Broadcast 4th July by Media Business Insight

www.broadcastnow.co.uk

4 July 2014

COMMENT

RATINGS ANALYSIS

BEHIND THE SCENES

Page 18

Page 20

Page 24

Why we need more kids’ TV tax breaks

PSB half-year report: winners and losers

Utopia: recreating 1970s paranoia

ITV’s battle for the sexes BY MATTHEW CAMPELLI

ITV is assessing the gender balance across its portfolio of channels, unveiling more details of ITVBe and preparing for life without European football. Director of digital channels and acquisitions Angela Jain is populating her forthcoming free-to-air channel ITVBe with content for “intelligent young mums”, and Peter Fincham told the Broadcast Commissioning & Funding Forum that preparations are being made for when ITV loses Champions League and Europa League football to BT Sport next summer. Director of television Fincham cited Top Gear as the type of show that ITV would like to grow in its schedule, adding: “Commercially we want to deliver male audiences. Football delivered them in a very pure way and with other programmes that’s much harder to do.” He warned producers not to “flood” him with “blokeish” ideas, but acknowledged that stemming a loss in male viewers is firmly on his mind. Meanwhile, Jain is focused on ITVBe. She has already commissioned 100 hours for the channel, but there remains a “significant opportunity” for indies to win business. The former E4 boss’s first orders include a 10-part UK version of Real Housewives from Made In Chelsea indie Monkey Kingdom, while ITV Studios factual arm Shiver has created celebrity format 7 Days, in which celebrity couples open up their lives for a week. Elsewhere, Mentorn Media has gained access to a designer baby

ALAMY

Broadcaster reveals plans for launch of ITVBe and to cope with loss of European football

Losses and gains: ITV must replace Champions League (left); UK version of Real Housewives in pipeline for ITVBe

ITVBe shows should be fun and entertaining and about real lives. We’re looking for the surprising Angela Jain, ITV

clothes shop for six-part series Baby Wears Prada. Jain will also move the next series of Dinner Date from ITV2 to ITVBe – a decision that follows plans to make the female-skewing channel the home of The Only Way Is Essex. US import The Real Housewives is also being shifted across from ITV2.

“ITVBe shows should be fun and entertaining and about real lives. We’re looking for the surprising and funny,” Jain said. “We’ve got more than 100 commissioned hours on ITVBe already, but we’re not commissioned up at all. We still need to order quite a few shows and we’re in regular contact with indies.” Her commissioning team, including recently installed Shiver producer Amanda Stavri, are looking for shows between six and 26 episodes in length, with decisions “dependent on the idea, the format and the tone”. Jain revealed that gaps in ITV2’s schedule present other opportunities for indies. She is looking

for young-skewing scripted and comedy series for the channel, which will get a fresh marketing push later this year. Fincham told producers to think of the digital channels as well as the main channel when developing comedy and said ITV2 has a “very lively slate”. Jain is also responsible for the male-skewing ITV4. It will lose Europa League football from next summer and is likely to play into the broadcaster’s overall plans for male-skewing content. The channel was criticised by ITV chief executive Adam Crozier for its below-par performance in 2013. ➤ See pages 4-5 for more coverage of the Commissioning & Funding Forum

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

Broadcasters catch election fever BBC and C4 do battle with formats based on hot political topics

f I said that things were about to get political in the TV industry, you’d probably raise an eyebrow – no change there. But I’m not talking about job moves, execs being sidelined or indies battling over a commission, I’m thinking about shows themselves. As we move closer to next year’s general election, there’s a battle emerging not just between the Tories and Labour, but between the BBC and Channel 4, as the

‘Expect shows on the future of the NHS, more on benefits and immigration, and on the new transparency of tax’ public service powerhouses try to tackle political issues with mainstream programming. At Broadcast’s Commissioning & Funding Forum this week, both Charlotte Moore and Jay Hunt outlined their plans. Moore cited BBC1’s two-parter Nick & Margaret: Immigration – Gain Or Drain? (below) as an example of bringing mainstream audiences to “a very sensitive subject”, rather than using a traditional current affairs format. Expect plenty more, with 8pm and 9pm earmarked as highprofile slots for shows that “have something new to say” about the “hot-button issues”. That will put the channel in competition with C4, which is making a concerted effort to engage viewers in “the national conversation” as we move into an election year. Expect shows on the future of the NHS, more on benefits and immigration, and on the new transparency 2 | Broadcast | 4 July 2014

around tax, which will mean people can see an itemised breakdown of where their money has been spent. All these shows will be designed to be accessible and it’s notable that Dementiaville, about an incredibly sensitive subject, has been ordered by Liam Humphreys’ factual entertainment department. Hunt’s priority is that these shows are “exciting telly rather than social policy”. Another show in this space is C4’s follow-up to Making Bradford British. Love Productions is moving the format to Leicester and investigating not tensions between the white and Asian populations, but the emerging dynamic between, for example, second-generation Sikhs and newly arrived Eastern Europeans. That kind of potentially controversial subject matter has helped make Love’s reputation, and is one of the things that convinced Sky to invest in the indie. Broadcast revealed this week that Sky has lined up the deal, which will see another ‘true indie’ join the consolidated part of the sector. It also poses questions about Sky’s strategy. Clearly Love’s IP represents a valuable asset for the emerging distribution arm Sky Vision, and we can also expect a far closer relationship between The Great British Bake Off producer and Sky’s commissioning team under Stuart Murphy. I’d be surprised if there weren’t some major shows in the works. More details should emerge shortly, so don’t worry too much – there’s still plenty of intrigue and politics in the industry as well.

è Sky has lined up a “knockout bid” to take a majority stake in The Great British Bake Off producer Love Productions. The transaction will be Sky’s first major investment in the UK indie sector.

è Victoria Derbyshire, Shelagh Fogarty and Richard Bacon (below) are to leave Radio 5 Live as it shakes up its daytime roster. Replacing them from October will be Adrian Chiles, Peter Allen, Dan Walker and Sarah Brett.

è Former Channel 5 commissioner Andrew O’Connell has joined ITV as a factual commissioner.

Ratings Top Five 1 Dolly Parton’s Sunday set at Glastonbury peaked with 2.6m viewers, the festival’s most-watched performance. 2 Mr Sloane (below) bowed out with a series average of 86,000 on Friday, three times Sky Atlantic’s slot average. 3 C4’s Beauty Queen Or Bust was outperformed by the final episode of C5’s Trauma Doctors, which drew an audience of 1.1m on Thursday.

C4’s weight-loss doc The World’s Best Diet found a mainly female audience of 1.8m against Germany’s World Cup defeat of Algeria on Wednesday. 4

5 BBC2’s Panorama special on phone hacking drummed up less than 1m.

Talking TV podcast è Visit broadcastnow.co.uk or iTunes to download a Broadcast Digital Awards edition of Talking TV, featuring BBC3 controller Zai Bennett, Tricked magician Ben Hanlin and In The Flesh creator Dominic Mitchell.

www.broadcastnow.co.uk

News & Analysis

C4 in talks with All3 indies after buyout BY Jake Kanter

Channel 4 is preparing to negotiate new terms of trade with All3Media indies after the group’s owner Permira struck a deal to sell it to Discovery Communications and Liberty Global in May. Once the £550m takeover is completed later this year, it will make All3Media’s 11 UK television production assets non-qualifying indies, meaning they will no longer fall under the terms of trade. C4 has begun informal talks with key suppliers, including Embarrassing Bodies producer Maverick TV and Toast Of London indie Objective Productions, about striking fresh commissioning deals. It is understood that any new terms will not affect existing agreements, but will be applied to future commissions. The terms will be formally agreed once All3Media is officially in the hands of its new owners. C4 traditionally takes the toughest line with non-qualifying indies when compared with other terrestrial broadcasters, striking deals that are loaded more in its favour.

Toast Of London: C4 is holding talks with All3 indies such as Objective

There are precedents for renegotiations. For example, one of C4’s biggest suppliers, The Garden, is now commissioned on different terms to those it received prior to its £19m acquisition by ITV Studios in April 2013. The BBC and ITV generally do business with non-qualifying producers on the same terms as those that are eligible. All3Media companies will also be ruled out of consideration for the BBC’s 25% indie quota and will have to win business through the

Window of Creative Competition, meaning the independent sector may butt up against the corporation’s 50% in-house guarantee. This will add to pressure on the BBC to reassess its production guarantees during charter renewal negotiations in 2015. The BBC Trust has announced it will review current arrangements this year, which will include a full industry consultation. The proposed merger of Shine Group and Endemol has the potential to put further pressure on indie quotas.

Greenbird takes stake in Spotnitz indie Big Light Frank Spotnitz, the showrunner behind series including The X-Files, Hunted and Strike Back, has signed a deal with production network Greenbird. Greenbird will take a minority stake, likely to be up to 30%, in Spotnitz’s indie Big Light Productions. Greenbird, established by former Shine boss Jamie Munro and ex-Argonon finance chief Stuart Mullin in 2012, will provide support services for Big Light as Spotnitz focuses on developing international drama series. Spotnitz is preparing to launch the second series of Englishlanguage action adventure Transporter: The Series on M6 in France, HBO Canada and TNT in the US. Also on Big Light’s slate are Freud, a co-production with Carnival Films, and The Man In The High Castle, an adaptation of the classic Philip K Dick novel produced with Scott Free. Spotnitz said the indie was aiming to make “creatively challenging series”. “With our experience in both the US and Europe, I think Big Light is uniquely placed to produce the kind of high-quality dramas viewers love,” he said. Mullin added: “Frank has strong relationships with traditional and new content partners.”

