3 million/21%, ahead of ITV’s The Walton Sextuplets At 30, which brought in 2.9 million/14% (235,000 +1).

‘The best of BBC1’s MasterChef this week was Thursday’s 4.6 million’ ITV’s repeat of Lewis at 9pm on Friday achieved 2.8 million/13% (150,000 +1), behind BBC1’s Hat Trick hour of Have I Got News For You (4.5 million/21%) and in line with 9.30pm’s repeat of Outnumbered (2.9 million/14%).

After last week’s footie-fuelled late start, ITV’s Britain’s Got Talent returned to its 7pm slot on Saturday this week with 8.3 million/40% (1 million +1); 1.8 million shy of last week and more than 1.2 million and 2.5 share points behind the second episode last year. At 8.20pm, Amazing Greys fell 800,000 to 3.3 million/16% (390,000 +1). BBC1’s best of the night was Casualty at 8.40pm on 4.2 million/20%, helping The Guess List perk up by nearly 500,000 to achieve 3.6 million/19% from 9.30pm.

At 8pm on Sunday, the finale of ITV’s Endeavour averaged 4.6 million/19% (460,000 +1), just 80,000 short of last week. Over on BBC1, Antiques Roadshow’s 5.1 million/22% at 8pm led to The Crimson Field’s 4.8 million/20% at 9pm, a drop of more than 600,000 on last week’s opener.

Channel 4’s much-trumpeted acquired drama Fargo leaped in to Sunday’s narrative-heavy night at 9pm with 1.7 million/7% (350,000 +1); pleasingly, only 300,000 and one share point short of Homeland’s first episode in February 2012.

See over for digital focus, plus channel and genre overviews 25 April 2014 | Broadcast | 29

Ratings Mon 14 Apr – Sun 20 Apr Channel Overview

BBC2 sows the seeds of a hit

BY Stephen price

Get out the cloche, pull up the radish, snip the beans and sweep the duckboards – the latest craft to master has arrived. After baking off and stitching in time, BBC2, which turns 50 this week, is now digging for victory. Elsewhere, watching people watching telly is increasingly enticing.

BBC2’s The Big Allotment Challenge began on Tuesday at 8pm with 2. 5 million/12%, defeating Channel 5’s The Nightmare Neighbours Next Door (1.5 million/7%; 190,000 +1) and Channel 4’s Embarrassing Bodies (1.3 million/6%; 240,000 +1).

On Wednesday, C4’s How To Get A Council House returned to a new high of 1.8 million/8% (390,000 +1) at 9pm, ahead of BBC2’s Ian Hislop’s Olden Days’ 1.3 million/6% (600,000 short of last week’s launch) and C5’s NCIS (910,000/4%; 183,000 +1).

Channel 4’s Gogglebox achieved 2.5 million/12% (410,000 +1) on Friday at 9pm, the best live rating for the series so far, and ahead of BBC2’s Natural World doc Honey Badgers: Masters Of Mayhem (1.7 million/8%).

BBC2 enjoyed a weekend of nostalgia, marking 50 years with shows including University Challenge: Champion Of Champions (1.9 million/9%, Sat, 9pm) and All About Two, which drew with C4’s Fargo on 1.9 million/9% (Sun, 9pm).

Source: BARB

WEEK 16 Average hours per viewer Daytime Share (%) Peaktime Share (%) w/c 14.04.14 Peaktime share (%) w/c 15.04.13 Year to date Average hours per viewer Audience share (%) Audience share (2013)

BBC1 4.87 17.46 21.41 22.62 BBC1 5.95 22.02 21.41

BBC2 1.31 4.58 6.34 6.62 BBC2 1.80 6.67 5.57

ITV1 3.71 13.32 20.48 22.20 ITV1 4.19 15.52 16.33

C4 1.39 5.15 6.29 6.20 C4 1.56 5.79 6.07

Start

Viewers (m) (all homes)

Share %

30 | Broadcast | 25 April 2014

Total 24.53 100.00 100.00 100.00 Total 27.01 100.00 100.00

Top 30 bbc2, channel 4 and channel 5 Title

Day

Broadcaster

1

Gogglebox

Fri

21.00

2.95

13.90

C4

2

The Big Allotment Challenge

Tue

20.00

2.46

11.79

BBC2

3

Mastermind

Fri

20.00

2.23

10.71

BBC2

4

Watermen: A Dirty Business

Tue

21.00

2.18

10.19

BBC2

Wed

21.00

2.10

9.72

C4

Fri

20.30

1.97

8.82

BBC2

5

How To Get A Council House

6

Gardeners’ World

6

One Born Every Minute

Mon

21.00

1.97

8.78

C4

8

All About Two

Sun

21.00

1.94

8.80

BBC2

8

Fargo

Sun

21.00

1.94

8.61

C4

10

Great British Menu

Thu

19.30

1.92

9.83

BBC2

11

University Challenge: Champion Of Champions

Sat

21.00

1.89

9.14

BBC2

12

Great British Menu

Tue

19.30

1.78

9.13

BBC2

13

The Nightmare Neighbour Next Door

Tue

20.00

1.71

8.18

C5

14

Alan Carr: Chatty Man

Fri

22.00

1.69

10.78

C4

14

Taken

Sat

21.00

1.69

9.00

C4

16

Honey Badgers: Masters Of Mayhem

Fri

21.00

1.68

7.90

BBC2

17

Posh Pawn

Thu

20.00

1.66

7.86

C4

18

Under Offer: Estate Agents On The Job

Wed

20.00

1.65

7.98

BBC2

19

For The Love Of Cars

Sun

20.00

1.64

7.06

C4

20

Hop

Sun

18.10

1.61

8.15

C4

21

Great British Menu

Fri

19.30

1.56

7.92

BBC2

22

Embarrassing Bodies: Live From The Clinic

Tue

20.00

1.51

7.26

C4

23

The Making Of QI

Sun

22.40

1.39

10.24

24

NCIS

Fri

21.00

1.31

6.18

25

Messiah At The Foundling Hospital

Sat

21.30

1.28

6.91

BBC2

26

Ian Hislop’s Olden Days

Wed

21.00

1.26

5.85

BBC2

27

Secret Eaters

Wed

20.00

1.25

6.06

C4

27

8 Out Of 10 Cats

Mon

22.00

1.25

7.30

C4

29

University Challenge: The Story So Far

Sat

20.00

1.24

6.01

BBC2

29

50 Golden Years Of Sport On BBC Two

Sun

20.00

1.24

5.35

BBC2

BBC2 C5

Figures include HD and +1 where applicable

Multichannel 42.03

Sunday’s All About Two was the most-watched part of BBC2’s 50th birthday celebrations

Others 12.36 55.59 42.03 38.91 Others 12.43 46.02 46.62

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

daytime share (%) w/c 14.04.14

peaktime share (%) w/c 14.04.14

1.9m

C5 0.89 3.90 3.44 3.45 C5 1.07 3.98 4.00

BBC1 21.41

ITV 20.48

C5 3.44 C4 6.29

BBC2 6.34

Multichannel 55.59

1.7m

Audience for the first part of Boomerang’s pawnbroking series for C4, Posh Pawn (Thurs, 8pm)

BBC1 17.46

ITV 13.32

BBC2 4.58 C4 5.15

C5 3.90

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

Tweenies Salty’s Waggy Tales Driver Dan’s Story Train The Numtums New: Chuggington Grandpa In My Pocket Little Robots The Adventures Of Abney And Teal Get Squiggling Mike The Knight

Top 10 Factual programmes

Day

Start

Viewers (Age 4-15)

Share (%)

Channel

Title

Mon Thu Thu Thu Tue Thu Mon Thu Thu Tue

08.40 14.25 17.45 09.30 08.15 17.30 08.30 18.00 09.10 08.00

203,100 194,900 189,600 185,100 184,100 182,400 181,400 180,900 180,700 175,600

19.09 19.65 12.41 16.54 18.39 12.55 18.38 10.91 16.26 19.30

CBeebies CBeebies CBeebies CBeebies CBeebies CBeebies CBeebies CBeebies CBeebies CBeebies

1 2 3 4 5 6 7 8 9 10

Countryfile Antiques Roadshow MasterChef MasterChef Parking Mad MasterChef The One Show The One Show The One Show I Never Knew That About Britain

Day

Start

Viewers (millions)

Share (%)

Channel

Sun Sun Thu Wed Thu Fri Thu Mon Tue Mon

19.00 20.00 20.00 20.00 21.00 20.30 19.00 19.00 19.00 20.00

6.30 5.05 4.62 4.53 4.29 3.80 3.62 3.58 3.50 3.33

30.08 21.79 21.87 21.94 20.62 16.99 19.44 19.44 19.50 15.68

BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 ITV

➤ During the Easter holiday, Tweenies topped the table for the first time in a long time. It capped a strong week for CBeebies, which completed a whitewash in the children’s line-up. Other new entries included The Numtums and Little Robots.