Henwood bids to make Zodiak UK a major ent player BY Peter White

Zodiak Media Group is planning a renewed push on entertainment after hiring former Channel 4 executive Rod Henwood as chief executive of its UK business. Henwood, who was most recently chief executive of kids’ brand Bin Weevils and previously new business director and a board member of C4, is also looking to grow the UK group’s digital division and strike a number of umbrella deals with small producers. He will be responsible for indies including RDF Television, Bwark, IWC, Touchpaper, Comedy Unit and Red House in the role, which www.broadcastnow.co.uk

We want to create a mega hit that can spread like wildfire Rod Henwood, Zodiak

Henwood: keen to improve online

was last held by David Frank following the departure of Joely Fether in March 2013. Henwood told Broadcast that while the super-indie was known for creating hit factual entertain-

ment formats, including Wife Swap and Secret Millionaire, he wanted it to focus on coming up with the next big UK entertainment show. “We want to create a more significant presence in entertainment,” he said. “We want to create a mega hit that can spread like wildfire.” Henwood started this week after spending several months working

with Zodiak group chief executive Marc-Antoine d’Halluin in a consultancy capacity. Given his history in the social media space and with kids’ network Bin Weevils, Henwood is keen to improve the online elements of the company’s formats. Zodiak UK is also lining up deals with young producers and talent, although he warned that the company was unlikely to participate in the latest round of mega consolidation. “It’s unlikely that we’ll be writing big cheques to buy companies, it’s more likely that we’ll strike deals with exciting young companies and individuals,” Henwood said. 4 July 2014 | Broadcast | 3

News & Analysis

Commissioning & Funding Forum

C4’s Hunt outlines ambitions In two to three years’ time, we’ll have a really rich originated drama slate

BY Matthew Campelli

Channel 4 is preparing to experiment in daytime as it bids to shore up its share of viewing in the face of strong competition from BBC1. In a wide-ranging interview at Broadcast’s Commissioning & Funding Forum, chief creative officer Jay Hunt said C4 is “trying lots of things” and has many “different shows coming up in the months ahead”, as it bids to combat BBC1’s decision to replace its afternoon children’s block with more competitive, mainstream programming. Hunt said the daytime performance was “frustrating” as C4 experienced a rise in peak viewing in 2013, but the share of its overall portfolio was down 4% as a result daytime’s underperformance. She told delegates she was looking to boost C4’s daytime output with “quiz shows, formatted shows, light factual and lightly constructed documentaries”. Hunt said experience in “delivering quality on that scale for a relatively small tariff ” would be an advantage for indies pitching for commissions.

Jay Hunt, Channel 4

Jay Hunt: seeking ‘must-watch content’ rather than Gogglebox clones

Humorous factual was another priority highlighted by Hunt. She pointed to the success of The Hotel, but warned that pro ducers should avoid pitching imitations of hit Studio Lambert format Gogglebox. “I’d like people to say ‘how do we make factual content that feels

entertaining and must-watch on its own terms’, rather than simply finding the next version of Gogglebox,” she explained. Hunt emphasised the importance of a “dual-track approach” to the scripted genres of drama and comedy. She said securing ratings was a priority, but there remained

a desire to keep schedule space for “niche pieces that win awards”. There were hints that a push into international drama co-production may present a “slightly more nuanced sensibility” in tone, but Hunt said anything commissioned by drama head Piers Wenger would still “feel very C4”. “I think in two to three years’ time, we’ll have a really rich, really originated drama slate on both the main channel and E4, and also ambitious shows funded through a slightly different model,” she said. The August launch of Endemol’s The Singer Takes It All sees C4 move back into mainstream entertainment. But Hunt wouldn’t reveal whether the Alan Carr-fronted series would air in Saturday primetime. She admitted C4 doesn’t have the “budget or the appetite for an arms race” on Saturday nights.

BBC1 seeks out edgy drama and new Miranda Exploring a timely yet little-known issue is a very powerful thing to do

BY Alexandra chapman

BBC1 controller Charlotte Moore is on the hunt for provocative dramas and a Miranda-style studio sitcom after brushing off criticisms that her channel “plays it safe”. Moore outlined plans earlier this year to tap into her factual roots by tackling controversial real-life stories in drama, and reiterated that commissioning these pieces remains a top priority. Speaking at the Broadcast Commissioning & Funding Forum in London this week, Moore pointed to Jimmy McGovern’s joint enterprise drama Common, which airs on Sunday, as an example of what she is aiming to achieve. “Exploring a timely yet littleknown issue is a very powerful 4 | Broadcast | 4 July 2014

Charlotte Moore, BBC1

Moore: not ‘playing it safe’

thing to be able to do on BBC1,” the former BBC documentaries commissioner said. “People come to BBC1 to be gripped and entertained – and they [should] leave feeling better informed and educated.” Her ambitions follow acting BBC Trust chair Diane Coyle branding BBC1 “predictable” last week, highlighting drama as a key area where

more risks could be taken. Moore said she “did not recognise” Coyle’s description of BBC1. Moore emphasised that while finding fresh and exciting content was at the forefront of BBC1’s priorities, certain “much-loved” brands – such as Holby City – that “hold [the channel] together” must be looked after to ensure audiences return each week. One established show Moore has decided to axe is Waterloo

Road, which will “free up a number of 8pm mid-week slots” when the school-based drama draws to a close next year. Elsewhere, the BBC1 controller told a room full of producers that she was “really missing” a strong central character studio sitcom. Miranda and Mrs Brown’s Boys will remain on the channel, she stressed, but cannot be relied on to return every year because of the talent’s other commitments. Sitcom pilot scheme Comedy Playhouse will also return in 2015 after being revived by comedy controller Shane Allen earlier this year. Moore said it was an opportunity for “people’s passions to be played out in different forms and shapes”, and also allowed BBC1 to showcase burgeoning talent. www.broadcastnow.co.uk

For further news, analysis and a gallery from the Commissioning & Funding Forum, visit:

http://broadcastnow.co.uk

Sky Living is misunderstood Sky has urged indies to bring it bold, big-budget ideas for Sky Living and claimed the independent sector fails to appreciate how the channel’s ambition and strategy have changed. The pay-TV broadcaster has been moving Living away from an entirely female-focused channel to a more mixed network since last year. Speaking at the Broadcast Commissioning & Funding Forum, Sky’s four main genre commissioners – head of factual Celia Taylor, head of comedy Lucy Lumsden, acting head of entertainment Chris Brogden and acting head of drama Cameron Roach – said that new ideas were needed to reflect the shift. “People still view Living as a channel just for women, some still see it as the old-school Living that’s pink and a bit Jordan. It’s now much more for a shared audience. There’s been a whole shift in that channel,” said Taylor. Taylor has commissioned series including Redback Productions’ 6 x 60-minute Ladyboys and is looking for other projects that centre on hidden lives, as well as scripted reality ideas and formats.

THEODORE WOOD

BY PETER WHITE

Commissioning & Funding Forum: Sky execs emphasised Living’s move away from purely female-skewing content

“At the moment, we still get pitched a lot of weddings, babies, fashion and dating, and we don’t want that. We still get quite a lot of old-fashioned, digital, low-budget, not very ambitious female-skewed ideas. Don’t bother, put those small ideas in the bin,” she added. Sky Living is also on the hunt for more comedies in the vein of Avalon’s Trying Again and King Bee Productions’ Doll & Em. “The biggest job we have to do is around Sky Living,” said Lumsden. “I want to see more

ideas for the channel; it’s such a great opportunity.” On the drama front, Roach said that scripted projects must match the ambition of US acquisitions such as The Blacklist and Elementary, as well as co-productions such as Dracula, which it made with NBC. On a wider basis, the former Waterloo Road exec producer said it was considering a push into fantasy drama and was looking for a crime project that would fit Sky’s brands. He added that it was inter-

ested in tentpole dramas, similar to the likes of Under The Dome and Extant from the US, produced as summer events for CBS. Meanwhile, entertainment commissioner Brogden is looking for a big new format to sit alongside Got To Dance on Sky 1. He said the entertainment budget would be increased “down the line”. Brogden also revealed that Sky 1 is bringing back pop-science format Duck Quacks Don’t Echo, which is produced by Magnum Media, for a second series later this year.

UKTV lines up pilots for Formats Lab initiative BY PETER WHITE

UKTV has launched a formattesting initiative as it seeks to commission a slew of risky factual, entertainment and reality projects. Earlier this year, the broadcaster called on indies to pitch relationship and food formats that “provide a factual entertainment skin for an idea that has its origins in a real-world trend, experience or event”. The multichannel broadcaster is now debuting five TX pilots later this year on Watch as part of the Formats Lab initiative. The projects include one gameshow, a reality series and two documentaries, which it will air www.broadcastnow.co.uk

at 8pm or 9pm. UKTV director of commissioning Richard Watsham (below) declined to provide specific details of the programmes. Speaking at the Broadcast Commissioning & Funding Forum, he said: “There’s a lack of innovation in British formats at the moment, not necessarily from the indies but from the broadcasters, and there are some brilliant ideas. We’ll have the pick of

them because no one else is doing them.” Watsham said he was still hunting for entertainment shows and constructed reality formats for Watch outside of the Formats Lab, as well as family sitcoms with an “edge” for Gold. “We’re looking for shows with the smaller, mundane elements of family life but done with spike and humour,” Watsham said. It follows UKTV’s decision to refocus its commis-

There are some brilliant ideas. We’ll have the pick of them Richard Watsham, UKTV

sioning strategy – and a large portion of its £120m-plus programming budget – on Dave, Gold and Watch. “Our budgets are the same and our ambition is the same, if not bigger,” he said. “We have a very healthy development fund, which means I can move very quickly to back projects, whether it’s for scripting or access.” 4 July 2014 | Broadcast | 5

News & Analysis

Kids’ TV tax break ‘worth £3m’ BY Robin Parker

A tax break for live-action children’s television could be worth almost £3m a year to the government – enough to fund four new shows, Pact has declared. The indie alliance claims the move could create more com mercial competition for the dominant BBC in the kids’ genre, delivering £2.9m a year to the Treasury and estimated annual credits of £7.9m. Pact will make the case to extend tax breaks beyond film, animation and high-end television during a session today (3 July) at the Children’s Media Conference in Sheffield. Pact estimates that live-action kids’ TV is currently worth £98m a year, of which almost half is spent on indie shows such as Maverick TV’s Operation Ouch!, Saltbeef TV’s Friday Download and Kindle Entertainment’s Hank Zipzer. Writing in Broadcast, Pact chief executive John McVay estimates that just one bona fide hit could bring in more than £30m to the UK economy – the amount Tele tubbies generated in its heyday.

Some indies describe being pulled from pillar to post struggling to fully finance their shows Floella Benjamin, former presenter

Teletubbies: hit series generated £30m for the UK economy in its heyday

Pact claims its research shows that by 2011, just 6% of PSB children’s output was original British programming. ITV, Channel 4 and Channel 5’s combined spend on new shows fell from £59m in 2003 to just £2m in 2011, by which time the BBC was commissioning 90% of first-run kids’ shows – up from

80% in 2006 and 37% in 1998. Despite this, the BBC’s number of hours of first-run shows fell from 1,276 to 695. Pact said tax breaks could encourage the likes of Disney and Nickelodeon owner Viacom, whose hours of first-run UK shows fell by 58% to 340 in 2011, to order more in the UK. It also hopes to

encourage digital platforms such as Netflix and Amazon to invest in British kids’ TV productions. Supporting the campaign, Baroness Floella Benjamin, a former BBC children’s presenter, said she had heard “heart-breaking tales” from frustrated children’s TV producers. “Some describe the painful process of being pulled from pillar to post struggling to fully finance their shows,” she said. “More worryingly, others say that to deliver top-quality programmes, they have to beg and borrow time from fellow professionals. Is that what we want for our children?” In its first year of operation, the British children’s animation tax break is estimated to have attracted £52m of spend. ➤ See John McVay comment, page 19

BBC looks to bolster interactive news content BY alexandra chapman

The BBC is looking to significantly increase its interactive news output online as it bids to enable users to explore stories in more detail. Amanda Farnsworth, the BBC’s editor of visual journalism, said the corporation plans to build on last year’s interactive pilots to create a more tailored offering for audiences online. Her views were echoed in a speech by BBC News boss James Harding on Wednesday. “At the moment, we still tend to use videos online in quite a linear way,” Farnsworth told Broadcast in an interview about the evolution of TV news as BBC News approaches its 60th birthday. She added that the proliferation of mobile and tablet devices means the BBC must bring TV and the 6 | Broadcast | 4 July 2014

Deepwater Horizon: enables viewers to access stats and extra content

internet together “in a more meaningful and interactive sense”. Farnsworth pointed to a beta project BBC News launched last year, allowing users to discover more about the fallout from the BP oil disaster in 2010. Deepwater Horizon: Surviving The Oil Spill was made with inter-

active video tool Wirewax and enables viewers to access stats and extra content as the film progresses. The “in control” element of the interactive news video gives users the opportunity to “go as deep into a subject as they like”, Farnsworth explained.

Making data accessible is also a key priority and her team is currently working on a global project on child mortality. “These are serious and in-depth stories which we can do a bit of experimentation with in terms of how we reach a more mobile- and social mediaminded audience,” she said. The plans follow criticism from BBC executive director Sir Howard Stringer, who said in a report in May that the BBC’s web presence lacked “character and personality” compared with younger rivals such as Vice Media and Buzzfeed. Among his recommendations, he said: “It is about having an acute understanding of the audience and making news relevant to them in the same way Newsbeat and Newsround write stories online.” www.broadcastnow.co.uk

Commissioning News

BBC3 orders supernatural drama BY Peter White

BBC3 has turned to Being Human producer Touchpaper Television and All3Media-owned South Pacific Pictures for its first drama since plans emerged to move the channel online. The youth channel has commissioned the two companies to make 8 x 45-minute series Tatau, which is set in the Cook Islands in the South Pacific ocean. It follows two twentysomething friends from London – Kyle Connor and Pete ‘Budgie’ Griffiths – who travel the world and end up in the Cook Islands. Once there, Connor, who has recently got a mystical Maori-style tattoo, thinks he sees the body of a local girl tied up underwater. But when he returns with the police, the body has disappeared. Connor then realises that he can see into the future, and he and Budgie attempt to prevent the killing. The drama is a co-production between US cable network BBC America and All3Media’s New Zealand-based indie South Pacific Pictures. It will start filming in September.

BBC1 sends Clare Balding to meet pioneering vets Clare Balding (below) and Steve Leonard are to join a group of pioneering vets from around the world as they save the lives of animals in a series for BBC1. The broadcaster has commissioned 3 x 60-minute science series Oper ation Wild, which will be produced inhouse. Aidan Laverty and Tom McDonald ordered the series for the BBC.

BBC2 satisfies sweet tooth with Screenchannel series Screenchannel TV is to head into the kitchen for a BBC2 documentary on sweet-making. The 4 x 30-minute Sweets Made Simple will be hosted by award-winning confectioners Kitty Hope and Mark 8 | Broadcast | 4 July 2014

The series is expected to launch ahead of the planned closure of BBC3 in autumn 2015

In The Flesh: Tatau is expected to complement the BBC3 zombie drama

The series is expected to launch ahead of the planned closure of BBC3 as a linear channel in autumn 2015. It is unclear whether Tatau will also get a slot on BBC1 or BBC2 as part of the plans put forward by director of television Danny Cohen earlier this year. Separately, In The Flesh creator Dominic Mitchell told Broadcast that he has the storylines ready for a third series of the zombie drama. The writer is hoping for a greenlight from BBC3’s acting controller Sam Bickley, who stressed that the channel remains open for business.

The series was created by Strike Back and New Tricks writer Richard Zajdlic, who will executive produce alongside Rob Pursey, managing director of Zodiak Media-owned Touchpaper, and South Pacific’s John Barnett and Chris Bailey. Matthew Read is executive producing for the BBC. Tatau was commissioned by former BBC3 controller Zai Bennett, who officially left his

position this week ahead of joining Sky Atlantic in August. BBC drama controller Ben Stephenson co-commissioned the series. He ordered the series after revealing in August last year that he had been handed extra cash for a drama to complement In the Flesh. “It means the channel can have a go at creating meaningful hits in the drama space,” he told the Edinburgh International Television Festival last year.

Greenwood. The show, from the indie responsible for Broadcast Award-winning BBC1 daytime series The Sheriffs Are Coming, is due to air in August.

Spun Gold records child carers’ lives for Channel 5

Gold brings back You, Me & Them for second series

Spun Gold is to provide a first-person account of children who care for their parents in a documentary for Channel 5. The 1 x 60-minute 12 Years Old & Caring for Mum: Through A Child’s Eyes will give three 11 to 13 year-old children video cameras to record their experiences of looking after their sick or disabled parents. C5 factual commissioning editor Simon Raikes ordered the show.

Gold’s first original scripted sitcom You, Me & Them is to return for a second series in 2015. The 6 x 40-minute Hat Trick Productions comedy stars Buffy The Vampire Slayer’s Anthony Head as Ed and

ITVS to adapt WWII novel Francis Hopkinson’s ITV Studios scripted division is adapting World War II novel Jam busters as an ITV drama. The Julie Summers book has been adapted by Lewis writer Simon Block into a 6 x 60-minute series. It follows a group of women, based in rural Cheshire, who maintain the village while their husbands, fathers and sons fight in the conflict. “Multiple strands of plot interweave to create a period drama full of jeopardy and intrigue,” said ITV director of drama Steve November.

For details of all commissions, see

http://greenlight.broadcastnow.co.uk

Wag TV to salvage rare cars in Discovery’s Turbo Pickers Discovery is kicking off a hunt for rare cars with Wag TV commission Turbo Pickers. Liz McIntyre has ordered the 6 x 60-minute factual format to air in the UK, Italy, Spain, Portugal and Benelux. It will follow mechanic Dave Southall and businessman Paul Cowland as they search for rare vehicles on the brink of being scrapped.

Torchwood’s Eve Myles as Lauren (above), a couple madly in love but struggling with an age gap of more than 20 years. The first series averaged 149,000 (0.6%) – topping Gold’s slot average of 116,000 (0.5%). The recommission was announced at Broadcast’s Commissioning & Funding Forum. www.broadcastnow.co.uk

International News

Pact app to help indies connect with US execs BY Peter White

Pact will connect UK producers with key US commissioners with the launch of an app, marking the trade body’s most significant move in the country to date. The TV Commissioners app, which goes live on 4 July, will have contact details and briefs for more than 70 execs, including those from key networks and cable players. Pact is launching the iPhone and iPad app to further bridge the gap between British indies and US broadcasters. Although UK indies are well regarded in the US, it is felt there is room to build on commissions like Zig Zag Productions’ I Wanna Marry ‘Harry’ for Fox. US broadcasters spent £475m last year on British content, according to Pact’s most recent export figures, and chief executive John McVay said this is set to increase. “The US is the single biggest market outside our own domestic market and getting more and better relationships with the networks in that market for our members, whether they’re here or in the US, is a good thing to do.” The launch of the app could form part a wider Pact push into

I Wanna Marry ‘Harry’: push for more orders like the show from Zig Zag

the US as the trade body bids to help UK indies break into the market, and develop the US divisions of the UK super-indies. McVay said US broadcasters are prepared to take risks to find the next great idea and are not concerned about its country of origin. “It’s been only six years since UK indies started getting commissions in America – it’s a new market for us in terms of TV. “Up until the format breakthrough of 2006 and 2007, generally the US market was a resell market, predominantly through a

BBC channel or PBS, but the idea that British producers were getting commissions was nonsense. Now most of our producers do get commissions there,” he said. UK indies are attractive because of their expertise in factual entertainment and lifestyle programming, as well as their ability to deliver, McVay explained. “They want people who can execute. Brits have a great reputation for quality and bringing it in on time and on budget, which gives a lot of comfort to the buyers,” he added.