➤ BBC1 documentary Parking Mad found a space at number five in the factual line-up behind a double MasterChef entry. Countryfile and Antiques Roadshow continued to dominate proceedings, while ITV’s only entry was I Never Knew That About Britain.

Top 10 Drama programmes

Top 10 Entertainment programmes

Title

1 2 3 4 5 6 7 8 9 10

Undeniable Endeavour The Crimson Field Holby City Law & Order: UK Casualty Shetland Lewis Midsomer Murders Fargo

Day

Start

Viewers (millions)

Share (%)

Channel

Mon Sun Sun Tue Wed Sat Tue Fri Tue Sun

21.00 20.00 21.00 20.00 21.00 20.40 21.00 21.00 20.00 21.00

5.75 5.02 4.80 4.45 4.30 4.22 4.12 2.97 2.42 1.94

25.64 21.37 20.20 21.32 19.96 20.40 19.27 13.97 11.43 8.61

ITV ITV BBC1 BBC1 ITV BBC1 BBC1 ITV ITV C4

Title

1 2 3 4 5 6 7 8 9 10

➤ Undeniable lost nearly 400,000 viewers but held on to top spot, beating the final part of another ITV drama, Endeavour. Both episodes outperformed The Crimson Field, which continued to drop overnight viewers. Shetland bowed out with 4.1 million.

UP The Guess List adds 500,000

DOWN Britain’s Got Talent loses 1.8m

Viewers (millions)

Share (%)

Channel

Sat Fri Wed Sat Sat Sat Sat Sun Fri Thu

19.00 21.00 20.00 20.20 19.00 19.50 21.30 18.45 17.45 17.00

9.31 4.46 4.10 3.75 3.73 3.61 3.58 3.41 3.37 3.26

45.44 20.60 19.86 18.29 18.63 17.37 18.90 17.24 23.56 25.43

ITV BBC1 ITV ITV BBC1 BBC1 BBC1 ITV BBC1 ITV

UP Amazing Greys loses 950,000

DOWN The Crimson Field drops 600,000

UP Big Star’s Little Star grows 270,000

Top 10 Current affairs programmes

Title

Day

Start

Match Of The Day Match Of The Day 2 F1: Chinese Grand Prix – Highlights Live Ford Super Sunday Live Ford Super Sunday F1: Chinese Grand Prix – Qualifying Live Ford Super Sunday Final Score Match Of The Day Live Ford Saturday Night Football

Sat Sun Sun Sun Sun Sat Sun Sat Sun Sat

22.30 22.25 14.30 16.00 11.30 13.15 14.00 16.30 08.35 17.00

Viewers (millions)

Share (%)

3.65 27.21 3.16 21.46 2.87 21.12 1.70 10.42 1.61 15.68 1.59 18.56 1.56 12.15 1.40 12.83 1.38 17.87 1.19 7.47

Channel

BBC1 BBC1 BBC1 Sky Sp’ts 1 Sky Sp’ts 1 BBC1 Sky Sp’ts 1 BBC1 BBC1 Sky Sp’ts 1

➤ In the absence of any Champions League football, Match Of The Day topped the sport table. Its sister show was not far behind, beating BBC1’s highlights of Lewis Hamilton’s victory in the Chinese Grand Prix. Otherwise, football dominated. next week Comedy and Music & Arts www.broadcastnow.co.uk

Start

➤ Britain’s Got Talent lost 1.8 million viewers, but was comfortably the top entertainment show of the week. Its closest competitor was Have I Got News for You, which secured an audience of nearly 4.5 million. Elsewhere, The Guess List added 500,000 viewers.

DOWN Undeniable down 400,000

UP Countryfile adds 500,000

Top 10 Sport programmes 1 2 3 4 5 6 7 8 9 10

Britain’s Got Talent Have I Got News For You Big Star’s Little Star Amazing Greys Pointless Celebrities The National Lottery: In It To Win It The Guess List Catchphrase Pointless The Chase

Day

Title

1 2 3 4 5 6 7 8 9 10

Tonight: Britain’s Young Drinkers Who’s Paying Your Doctor?