HBO is to almost double the number of docs it launches in the US. The premium pay-TV broadcaster has launched a year-round slot on Mondays to air high-end feature-length docs. The slot will include commis sioned and acquired films, with at least half having an inter national focus. The move may be a boon for UK indies, with HBO paying “mid to high hundreds of thousands per hour”. HBO’s current slate includes Doug Block’s 112 Weddings (left), but it has previously aired UK projects including Rise Films’ We Are Together. 10 | Broadcast | 4 July 2014

Lion TV to make strides into Asia with Korea deal Lion TV is to set up a joint venture production company in South Korea as it seeks to boost its business across Asia. The All3Media-owned indie has struck an agreement with Korean producer PAAN Media to establish the business, which will produce local versions of Lion TV’s series and create original content The joint venture, which is expected to receive a multimillionpound investment, will also focus on growing Lion TV’s business in China. The company is keen to build on docs including The First Emperor: The Man Who Made China and Discovery Atlas: China. Furthermore, Lion has struck its first co-production deal in the country. It is working with PAAN Media and media firm AJU News Corporation on big-budget documentary series Miracle Korea. The programme, which is timed to coincide with the 70th anniversary of the independence of South Korea, will explore the history of the country since its liberation in 1945, as well as its economic growth. Lion TV joint managing director Richard Bradley said South Korea and the UK shared a similar creative focus. “We are looking to expand our experience of working in Asia and the prospect of telling the remarkable story of South Korea to an international audience, and also the prospect of a joint venture with PAAN Media, offers a real opportunity to do this,” he said. All3Media International is expected to distribute projects from the deal globally.

First Emperor: Lion to build on docs www.broadcastnow.co.uk

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20/06/2014 16:30

Multiplatform News

Google signs deals for crack at connected TV

IN BRIEF Wuaki plans expansion VoD service Wuaki is planning to expand into 11 European countries by the end of 2015. France, Germany and Italy will be the next countries to join its existing presence in the UK and Spain. The rental and download-to-own service, available across a range of connected devices, features shows including True Detective, House Of Cards and Mrs Brown’s Boys.

Chunk builds Peter app

Android TV: Google is keen to crack the connected-TV space by simplifying and standardising the technology BY ALEX FARBER

Google has signed deals with TV manufacturers including Samsung and Sony, and French pay-TV operator Bouygues Telecom, to support Android TV as it bids to crack the connected-TV space. The online giant unveiled Android TV at its seventh annual I/O developer conference in San Francisco last week. The service – which taps into the same Android operating system as used on tablets, mobiles and PCs – allows users to watch live TV and access a range of VoD content and games. It is expected to launch next year. “TVs are fast becoming smarter and more connected computing devices in their own right,” said Google engineering director David Burke. “So we see a great opportunity to bring some of the strong capabilities of Android to the largest screen in your house.” Pressing home on an Android TV remote control brings up a transparent overlay that features a bar of recommended programmes from a variety of VoD providers, including Google Play and Netflix. A second bar features a variety of app providers, listed in order of frequency with which each household www.broadcastnow.co.uk

It’s a supersimple, leanback experience. TV users don’t want complexity David Burke, Google

accesses them. Android-compatible games are housed in a third bar. “Unlike phones or tablets, which are task based, Android TV is designed as a super-simple leanback experience because TVs are primarily entertainment interfaces and users don’t expect or want complexity,” said Burke. Voice-powered search functionality is a core part of the service, via a dedicated remote control or Android mobile or tablet device. Searching for a show brings up the opportunity to watch full-length on-demand programmes, view relevant YouTube clips and browse a list of actors. Users can then drill down to browse other shows in which an actor has appeared. The Google-powered service also returns video-appropriate results to broader search queries such as “Oscar-nominated films in 2002” or “who played Katniss Everdeen in The Hunger Games?”.

Burke said Google was aiming to simplify the connected-TV space, which has suffered from increasing fragmentation as it has matured. “The TV space is not too dissimilar to the mobile space in 2006. Each manufacturer has different operating systems with different APIs and limited developer tools – and the cost and friction to develop a service to run across multiple TVs is too expensive,” he said. “As a result, smart TVs are typically limited and not competitive with their mobile cousins. We are simply giving TV the same attention as phones and tablets have enjoyed.” The move follows the launch of Google Chromecast, a £30 mediastreaming device that plugs into a television’s HDMI port and allows users to send TV programmes from their mobile device or laptop to view on their TV. BBC iPlayer, Netflix and YouTube apps are currently supported by Chromecast, along with Google Play. Online retail giant Amazon has launched a rival media-streaming set-top box dubbed Fire TV in the US. The service allows users to access a range of VoD apps, including Amazon Prime Instant Video.

CBeebies has ordered a Peter Rabbit game from digital content specialist Chunk. The online game, Hop It, tasks players with taking control of Peter Rabbit, Lily Bobtail and Benjamin Bunny to collect food and gifts for Cotton-tail’s party. The Flash-based game is aimed at children aged 4 to 6.

BT refreshes VoD app BT is overhauling the design of its VoD app on YouView. The refresh features more intuitive navigation, links to recent activity on the homepage and an updated look. The makeover is set to go live in July and will be available to all of BT’s YouView subscribers.

Videojug bolsters team Online video production business Videojug has hired Red Dwarf and Hell’s Kitchen producer Paul Jackson as consultant, content and channels. Jackson will develop Videojug.com, which features a range of ‘How To’ videos, as a competitor to businesses including Vice and Rightster. As part of the plan, new writers and producers have been urged to submit ideas to the business. Videojug chief executive Tom Laidlaw has also stepped down from his role after six years.

For the latest breaking news www.broadcastnow.co.uk 4 July 2014 | Broadcast | 13

Technology & Facilities CREATIVE REVIEW

THE HONOURABLE WOMAN

BORN IN THE WILD

COMMON

VFX Lenscare FX Picture and audio post The Farm Client Drama Republic Brief Provide VFX for the eight-part Middle East-based drama about the daughter of an arms dealer. How it was done Lenscare provided 157 shots, including greenscreen photos of actors, which required challenging match moves that were manually tracked; 2D and 3D set extensions; matte paintings; CG birds and airplanes; and paint-outs of crew reﬂections. For the ﬁnal episode, Lenscare created a sandstorm by keying and adding stock plates and particles. Farm colourist Perry Gibbs supported Lenscare with pre-graded plates. Sascha Fromeyer was VFX supervisor and producer, while Andrew Savchenko and Timur Saitgaraev composited using After Effects and Nuke. Technical director John Bowring used FumeFX to simulate explosions and Heidi Mount was post supervisor. Watch it Thursdays, 9pm, BBC2

Design Hello Charlie Client Windfall Productions Brief Design a series of contemporary-styled graphics to tell the complex reproduction stories of elephants, kangaroos, orangutans and dolphins. How it was done Hello Charlie developed a contemporary-styled set of diagrams in book form that were inspired by classic medical illustrations, the aesthetic of vintage photographic plates and rostrum camera photography. Specially commissioned artwork, which was layered and lit in 3D space, was created to represent the creatures, including orangutan, dolphin, kangaroo, elephant, koala and echidna. Creative director Paul Tigwell and senior designer Graham Watts created the graphics using After Effects and Photoshop. The hand-drawn illustrations were by Chris Wreford. Watch it Saturday, 8pm, 4Seven

Post LA Post Client LA Productions Brief Picture and audio post-production of Jimmy McGovern’s one-off drama examining the potential for injustice via the ‘joint enterprise’ rule, through the tale of a young man who finds himself charged with murder after giving some friends a lift to a pizza parlour. How it was done LA Post completed the offline and online edit, as well as VFX, grading and sound dubbing, from its Liverpool base. Acquired on Arri Alexa in 2K, the main task was to ensure the simple yet bold style for the film was maintained from set to TX. Director David Blair worked with editor Patrick Hall on Avid Media Composer and later in Avid DS to grade and complete the various effects shots. Mocha was also used to aid tracking in DS. Brian Nelson completed the sound dub using Pro Tools. Watch it Sunday, 9pm, BBC1

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

Flix opens second facility at The Space Project Manchester post firm Flix is to open another facility at The Space Project. Flix will operate five edit suites and an ingest area at the 360,000 sq ft drama and TV studio complex, which opened last month. With capacity for data wrangling, ingest, offline and online, the initial focus will be on picture post, but managing director Leo Casserley (pictured) said audio suites could follow.

35,000 sq ft stage and two 17,000 sq ft buildings. The expansion, which is expected to be completed by the end of the year, will take the studios’ total number of sound stages to 13. Warner Bros UK president and managing director Josh Berger said: “We’re proud to be investing in facilities and productions right across the UK’s film, television, video games and theatre businesses, and in the next generation of talent through our new programme, Warner Bros Creative Talent.”

Warner Bros starts work on Leavesden stages

Autodesk set to snap up software firm Shotgun

Warner Bros has begun construction work on three new multipurpose sound stages at its Leavesden site, including one

Autodesk is to acquire cloud-based production management software firm Shotgun. Shotgun makes business tools for managers and

14 | Broadcast | 4 July 2014

collaboration tools for VFX artists and supervisors, which are used by the likes of Framestore and Prime Focus. Shotgun co-founder and chief executive Don Parker said the Shotgun brand and support team would remain, and that the company would “continue to develop and support third-party tools from The Foundry, Side Effects, Adobe, Autodesk and more, even faster”.

Blackmagic updates DaVinci and camera software Blackmagic Design has released a software update for its range of cameras (above) and launched v11 of its DaVinci Resolve editing system. The v1.8 camera software features a new code base for all of the firm’s

cameras, which Blackmagic said would improve performance, add an enhanced user interface – similar in design to the Ursa camera revealed at NAB – and provide the foundation for further new features.

Jigsaw24 eyes Soho move after buying Square Group Jigsaw24 has acquired London reseller Square Group. Square’s 85 staff have now joined Nottingham-based Jigsaw24, which is set to open new premises in Soho in a bid to boost its presence in the media and entertainment sector. Jigsaw24 chief executive Martin Balaam said: “We are very excited to be joining forces with Square and opening the new facilities in Soho, further strengthening our position in our core markets.” www.broadcastnow.co.uk

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

Merger with Prime Focus to boost Double Negative TV arm We have long harboured a desire to expand and diversify the business

BY george bevir

Double Negative’s merger with Prime Focus World’s creative services division will speed the Soho VFX firm’s charge into the tax haven of Vancouver – which cofounder and chief executive Matt Holben believes could boost its burgeoning TV division. When the deal concludes this week, Double Negative will have a minority share of the newly formed business, while Prime Focus World will take an 80% stake. Holben will sit on the board of the new company, along with Double Negative co-founder and managing director Alex Hope, with a remit to run VFX for film, high-end TV and feature animation across the group. The new firm, which will trade under the Double Negative brand, will have a combined workforce of around 4,500. But Prime Focus London VFX staff will not join the new entity after it was revealed

Matt Holben, Double Negative

Mr Selfridge: Double Negative VFX

earlier this month that its London division is due to close. “We have harboured a desire to expand and diversify the business and to expand its global footprint for some time, and for just over a year we have been seriously saying

Drive Worldwide buys up VFX firm CherryCherry Visual effects firm CherryCherry VFX has been acquired by Drive Worldwide. Drive Worldwide, which consists of creative agency Drive Productions, virtual reality firm Figure Digital and research and development lab Drive Technologies, said the addition of CherryCherry would “strengthen the group’s visual offerings for all types of media, including feature films, commercials, TV, music and projection mapping”.

OB firm Red TX merges with Remote Recording Network Pinewood-based outside broadcast sound company Red TX has merged with European OB affiliate Remote Recording Network, which also includes Peter Brandt Remote Recording and Dutch mobile recording company Eurosound. Red TX chief executive www.broadcastnow.co.uk

Tim Summerhayes said: “There is a huge requirement for mobile digital recording facilities in Europe, and by joining forces with the Remote Recording Network, we can now provide the necessary human and technical resources to meet this demand.”

Arri gives backing to Apple ProRes update Apple has launched ProRes 4444 XQ, which the manufacturer described as the highest-quality version of ProRes, with a data rate “to preserve the detail in highdynamic-range imagery generated

that this is something we want to do,” said Holben. “We took time to look at the alternatives, and found the best option to provide longevity was a strategic partnership. We looked at other ways of raising finance to expand, but the Prime Focus deal was a clear winner for us.” Holben said he and Hope were keen to expand without exposing the company to debt, adding that the deal would provide “flexibility and muscle” to get into Vancouver “very quickly”. He expects to open a facility there by the end of the year. It will build on Double Negative’s presence in Singapore and

by today’s highest-quality digital image sensors”. Arri was quick to endorse the codec, which it will support via the next software upgrade for its Alexa cameras. Arri product manager for camera systems Marc Shipman-Mueller said: “ProRes 4444 330 Mb/s has been the workhorse of pro fessional film-makers using the Alexa. ProRes 4444 XQ has a higher target data rate of 500 Mb/s that makes it the ideal choice for post-production that requires visual effects processing or extreme colour grading.”

Pinewood Shepperton posts rise in profits Pinewood Shepperton has posted a surge in revenue and pre-tax profits on the back of busy film and television bookings. Stage occupancy increased from 76% to 81% year-on-year, while revenue for the 12 months to March this

London, as well as Prime Focus World’s home in India. “We will be spread across three, eight-hour time zones, which will be helpful in terms of support for creative artists,” said Holben. He added: “Our TV division, which has just completed its first year, is absolutely rocking and rolling. I am very excited about TV and think it will soon erupt. [Vancouver] opens up other opportunities. We will look at those, but it has got to provide some flexibility in the future. “There is a lot of high-end TV work in Vancouver and an increasing number of TV clients are LA-based, so to be in the same time zone as LA offers great comfort, especially because TV is very fast-turnaround. If there are editorial changes, it may be great to have a small crew in Vancouver. We are going there primarily for the film work, but it would be naïve to think it won’t be advantageous for TV.”

year stood at £64.1m – up from £55m in the equivalent period last year. TV revenue for the year hit £6.2m, compared with £5.2m the previous year. Pinewood Shepperton chief executive Ivan Dunleavy said the 81% utilisation of Pinewood’s studios “underpins all our arguments for the requirement for additional capacity”.

BBC R&D’s Postgate to fill vacant CTO position The BBC has appointed R&D controller Matthew Postgate to the role of chief technology officer. Postgate will replace John Linwood, who was sacked in July last year following the closure of the broadcaster’s failed Digital Media Initiative (DMI) project. He will report to managing director of finance and operations Anne Bulford, who said: “Matthew knows technology, he knows the BBC and he knows how crucial this role is.” 4 July 2014 | Broadcast | 15

25 June 2014 | The Brewery | London

The Winners

Best Entertainment Programme

Best Programme Acquisition

Best Game

Tricked

Suits Dave

Made In Chelsea Game

ITV Studios for ITV2

Best Sports or Live Event Coverage

Best Popular Factual Programme

BBC Sport Digital Winter Olympics

The Call Centre

Best Social Media & Digital Marketing Campaign

Utopia: This Is A Warning Viral

BBC Online and BBC Red Button

BBC Productions Wales for BBC Three

Best App or Website for a Programme

Best Entertainment Channel

Best Digital Childrenâ&#x20AC;&#x2122;s Content

The Voice UK HomeCoach

BBC Three

Ludus

Wall to Wall and Tellybug for BBC One

PaperSeven and Monkey Kingdom for E4

Channel 4

Cube Interactive and Boom Kids for CBBC

Celebrating digital content and innovation 16 | Broadcast | 4 July 2014

www.broadcastnow.co.uk

Broadcast would like to congratulate the winners, and thank our judges for their time and our sponsors for their wonderful support For further information and pictures visit www.broadcastnow.co.uk

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Best Specialist Channel

Best Platform Innovation

Best Factual Channel

Animal Planet

In-App Voting on The X Factor

BBC Three

Best Content Partnership or AFP

Best App or Website for Channel, Strand or Genre

Best Scripted Programme

BBC Productions for BBC Two

The Nick App

BBC Productions for BBC Three

Best Multiplatform Project

Best Original Web Channel

Channel of the Year

D-Day: As It Happens

Vice YouTube

BBC Three

Stargazing Live

Windfall Films and Digit London for Channel 4

Tectonic, Fremantle Media and Tellybug for ITV

Vice Media

In The Flesh

broadcastdigitalawards.co.uk www.broadcastnow.co.uk

4 July 2014 | Broadcast | 17

Comment

We need to be bold and make things that don’t look like other series Dennis Kelly, Behind the Scenes, page 24

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18 | Broadcast | 4 July 2014

Singing contests turn to tech ITV can learn from Rising Star’s debut in the US, says Kate Bulkley

ust when you thought singing contests had run out of steam, two more are about to crash into our lives – and both use social media and interactive apps as their voting engine, as well as on-stage moving parts. Channel 4 is to debut The Singer Takes It All in August and its signature development is a moving stage: the more votes a contestant receives, the closer they move to the ‘gold zone’ (that’s good); if the votes are low, they are moved towards the exit (that’s bad). The other new singing show contender is Keshet’s Rising Star, which is built around a rising wall and had buyers salivating at MipTV this spring. ITV has snatched the rights and will launch the show next year. But are moving walls and dynamic stages enough to reinvigorate the singing format? Certainly Rising Star is the new sensation of ABC in America and its big trick – beyond the rising wall – is to allow live voting using cloud-based technology that won’t crash unless there are more than 100 million simultaneous votes. The singer begins their performance screened off from the audience and judges. As they sing, the votes they receive from the interactive app are logged, and if 70% of the audience – which includes those in the studio, the judges and TV viewers connected via the app – like them, then the screen rises (Rising Star – geddit!) and the artist is through to the next round. I was in the US when it debuted, and because America has so many time zones, contestants can be ‘saved’ by the east or west coasts, with the votes logged on duelling monitors. Okay, so not all of it worked, and 460,000 likes on ABC’s Rising Star Facebook page do not a hit make,

but at a time when keeping TV viewers tuned in is getting harder, Rising Star does offer the viewer a moment of TV fame. As the votes come in, the screened wall in front of the singer is filled with the headshots of every voter – so, if you want your photo on television, then vote for the artist. It’s a quite brilliant twist for a genre that has showed signs recently that it is running on empty in the US. The X Factor has been cancelled, American Idol’s ratings are at an all-time low and The Voice’s audience numbers have been down this season. ABC has not had an easy ride either, with the other US networks working hard to shoot down the new show. For its 22 June debut, Rising Star had to fight for eyeballs with NBC’s Amer ica’s Got Talent and the return of True Blood on HBO. It managed 5 million viewers (ABC’s biggest summer launch since 2011), compared with AGT’s 8 million. However, the Rising Star premiere had 129,071 tweets – more than double AGT’s 59,734. It also garnered 5 million votes, which doubled to 10 million during last Sunday’s show, according to Screenz, the Israeli company that has developed the real-time voting technology and is working closely with ITV. Will Rising Star and The Singer Takes It All succeed here in the UK? Well, viewer participation, interactivity and social media voting are all part of TV’s current holy grail. But hitting the right note with audiences is tough, even with a lot of cool tech and moving parts. ➤ Kate Bulkley is a print and TV journalist and awards secretary of the Broadcasting Press Guild. Follow her on Twitter @katecomments

‘Rising Star’s premiere had 129,071 tweets – more than double AGT’