Lifeline The Agenda Policemen Behaving Badly Newsnight Newsnight Newsnight Newsnight Unreported World

Day

Start

Viewers (millions)

Share (%)

Channel

Thu Mon Sun Mon Mon Tue Mon Wed Thu Fri

19.30 20.30 17.00 22.35 20.00 22.30 22.30 22.30 22.30 19.30

2.96 2.13 1.14 1.12 0.84 0.67 0.66 0.63 0.59 0.49

15.13 9.76 7.44 8.26 3.95 5.27 5.13 5.00 4.37 2.51

ITV BBC1 BBC1 ITV C4 BBC2 BBC2 BBC2 BBC2 C4

➤ Tonight: Britain’s Young Drinkers was the biggest current affairs show of the week, pulling in an audience of nearly 3 million. There were four places for Newsnight, the best of which drew 670,000 viewers.

Channel 4, meanwhile, snatched two places.

See over for demographic and digital focus 25 April 2014 | Broadcast | 31

Ratings Mon 14 Apr – Sun 20 Apr Demographic Focus Channels

Individuals Share (%)

Adults ABC1 Share (%)1

Source: BARB

Adults ABC1 Profile (%)2

Adults 16-34 Share (%)1

Adults 16-34 Profile (%)2

Male Share (%)1

Male Profile (%)2

Female Share (%)1

Female Profile (%)2

BBC1

20.11

24.31

48.74

11.90

10.67

20.20

45.98

20.03

54.02

ITV

15.34

13.99

36.76

11.57

13.60

12.39

36.97

17.83

63.03

C4

5.57

5.78

41.81

7.63

24.69

5.15

42.37

5.92

57.63

BBC2

5.33

6.90

52.16

2.82

9.52

5.56

47.72

5.14

52.28

C5

3.96

3.53

35.91

3.38

15.41

3.54

40.88

4.32

59.13

ITV2

2.84

2.39

33.99

4.96

31.54

2.35

37.97

3.24

62.03

Sky Sports 1

2.18

2.73

50.44

2.85

23.53

3.27

68.49

1.27

31.50

ITV3

2.15

1.90

35.64

0.70

5.87

1.83

38.91

2.43

61.08

E4

1.96

2.07

42.63

5.19

47.85

1.99

46.45

1.93

53.55

Film 4

1.53

1.26

33.32

2.10

24.79

1.79

53.58

1.31

46.41

BBC3

1.49

1.43

38.75

3.97

48.01

1.60

49.05

1.40

50.96

Dave

1.44

1.47

40.89

2.48

30.99

1.92

60.96

1.04

39.09

ITV4

1.26

1.17

37.45

0.94

13.50

1.81

66.04

0.79

33.96

More 4

1.11

1.13

41.03

0.99

16.08

0.99

41.03

1.21

58.96

Drama

0.98

0.90

37.11

0.42

7.73

0.86

40.05

1.08

59.94

Yesterday

0.94

0.86

36.89

0.58

11.01

1.15

56.02

0.77

44.00

BBC4

0.93

1.30

56.44

0.31

6.12

1.13

55.70

0.76

44.31

5 USA

0.88

0.69

31.90

0.51

10.39

0.86

45.05

0.89

54.95

Sky 1

0.83

0.97

47.26

1.79

38.86

0.94

51.58

0.74

48.40

35%

Channel 4’s US drama Fargo proved a strong draw for AB viewers, who typically account for 26% of the channel’s 9pm Sunday audience.

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

Bees create a buzz for BBC4 BY stephen price

Winnie the Pooh, not one of literature’s great thinkers, was nonetheless prepared to gamble everything if honey was involved, as illustrated by the whole bees/tree/balloon fiasco of legend. BBC4 will be glad it gave bees a go, sans balloon, while enjoying its soon-to-be departing quiz hosted by the UK’s very own European Poker Tour champion.

BBC4’s The Wonder Of Bees With Martha Kearney began with 750,000/4% on Monday at 8pm, followed by 800,000/4% for the return of Victoria Coren Mitchell-hosted Only Connect at 8.30pm. BBC3’s The Call Centre rose to 1.2 million/5% on Tuesday at 9pm, the best live rating yet for the premiere transmission.