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Comment

Clockwise from top left: shows like Justin’s House, Horrible Histories, In the Night Garden and Art Attack have helped build the reputation of British kids’ TV

TV tax breaks need to go further Relief for live-action kids’ shows could deliver £3m to the economy, says John McVay

lay School, Grange Hill, The Sooty Show, Teletubbies. For many of us, quality British children’s live-action TV was a defining factor in our childhood. For me, there was nothing better than Byker Grove and The Basil Brush Show. Today, with shows like In the Night Garden, Waybuloo, Justin’s House, Art Attack and Horrible Histories, the British children’s TV industry has an enviable reputation around the world. Over the past decade, however, circumstances have become increasingly difficult for children’s liveaction producers. Between 2002 and 2011, investment in original British children’s TV fell by 97%. Regulation has played its part in the decline, but it’s not the only cause. The BBC is now the main commissioner of British kids’ TV. While the Beeb’s support is very important, this lack of competition is not good for the industry, nor diversity. And with the BBC facing budget pressures of its own, the kids’ live-action sector is facing an even more uncertain future. Lower budgets mean lower production values. Lower production values mean reduced opportunities in secondary markets. And that, in turn, means even less investment, and an erosion of skills in the sector. www.broadcastnow.co.uk

At Pact, I hear stories from our members of having to give away valuable intellectual property to close the finance or, worse, watching as projects fall through. We estimate that the UK children’s live-action sector is now worth just £98m, of which £48m is spent with independent producers. This is an unsustainable position. Without an intervention, there are legitimate concerns that

‘91% of PSBs’ children’s channel schedules is repeats – is this the future we want for our kids?’ the industry could suffer further. Production could shift to other countries where there are financial incentives, and talent migrate to other sectors and other areas of programming. Already, 91% of the public service broadcasters’ children’s channel schedules is repeats – is this the future we want for our kids? The concept of a tax credit for children’s liveaction television is not new. In 2010, the House of Lords Select Committee on Communications recommended a trial extension of the film tax credit to high-end drama and children’s programmes. Animation got the kids’ tax break

and has attracted £52m of spend in its first year – but live action missed out. These tax breaks should be extended to kids’ live-action TV. Pact has the figures to back that up. Communications Chambers’ report for us shows that a tax break for live-action kids’ TV would have a clear net benefit to the Exchequer to the tune of £2.9m. Our research predicts that a tax break would lead to the creation of at least four new children’s live-action shows a year – programmes that would not have been made possible otherwise. Tax relief also has the potential to raise the quality of production, and with that, spark new hit shows. A bone fide hit has the potential to bring in £30m a year. Beyond the direct benefits to the Exchequer, a tax break should stimulate a more competitive domestic television industry, fostering talent and skills development, driving growth in exports and inward investment from overseas broadcasters. Financially, the tax break makes sense. I want Britain to remain a world leader in children’s TV, and I want British children to see their stories reflected on the screen. I can’t wait to see that next big live-action hit capture the imagination of children all over the world. ➤ John McVay is chief executive of Pact 4 July 2014 | Broadcast | 19

Ratings Analysis Public service broadcasters

A tough act to follow for ITV Broadcaster struggles to live up to 2013 as strong new dramas can’t quite hit Broadchurch’s highs. But Gogglebox and Benefits Street come up trumps for Channel 4. Stephen Price reports BBC1 top 5 1 1 January-11 June 2014 Programme

Date

Day

Start

Viewers (m)

Share (%)

Sherlock

1 Jan

Wed

21.00

12.72

38.49

Call The Midwife

19 Jan

Sun

20.00

11.35

38.56

The Voice UK

8 Feb

Sat

19.10

9.41

37.82

The Musketeers

19 Jan

Sun

21.00

9.28

30.93

EastEnders

21 Apr

Mon

20.00

9.09

35.45

Date

Day

Start

BBC2 top 5 1 January-11 June 2014 Programme

Viewers (m)

Share (%)

Top Gear

16 Mar

Sun

20.00

7.00

24.36

The Widower: ITV

The Great Sport Relief Bake Off

14 Jan

Tue

20.00

5.07

19.98

Line Of Duty

19 Mar

Wed

21.00

4.12

15.05

Sport Relief

21 Mar

Fri

22.00

4.03

19.38

Mary Berry Cooks

3 Mar

Mon

20.30

3.71

14.06

Day

Start

Viewers (m)

Share (%)

s every broadcaster knows, down 1.6% in all-time, peak was up the trouble with having a 3.5%, helped by E4’s 13.7% growth. cracking year is trying to BBC2’s all-time growth of 13.5% match it the next. And so ITV – was helped by the predominantly Broadcast’s Channel of the Year for daytime Winter Olympics, while its 2013 output – is finding 2014 a its peak increase of 5% was the more difficult whale to wrestle. biggest of all the PSBs. BBC1 was We’re in a World Cup year, also up: 2.7% in all-time and and this has so far played 2.2% in peak. well for the network, but Channel 5 was down here we take a look at 1.8% in all-time and the more traditional 1.6% in peak, and its Decline for ITV in schedules up to 11 family (incl C5 +24) peaktime – the June – just before the was down 1.4% in allbiggest drop of all tournament kicked off. time and 1.9% in peak. PSB networks ITV suffered the Total all-time biggest decline of all PSB viewing across the PSBs networks in that period, both was down more than 5% and in all-time (-5.1%) and peak (-4%). if impacts – the things advertisers ITV’s family was down 6.2% in allbuy – were also down, it’ll be giving time (-4.4% in peak), with a big drop commercial channels a headache. for ITV2 (-13% in all time) and ITV3 (-11% in all-time). The 9 June arrival ITV of pay-TV drama channel ITV Encore (25,000/0.2% after 12 conITV’s weekday 7pm-10.30pm peak solidated days) looks well timed. fell by 2.5%. The standout slot in It’s the opposite story on Channel the schedule was 8pm, most strik4, where a chastening 2013 gave the ingly Wednesdays, which grew by broadcaster a low base on which to 18% thanks to Big Star’s Little Star build. The 7pm-10.30pm peak was (4.1 million/18%) and You Saw up by 2.8% in the six months to 11 Them Here First (3.7 million/16%) June, thanks to hits such as Goggle – not blockbusters but a significant box and Benefits Street. All-time improvement on 2013’s Food Glo was still down – by 2.6% – due rious Food (2.4 million/10%). After largely to continuing poor daytime a barnstorming 2013, Coronation performance. While C4’s family was Street was down 6% on last year.

-4%

20 | Broadcast | 4 July 2014

ITV top 5 1 January-11 June 2014 Programme

Date

Britain’s Got Talent

12 Apr

Sat

20.00

12.40

47.52

Coronation Street

20 Jan

Mon

20.30

11.03

40.64

Birds Of A Feather

2 Jan

Thu

20.30

9.53

34.73

Emmerdale

27 Jan

Mon

19.00

8.16

35.37

Ant & Dec’s Sat Night Takeaway

15 Mar

Sat

19.00

8.09

32.56

Channel 4 top 5 1 January-11 June 2014 Programme

Date

Day

Start

Viewers (m)

Share (%)

Benefits Street

20 Jan

Mon

21.00

6.48

22.80

C4 Racing: Grand National

5 Apr

Sat

15.25

4.69

33.45

Gogglebox

23 May

Fri

21.00

4.39

19.07

Benefits Britain: The Debate

17 Feb

Mon

21.00

3.94

14.42

One Born Every Minute

24 Feb

Mon

21.00

3.66

12.50

Channel 5 top 5 1 January-11 June 2014 Programme

Date

Day

Start

Celebrity Big Brother

The Big Benefits Row: Live

Autopsy: Whitney Houston’s Last...

Big Brother

Can’t Pay? We’ll Take It Away!

Viewers (m)

Share (%)

29 Jan

Wed

21.00

3.71

15.07

3 Feb

Mon

21.00

2.58

8.88

14 Jan

Tue

22.00

2.46

13.10

5 Jun

Thu

21.00

2.43

10.75

3 Mar

Mon

21.00

2.35

8.24

www.broadcastnow.co.uk

Data supplied by Attentional

Source. BARB

At 9pm, ITV’s share fell by 8%. Despite strong dramas The Widower (average: 7.5 million/ 26%), Prey (7.2 million/26%) and DCI Banks (7 million/24%), the Monday slot was down 7%. Blame Broadchurch’s ripsnorting average of 9.4 million/31% last year. On Friday, Piers Morgan’s Life Stories’ 3.5 million/13% was down 27% in share on 2013’s 4.7 million/ 18%, while comedy drama Edge Of Heaven’s 2.1 million/8% was significantly behind 2013’s Ice Cream Girls (6 million/23%) and Life Of Crime (4.2 million/17%), contributing to a 27% year-on-year fall. ITV’s Saturdays were down nearly 4% in peak. The recently cancelled Splash’s 4.1 million/17% was well behind 2013’s 5.8 million/24% as BBC1 moved The Voice UK into the winter. Sundays were down 7%, with the last-ever Dancing On Ice averaging 5.9 million/21%, compared with 2013’s 7 million/24%. Meanwhile, Mr Selfridge’s 6.4 million/23% was 14% down on 2013’s 8 million/27%. ITV’s 2015 winter challenge is to quickly establish big new entertainment shows, one of which might be Rising Star, to prevent BBC1 getting away.

BBC1 BBC1’s 2.2% peaktime share growth was driven by strong weekends, with Saturday showing a 5% increase, driven largely by The Voice UK’s 8.1 million/33% from January. Sunday’s peak growth (6.6%) came from 8pm (Call The Midwife’s 10.5 million/34%, up more than 7% on 2013) and 9pm dramas. The Musketeers started strongly with 9.3 million/31% for 19 January’s opener, but fell to 5.3 million/20% for the finale on 30 March and averaged 6.3 million/23%, compared with Ripper Street’s 6.5 million/22% in ➤

Sherlock: BBC1 www.broadcastnow.co.uk

top 30 PSB programmes 1 January-11 June 2014 Programme

Date

Day

Start

Sherlock

1 Jan

Wed

21.00

Britain’s Got Talent

12 Apr

Sat

Call The Midwife

19 Jan

Coronation Street

Share (%)

Channel

12.72

38.49

BBC1

20.00

12.40

47.52

ITV

Sun

20.00

11.35

38.56

BBC1

20 Jan

Mon

20.30

11.03

40.64

ITV

Birds Of A Feather

2 Jan

Thu

20.30

9.53

34.73

ITV

The Voice UK

8 Feb

Sat

19.10

9.41

37.82

BBC1

The Musketeers

19 Jan

Sun

21.00

9.28

30.93

BBC1

EastEnders

21 Apr

Mon

20.00

9.09

35.45

BBC1

The Eurovision Song Contest

10 May

Sat

20.00

8.94

39.90

BBC1

Death In Paradise

11 Feb

Tue

21.00

8.84

33.63

BBC1

Emmerdale

27 Jan

Mon

19.00

8.16

35.37

ITV

Jonathan Creek

28 Feb

Fri

21.00

8.09

30.67

BBC1

Ant And Dec’s Saturday Night Takeaway

15 Mar

Sat

19.00

8.09

32.56

ITV

Sport Relief

21 Mar

Fri

19.00

8.02

32.83

BBC1

The Widower

31 Mar

Mon

21.00

7.94

26.60

ITV

Benidorm

2 Jan

Thu

21.00

7.94

26.89

ITV

Silent Witness

2 Jan

Thu

21.00

7.92

27.03

BBC1

The Crimson Field

6 Apr

Sun

21.00

7.83

28.61

BBC1

Happy Valley

3 Jun

Tue

21.00

7.78

30.18

BBC1

Vera

27 Apr

Sun

20.00

7.63

28.61

ITV

DCI Banks

3 Feb

Mon

21.00

7.60

26.05

ITV

Prey

28 Apr

Mon

21.00

7.57

28.22

ITV

Dancing On Ice

5 Jan

Sun

18.15

7.48

28.99

ITV

The 7.39

7 Jan

Tue

21.00

7.41

27.12

BBC1

Countryfile

6 Apr

Sun

19.00

7.30

32.04

BBC1

Jamaica Inn

21 Apr

Mon

21.00

7.25

25.16

BBC1

Undeniable

7 Apr

Mon

21.00

7.23

27.25

ITV

Midsomer Murders

12 Feb

Wed

20.00

7.21

25.88

ITV

Six O’Clock News

14 Feb

Fri

18.00

7.05

35.10

BBC1

Endeavour

30 Mar

Sun

20.00

7.01

27.37

ITV

Benefits Street: Channel 4

Viewers (m)

Celebrity Big Brother: Channel 5 4 July 2014 | Broadcast | 21

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Ratings Analysis

Data supplied by Attentional

PUBLIC SERVICE BROADCASTERS ALL-DAY SHARE (0600-2600) 1 JANUARY-11 JUNE 2014 Channel BBC1 BBC2 ITV ITV2 ITV3 ITV4 C4 E4 More 4 Film 4 4 Seven C5 5USA 5* C5 +24

Volume YTD 2013 (000s) 2,399.10 638.30 1,890.40 319.70 298.70 126.70 665.80 209.30 145.50 164.50 36.10 500.60 110.30 61.30 -

Share YTD 2013 (%) 21.24 5.65 16.74 2.83 2.64 1.12 5.89 1.85 1.29 1.46 0.32 4.43 0.98 0.54 -

‘The promotion of Gogglebox to 9pm paid off: Its 3.8m average boosted the slot by 79%’ 2013. The Crimson Field’s 6.6 million/ 24% was strong, but there’ll be no second series. BBC1’s weekday 9pm hour was up 1.7% in share. While Mondays fell 10% against ITV’s strong drama slate, Tuesdays grew by 7.8%, helped by Death In Paradise (8.5 million/31%) and Happy Valley (7.2 million/28%). Thursday was up 13%, with Parking Mad’s 4 million/17% up on 2013’s Britain’s Biggest Hoarders’ 3.4 million/14%, plus four new episodes of Inspector George Gently (6.6 million/25%). EastEnders, down just 0.3% and averaging 7.7 million/33%, seems to have slowed its decline.

Volume YTD 2014 (000s) 2,337.50 687.10 1,702.20 263.60 251.30 123.90 615.30 207.10 126.70 152.20 32.70 466.40 95.90 57.38 8.96

Share YTD 2014 (%) 21.81 6.41 15.89 2.46 2.35 1.16 5.74 1.93 1.18 1.42 0.31 4.35 0.90 0.54 0.08

Volume change y-o-y (%) -2.57 7.65 -9.96 -17.55 -15.87 -2.21 -7.58 -1.05 -12.92 -7.48 -9.42 -6.83 -13.06 -6.39 -

Share change y-o-y (%) 2.68 13.45 -5.08 -13.07 -10.98 3.57 -2.55 4.32 -8.53 -2.74 -3.13 -1.81 -8.16 0.00 -

CHANNEL 4

BBC2

Channel 4’s 7pm-10.30pm peaktime share was up by 2.8% to 11 June 2014, much of that from weeknights. While misses such as cooking show The Taste (1.2 million/4.5%) and drama New Worlds (900,000/3.5%) sent Tuesdays at 9pm south (-40%), Benefits Street’s average of 5.9 million/20% helped Monday at 9pm rise by 36%. The gamble of promoting Gogglebox to 9pm paid off: its 3.8 million/15% average helped the slot grow by an unfeasible 79%. The Friday 8pm slot was up 37%, with Marvel Agent’s Of S.H.I.E.L.D’s 1.9 million/8% better than Come Dine With Me’s 1.2 million/5% in 2013. Saturday’s peak was down 12%. So much rides on this, like the conveyor belt-driven contestants on upcoming talent show The Singer Takes It All.

BBC2’s peaktime grew by 5%, the best of all the PSB networks. Sunday was up 13.7%, helped by Top Gear (6.5 million/21%, up 35% on 2013) and Dragon’s Den (3.1 million/11%) outdoing 2013’s Wonders Of Life (2.5 million/8%) and the Toughest Place To Be… (1.5 million/5%). BBC2’s best 8pm year-on-year performance was Thursday: Hairy Bikers’ Asian Adventures helped the slot grow by nearly 10%. Of its stripped peaktime events, Springwatch 2014’s 2.1 million/9% in May was behind 2013’s 2.5 million/ 11%, maybe because it was warmer and people were out in the spring sunshine, while winter’s Stargazing Live grew from 2013’s 2 million/7% to 2.4 million/9% in January. New arrival Lambing Live averaged 2.2 million/9% between 23 and 28 March at 8pm.

At 9pm, only Wednesday showed growth, powered by Line Of Duty’s 3.4 million/12% and Coast Australia’s 2.1 million/8%, ahead of 2013 documentaries such as Bankers (900,000/3%) and Funny Business (600,000/3%). BBC2 was down the rest of the week at 9pm. Monday had the biggest drop of 26%, fuelled by 2013’s drama Dancing On the Edge (2.4 million/9%) outstripping 2014 factual series such as Mind The Gap (1.5 million/6%) and The Plantagenets (1.6 million/6%).

CHANNEL 5 Channel 5’s 2014 Celebrity Big Brother series (3 million/11%) at 9pm/10pm was 8% up in share on 2013. Elsewhere, Monday enjoyed a 13% uplift, helped by Can’t Pay Won’t Pay’s 2.2 million/9%, The Big Benefits Row (2.6 million/9%) and a run of single documentaries (Conned, Fleeced And Left For Broke’s 1.2 million/4% on 31 March was the best), outperforming 2013’s Robson Green’s Extreme Fishing (1.1 million/4%). Thursday’s The Hotel Inspector (1.6 million/6%) was just ahead of 2013 (1.5 million/6%), but Trauma Doctors’ 1.2 million/5% was down 20%, contributing to a 5.8% decline at 9pm. C5 has some issues at 8pm, with double-digit declines from Wednesday to Friday. Wednesday’s poor showings for Killing Spree and the Minute By Minute series (both achieving 910,000/3.9%) contributed to a fall of 18.6%.

audience data system

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Behind the Scenes Utopia

Turning real life into a conspiracy thriller To wrong-foot viewers, Utopia flashes back to the 1970s for series two’s opener, shot in 4:3, blending in news archive and turning up the oranges and browns. Olly Grant reports UTOPIA

Production company Kudos Film & TV Distributor Shine International Length 6 x 60 minutes TX 10pm, July, date TBC, Channel 4 Writer Dennis Kelly Director Marc Munden Producer Rebekah Wray-Rogers Executive producers Karen Wilson; Jane Featherstone; Dennis Kelly; Marc Munden Commissioners Piers Wenger; Sophie Gardiner DoP Lol Crawley Editors Luke Dunkley; Ben Lester Casting director Julie Harkin Location manager Richard Knight Sound design Tim Barker Music Cristobal Tapia De Veer Costume designer Marianne Agertoft Production designers Jennifer Kernke; Simon Rogers Make-up & hair designer Vicki Lang Summary The opening episode of the second series of the conspiracy thriller takes viewers back to the start of the story in 1979.