Despite the parent show’s drop, ITV2’s brand extension Britain’s Got More Talent’s 1.3 million/6% on Saturday at 8.20pm was spot on the previous week’s launch show, which played at 9.15pm.

E4’s best was The Big Bang Theory’s 1.5 million/7% at 8pm on Thursday.

32 | Broadcast | 25 April 2014

Source: BARB

digital homes

Top 30 multichannel programmes Title

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 20 22 23 24 25 26 26 26 29 30

Live Ford Super Sunday Live Ford Super Sunday Live Ford Super Sunday The Big Bang Theory Britain’s Got More Talent Celebrity Juice Ford Saturday Night Football The Call Centre Toy Story 3 Hollyoaks Hollyoaks Hollyoaks Quantum Of Solace Hollyoaks Live Ford Football Special Despicable Me Foyle’s War Family Guy How I Met Your Mother Britain’s Got More Talent Live Spanish Football Game Of Thrones Only Connect Family Guy Wonder Of Bees With…

Family Guy Made In Chelsea Hollyoaks Britain’s Got Talent The Big Bang Theory

Figures include HD and +1 where applicable

Day

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

Start

16.00 11.30 14.00 20.00 20.20 22.00 17.00 21.00 20.00 19.00 19.00 19.00 21.00 19.00 19.00 14.15 20.00 23.25 20.30 17.30 20.00 21.00 20.30 23.00 20.00 23.25 22.00 19.00 16.15 18.30

Viewers (millions)

Share (%)

1.70 1.61 1.56 1.48 1.26 1.25 1.19 1.16 1.14 1.11 1.08 1.03 1.01 0.97 0.94 0.93 0.92 0.90 0.87 0.84 0.84 0.82 0.80 0.78 0.75 0.73 0.73 0.73 0.72 0.71

10.42 15.68 12.15 6.95 6.16 7.32 7.47 5.43 4.87 6.15 6.09 5.52 4.91 5.26 4.67 7.04 4.37 11.09 4.13 4.86 4.31 3.75 3.66 7.52 3.52 9.25 4.43 4.12 4.77 4.30

Channel

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

Channels

Share (%)

BBC1 ITV C4 BBC2 C5 Total Multichannel ITV2 Sky Sports 1 ITV3 E4 Film 4 BBC3 Dave CBeebies ITV4 BBC News More 4 Drama

20.11 15.34 5.57 5.33 3.96 49.69 2.84 2.18 2.15 1.96 1.53 1.49 1.44 1.42 1.26 1.19 1.11 0.98

Figures include HD and +1 where applicable

750k BBC4’s The Wonder Of Bees With Martha Kearney enjoyed quite the buzz (Monday, 8pm)

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All BARB ratings supplied by: Attentional

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

Title

Day

Start

Live Ford Super Sunday Live Ford Super Sunday Live Ford Super Sunday Live Ford Saturday Night Football Live Ford Football Special Live Spanish Football Game Of Thrones Live Chinese F1 Grand Prix Storage Hunters Storage Hunters Storage Hunters Storage Hunters Storage Hunters Storage Hunters Storage Hunters Storage Hunters Storage Hunters The Simpsons Storage Hunters Storage Hunters New Tricks The Simpsons Elementary Man Of Steel Modern Family Storage Hunters Jonathan Creek Hawaii Five-0 The Simpsons Bones Would I Lie To You? Storage Hunters Storage Hunters Men In Black The Simpsons The Simpsons The Blacklist Criminal Minds Storage Hunters Storage Hunters Have I Got A Bit More News For You Live Championship Storage Hunters Arrow Jonathan Creek The Simpsons Live Tottenham V Fulham The Simpsons QI XL NCIS

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

16.00 11.30 14.00 17.00 19.00 20.00 21.00 7.00 18.30 18.00 17.30 20.00 20.30 20.30 17.00 19.00 16.30 20.00 20.00 19.30 21.00 20.30 21.00 20.00 20.30 16.00 21.00 21.00 19.00 21.00 21.00 15.30 20.00 21.00 19.30 19.30 21.00 21.00 15.00 20.30 21.40 17.00 14.30 20.00 21.00 20.00 12.00 19.00 21.00 21.00

Viewers (000s) Share (all homes) % 1,698,700 1,610,100 1,555,000 1,190,800 940,700 835,800 816,900 681,000 666,700 642,900 607,700 589,400 579,900 540,100 536,000 532,500 510,200 491,900 456,500 448,000 432,500 426,600 423,200 407,500 406,800 401,100 395,900 393,900 391,000 379,500 376,100 371,100 361,800 357,100 353,700 352,000 343,300 340,900 337,900 334,400 332,200 329,500 329,400 324,300 322,000 321,700 314,700 312,600 310,700 306,100

Figures include HD and +1 where applicable

Mad Men www.broadcastnow.co.uk

Storage Hunters

10.42 15.68 12.15 7.47 4.67 4.31 3.75 11.24 3.58 3.66 3.61 2.91 2.70 2.29 3.41 2.64 3.45 2.15 2.00 2.06 2.12 1.81 1.98 1.97 1.86 2.81 2.15 1.66 2.10 1.76 1.68 2.64 1.74 1.69 1.75 1.80 1.62 1.52 2.53 1.50 1.68 2.34 2.60 1.54 1.44 1.52 4.02 1.70 1.45 1.44

Broadcaster/ Producer* Sky Sports 1 Sky Sports 1 Sky Sports 1 Sky Sports 1 Sky Sports 1 Sky Sports 1 Sky Atlantic Sky Sports F1 Dave/T Group Dave/T Group Dave/T Group Dave/T Group Dave/T Group Dave/T Group Dave/T Group Dave/T Group Dave/T Group Sky 1 Dave/T Group Dave/T Group Drama/Wall To Wall Sky 1 Sky Living Sky Movies Premiere Sky 1 Dave/T Group Drama Sky 1 Sky 1 Sky Living Dave/Zeppotron Dave/T Group Dave/T Group Watch Sky 1 Sky 1 Sky Living Sky Living Dave/T Group Dave/T Group Dave/Hat Trick Productions Sky Sports 1 Dave/T Group Sky 1 Drama Sky 1 BT Sport 1 Sky 1 Dave/Talkback Fox

408k Sky Movies Premiere’s showing of Superman film Man Of Steel was a Good Friday hit

Slim pickings for Mad Men BY stephen price

It’s about slightly awkward headwear, faraway places, high politics, a whiff of debauchery, existential despair and massive swords swishing metaphorically, and sometimes literally, about the place. Yep, Mad Men, whose typically boutique audience is a far cry from the shenanigans in Westeros, is back. Elsewhere, Dave proved what every estate agent knows: you can never have enough storage.

The first half of the final series of Mad Men kicked off on Sky Atlantic on Wednesday at 10pm (the second half is promised for 2015). Episode one managed 29,000/0.2%. The first episode of the last series in April 2013 achieved a still-slim 59,000/1%, growing to 226,000/ 2% after recording.

There’s always space on Dave for Storage Hunters, but on Easter Sunday it squeezed in a good bit more. Between 2pm and 9pm, it delivered 14 episodes in a row. The best was at 6.30pm: 666,700/4%.

On Monday at 9pm, the second episode of the latest series of Game Of Thrones achieved 817,000/4%.

Episode one launched simultaneously with the US on Sunday 6 April (571,000/ 25%), followed by the repeat on Monday (689,000/3%).

The best non-football sport was Sky Sports F1’s coverage of the Chinese Grand Prix on Sunday (681,000/11% from 7am).

25 April 2014 | Broadcast | 33

Ratings Mon 7 Apr – Sun 13 Apr

All BARB ratings supplied by: Attentional

Consolidated Ratings

ITV hits high note with BGT

BY Stephen Price

There’s no stopping the singing, dancing and juggling (or all three) talent show. Traditionally, ITV’s The X Factor gets going in August, joined for its autumn argybargy by BBC1’s Strictly in September. The yuletide breather was brief this year, with BBC1’s The Voice UK starting in January, chased immediately by ITV’s Britain’s Got Talent.

Reports suggest that the new Rising Star will replace ITV’s Dancing On Ice in 2015, which sets up the intriguing possibility of The Voice UK’s voices beseeching the chairs to spin on Saturday and Rising Star’s singers hoping to hoist a wonderwall of voting punters on the Sunday.

Spin or hoist: it could be the new choice for 2015. If nine months of

Source: BARB

this gets too much, there’s always fantasy, detectives or sewing.

ITV: Britain’s Got Talent ITV’s Britain’s Got Talent returned on 12 April. It was billed as 7pm but after the preceding FA Cup match overran, it eventually went out at 8pm, where it landed its best ever launch rating of 11.4 million/48%.

A further 1 million recorded this year’s starter and it ended on a consolidated opening best of 12.4 million/48%. The one to beat remains the 18.3 million/68% for the 2009 series final.

BBC2: The Great British Sewing Bee BBC2’s The Great British Sewing Bee concluded on Tuesday 8 April at 8pm to a live audience of 2.8 million/12%. After almost 500,000 caught up, it finished on 3.2 million/13%, spot on the series average, which was 250,000 more than 2012’s first series of four. The best episode of either was this year’s opener on 18 February with 3.5 million/13%.

Sky Atlantic: Game Of Thrones The fourth series of Sky Atlantic’s Game Of Thrones launched in the wee small hours in a simultaneous transmission with the US. At 2am on Sunday 6 April, it achieved a 787,000/30% consolidated rating.

The regular 9pm transmission of the opener on Monday 7 April achieved 743,000/3% in live ratings, ending on 1.3 million/5% after almost 530,000 recorded and watched; a total of 2.1 million for the two showings. With no simulcast, episode two of this series on 14 April got a bigger consolidated figure: 1.7 million/7%.

BBC1: Shetland

Total audience for the first part of ITV drama Undeniable after 870,000 caught up

On 8 April, the penultimate episode of BBC1’s Shetland achieved 5.3 million/21% at 9pm after almost 1 million recorded and watched. With 15 April’s final episode achieving 5.3 million/22% after recording, the series averaged 5.7 million/22%. The best was the launch episode’s 6.4 million/24% on 11 March.

Top 30 Consolidated Ratings: ranked by gain

1 2 3 4 5 6 7 8 9 9 9 12 13 14 15 16 17 18 19 19 21 22 23 24 25 25 27 28 29 29

7.2m UP Friday’s MasterChef up 500,000 week on week DOWN The Crimson Field loses almost 1 million

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Title

Day

Start

Viewers (m) (all homes)

Share %

Gain (m)

Gain %

The Crimson Field Endeavour Law & Order: UK Britain’s Got Talent Shetland Casualty Undeniable Coronation Street EastEnders MasterChef EastEnders The Mentalist MasterChef Gogglebox One Born Every Minute Have I Got News For You EastEnders Coronation Street Coronation Street Coronation Street Person Of Interest Celebrity Juice The Following NCIS EastEnders MasterChef Elementary Marvel’s Agents Of S.H.I.E.L.D. Modern Family Game Of Thrones

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

21.00 20.00 21.00 20.00 21.00 20.40 21.00 20.30 20.00 20.00 19.30 22.00 20.30 21.00 21.00 21.00 19.30 20.30 19.30 19.30 23.00 22.00 22.00 22.00 20.00 20.00 21.00 20.00 20.30 21.00

6.89 6.58 5.31 12.40 5.29 4.77 7.23 7.92 8.13 5.14 7.48 2.00 4.72 3.33 2.86 5.41 7.03 9.12 8.62 8.11 1.06 1.76 0.74 1.57 6.87 5.11 0.98 1.77 1.00 1.27

24.91 24.48 21.12 47.52 20.91 18.23 27.25 30.44 33.02 21.45 34.14 10.45 18.49 13.53 10.92 21.61 33.36 35.25 38.83 39.04 9.70 9.19 3.91 8.47 30.27 21.19 3.84 7.19 3.89 4.97

1.47 1.30 1.09 1.00 0.99 0.97 0.87 0.83 0.82 0.82 0.82 0.81 0.77 0.74 0.73 0.70 0.69 0.67 0.65 0.65 0.63 0.62 0.59 0.58 0.56 0.56 0.55 0.54 0.53 0.53

27.1% 24.7% 25.8% 8.8% 22.9% 25.6% 13.7% 11.7% 11.2% 18.9% 12.3% 68.7% 19.4% 28.5% 34.1% 14.8% 10.9% 7.9% 8.2% 8.7% 146.1% 53.9% 394.3% 58.4% 8.9% 12.2% 128.2% 43.7% 112.5% 71.1%

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

Figures include HD and +1 where applicable

34 | Broadcast | 25 April 2014

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ALL A TWITTER

we hear that Frow has chosen his luxury sports car in – what else? – “Channel 5 red”.

Was there too much rosé consumed on the Croisette last week? Uncle Nige, Denise, Zai and the Lyle all in one day?

Frow: new Ferrari in ‘Channel 5 red’

C5’s Frow earns his wheels Lower Thames Street is set to become London’s latest speed trap now that Channel 5 director of programming Ben Frow appears to have been awarded the Ferrari he was promised by Richard Desmond. Having beaten Channel 4 over seven days two weeks ago,

Last week, Studio Lambert’s Ros Ponder’s fantastic London Marathon time of 2 hours 58 minutes got us wondering if she was the fastest woman in TV. We spoke too soon: the one to beat, it seems, is Tinopolis executive director Angharad Mair, who holds the women’s record for the Iceland Marathon with an unbeaten 2 hours 38 minutes in 1996. Case closed?

Sponsor’s worst nightmare Unfortunate sponsor of the week, as spotted by Radio Academy Awards chair John Myers: Channel 5’s documentary on Harold Shipman, who put many people to sleep forever, sponsored by… bed manufacturer Dreams.

@clarebalding (Clare Balding) Sports presenter

Watching All About Two. All I can think is, if it takes 3 hours to record a 30-minute panel show, how long must it take for a 100-minute one? @SquidyUK (Jonathan Sloman) Freelance editor

Hmm. I’ve drawn a mind map of all the characters in this episode, with lines of intrigue running between them. With coloured pencils… In truth, it looks like a crazy man has outlined his conspiracy theory for who shot JFK. But it looks pretty. @glenlaker (Glen Laker) Writer, Vera

AND FINALLY ...

Mike Kelt Chief executive, Artem

Hail the marathon women

@stevewynne (Steve Wynne) Head of TV, Pretzel Films

The good thing about not having seen Britain’s Got Talent when it went out is that it’s even more fun via #Gogglebox

£4.99

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

Innovative marketing at ITV, which launched a treasure hunt giving committed Twitter followers the chance to get their hands on the first episode of Red’s new thriller Prey. A series of Vines sent amateur sleuths in search of a phone box near London’s Royal Festival Hall – where the lucky winner’s next mission will be to find a working drive on which to upload the floppy disk containing the URL.

What would you do with a million quid?

Invest in the company. Or retire.

How do you get your own way?

Think through objections before anyone else has, and then just get on with it.

What’s the worst rejection you’ve ever had?

When I was a student, I applied to drive a double-decker bus. On a test drive, I was asked to get out half way round.

What keeps you awake at night?

Frustration about the Scottish media industry’s lack of vision.

What do you do to relax?

Relax? What’s that? I’d go mad.

What law would you most like to break?

The law of diminishing returns.

What words or phrases do you most overuse?

“It’ll be fine.” It always is, of course.

Where would you put a webcam?

In the BBC DG’s office – wouldn’t it be nice to know what they were really planning?

What TV shows would be in your fantasy schedule?

Good drama – and absolutely no reality shows.

What are the best and worst things about working in TV or radio?

The everchanging challenges – no two are the same.

Dunlop Goodrich is a London based creative agency focusingison Sport & News.

Dunlop Goodrich a London based creative agency focusing on Sport & News.

Dunlop Goodrich isgraphic a London based creative agency focusing We specialise in commercials, branding, design andWe promos. specialise in commercials, branding, graphic design and promos. on Sport & News.

We inwe commercials, branding, graphic and promos.

Since specialise launching in 2013 have worked for some of the biggest names in design broadcasting including,

Since launching in 2013 we have worked for some of the biggest names in broadcasting including,

BT Sport, The Premier League, The International Olympic Comittee BT Sport,and TheFremantleMedia.

Premier League, The International Olympic Comittee and FremantleMedia.

Since in 2013 we have worked for some +44 of the Contact launching our team: www.dunlopgoodrich.com Natasha@dunlopgoodrich.com (0) 20 biggest 7148 4777 names in broadcasting including, Contact our team: www.dunlopgoodrich.com Natasha@dunlopgoodrich.com +44 (0) 20 7148 4777 BT Sport, The Premier League, The International Olympic Comittee and FremantleMedia.

Contact our team: www.dunlopgoodrich.com Natasha@dunlopgoodrich.com +44 (0) 20 7148 4777 36 | Broadcast | 25 April 2014

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