24 | Broadcast | 4 July 2014

riter Dennis Kelly has a refreshingly candid take on the opening of Utopia, series two. “All the way through we were looking at this and thinking: ‘This is either a really good idea or the worst we’ve ever had,’” he jokes. When Utopia landed in January last year, it was unlike anything else on TV: a vividly stylised, sometimes eyewateringly violent, conspiracy thriller. Given the singular set-up of series one, it was a fair bet Kelly wouldn’t play it 100% conventional with the recommission. He hasn’t. Rather than picking up directly after the finale, the new run opens with a self-contained prequel episode that looks and feels very different to the rest of the series. The entire hour is set in the 1970s, with period grading, retro 4:3 aspect ratio and liberal splashes of archive footage. The cast is new, from The Musketeers’ Tom Burke as Philip Carvel, creator of the graphic novel, to Rose Leslie (Ygritte in Game Of Thrones) as a young version of shadowy über-boss Milner (played in mature form in series one by Geraldine James). None of the regulars appear until episode two, when the present-day plot resumes. Kelly says the idea for a ‘year zero’ storyline emerged gradually from the original shoot. “I remember Becky [Wray-Rogers, producer] and Marc [Munden, director] talking about how much stuff there was in the back story, and how it was a shame we weren’t showing it. “I thought, ‘Well maybe we should’. It might be really interesting to start a series in a place that isn’t just a continuation of where you were.” Part of Kelly’s conceit for the prequel involves tying the origins of The

Network – the murderous organisation behind the ‘Janus’ virus – to a series of real-life events. “I started poking around and found out about one week in March 1979 when our government collapsed, the Three Mile Island nuclear accident happened and Tory MP Airey Neave was killed in a car bomb attack. Perfect for a conspiracy.”

Broadcaster support It’s all ingeniously conceived – though not quite what Piers Wenger and Sophie Gardiner were expecting when they greenlit the second run. “I suspect at first they probably thought: ‘That’s a stupid idea – go away and come back with a better one,’” says Wray-Rogers. She says there was some creative “to-ing and fro-ing” before the script was finalised but, ultimately, C4 was “utterly supportive”. “It’s unusual to remove the fanbase from everything they know and take them somewhere with a new cast. But what Dennis has written really resonates. It’s my favourite episode of the two series.” Munden has refined the style of series two (see box), but wanted to push a different look for the prequel. “It’s academy ratio, so it will go out in a square format on people’s TVs, but it also has a different colour palette with lots more oranges and browns,” he explains. This was partly inspired by the work of 20th century photographer John Hinde. “He took these great pictures of Butlins and nostalgic Ireland, where the colours are so heightened that they bleed into each other. So we’ve used a lot of secondary colour-correction, but in a way that’s slightly less dense, slightly more contrasty.” In post, Kelly threw Munden a budgetary curveball by setting the opening scene in Rome. “It was one of those things where you think: ‘This will go unless we can find a cheap way

‘The idea of trying to top yourself the whole time just leads to bad sequels, bad writing and bad programme-making’ Dennis Kelly, writer

of doing it’,” Munden reflects. “But I loved it so much that I was really determined to make it work. So I said, idly, that we should shoot plates of Rome, then film the rest in a green screen studio. To my surprise, everyone agreed.” During the shoot in Leeds, Munden storyboarded the required shots in Leeds United Football Club’s car park, with chairs doubling for actors. He then dispatched DoP Lol Crawley and a small camera unit to Rome for the plates. “They went to the Trastevere square and shot throughout the night, in precisely the points where we could put foreground plates on later.” Six weeks on, Munden filmed the full scene in a warehouse, with Burke and Leslie framed by strategicallyplaced cobblestones and a green screen. “We used Soho firm Shadowjack for the VFX and it looks bloody www.broadcastnow.co.uk

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

Utopia: Tom Burke as the 1970s Philip Carvel; below: young Jessica; John Hinde photograph; far left: young Pietre

Utopia the opposite of ‘real’ Symmetrical framing, Roman Polanski references and lashings of yellow: the visual style of series one was as arresting as its content. “As lenses and equipment get more sophisticated, film-makers are getting closer to a very ‘real’ look – but I wanted to do the opposite of that,” says Marc Munden, who directed the first three episodes of both series. “I wanted to create a world that felt recognisable in its issues and characters, but also heightened and delirious.” This was partly achieved by inverting the usual red-greenblue colour model during the grade. “Our palette is constructed from yellow, cyan and magenta, which gives the film this brightness, like a Doris Day movie. We’ll key turquoise or cyan into the skies, for instance, even on a cloudy day.” The team have tried to push this further in series two, adding a little more acid green to the spectrum. “We’ve definitely learned from series one in that regard,” Munden explains. “Our costume designer, Marianne Agertoft, will pick clothes that are more Marc Munden, director suitable, for instance. But there’s a limit to how much you can do or it starts looking totally artificial.” Munden shot on the Red Epic – principally because it films at 4K. “I can shoot wide and then reframe later in the cut; I don’t shoot close-ups at all. And I like to shoot wide anyway, because it gives us a more epic feel.” Constantly changing locations are also key to the show’s look, says producer Rebekah Wray-Rogers. “In series two, we shot on a mountainside for five days and in a hospital and a half-built hotel for a couple more, but on average we were moving once a day. That’s one of the reasons Leeds works for us, because it’s easy to get around and there’s an awful lot of variety there. “As much as possible, we like to be able to walk into a location and have all the key elements we require.”

‘I wanted to create a world that felt recognisable, but heightened and delirious’

excellent. You’d never believe we hadn’t been there.” Series one received flak for its violence, notably a torture sequence in which chillies and bleach were spooned into a character’s eyes. Kelly maintains that it was justifiable in context. “I thought Marc shot that scene incredibly sensitively, and there was no glorification in it. It was horrible to watch, but if you’re doing something like that, it should be horrible to watch.” And indeed, the prequel has moments to rival it. Yet Kelly says he has been careful to avoid upping the ante for its own sake. “If you get on that road of trying to go darker, faster, cooler or whatever, you soon become totally detached from the programme,” he says. “I understand that impulse, because you www.broadcastnow.co.uk

can become frightened of disappointing people. But the idea of trying to top yourself the whole time just leads to bad sequels, bad writing and bad programme-making. Obviously you want to make the show better. You don’t necessarily want to start thinking: ‘Oh, we pulled his eye out last time – I wonder what would happen if we pull someone’s toes off...’” Ultimately, Utopia feels like a genuinely original piece of film-making. And that should be an encouragement to the wider industry, says Kelly. “Too often, we sell ourselves short in British TV. There’s a danger that we just try to emulate things, or think: ‘Oh, that’s doing well – let’s do our own version...’ But, actually we make great TV in this country. We need to be bold and make things that don’t look like other series.”

Young Milner: played by Rose Leslie

4 July 2014 | Broadcast | 25

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Ratings Mon 23 June – Sun 29 June

Footie sees off Glasto Dolly Parton’s set gives BBC2 its highest rating of the weekend, but World Cup wins BY Stephen Price

At the beginning of my favourite doc series, Around The World In 80 Days, Michael Palin sets off from the lobby of The Reform Club, channelling that most Victorian and fictional of adventurers, Phileas Fogg. On Saturday, while at a party and before the incongruous sight and sound of a rock band got going, I stood on that very spot in the club’s vestibule and full of awe breathed: “Michael Palin stood here.” “So did Gladstone,” barked an adjacent member, unimpressed. The next day while watching Glastonbury, I mused: Gladstone was like Metallica, while Palin was more like Dolly Parton. OK, Metallica was a great headliner and all that, but Dolly Parton and her rhinestoned ‘Glast-on-Berry’ debut will probably linger longer in people’s memories. Meanwhile, the World Cup rumbled on with the last of the group matches. The week’s best afternoon match, and best of all, was BBC1’s coverage of Saturday’s Brazil v Chile epic, which averaged 7.7 million/ 45% from 4.30pm, peaking at 7.50pm on 12.2 million/56%. On Monday from 8.30pm, ITV’s Cameroon v Brazil averaged 5.3 million/27% (48,000 +1), peaking with 6.8 million/31% at 9.30pm. At 7.30pm, Coronation Street’s 7.1 million/35% (320,000 +1) was the best soap of the week. BBC1’s best of the evening was EastEnders’ 5.3 million/24% at 8pm. At 4pm on Tuesday, ITV’s coverage of Costa Rica v England averaged a predictably disappointing 5.7 million/39% (72,000 +1). 28 | Broadcast | 4 July 2014

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

Title

Day

Start

Viewers (m) (all homes)

Share %

Broadcaster/ Producer*

MOTD Live: Brazil V Chile Coronation Street Coronation Street Coronation Street Coronation Street BBC News World Cup Live: Costa Rica V England Antiques Roadshow EastEnders World Cup Live: Holland V Mexico World Cup Live: Cameroon V Brazil Emmerdale EastEnders Countryfile MOTD Live: Ecuador V France World Cup Live: Costa Rica V Greece Emmerdale Emmerdale World Cup Live: Colombia V Uruguay Emmerdale Wimbledon 2014 EastEnders ITV News & Weather ITV News & Weather Casualty ITV News & Weather The One Show MOTD Live: USA V Germany World Cup Live: South Korea V Belgium MOTD Live: Greece V Ivory Coast BBC News At Ten Watchdog BBC News At Six ITV News & Weather Celebrity MasterChef BBC News A Question Of Sport: Super Saturday Celebrity Catchphrase BBC News At Ten All Star Mr & Mrs BBC News At Six BBC News Mrs Brown’s Boys Celebrity MasterChef Holby City BBC News Love Your Garden The One Show ITV News & Weather BBC News At Ten

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

16.30 19.30 19.30 19.30 20.30 20.10 16.00 20.10 19.30 16.00 20.30 20.00 20.00 19.20 20.30 20.30 19.00 19.00 20.30 20.00 19.00 20.15 19.20 19.15 21.10 19.15 19.00 16.30 20.30 20.00 22.15 19.30 18.00 18.30 20.45 19.10 20.30 19.30 22.00 20.00 18.00 18.55 22.00 21.00 20.00 22.00 20.00 19.00 19.40 22.00

7.70 7.31 6.67 6.25 5.97 5.89 5.76 5.75 5.60 5.41 5.30 5.28 5.28 5.27 5.19 5.19 5.13 5.06 4.76 4.69 4.66 4.42 4.19 4.15 4.07 4.06 4.05 4.05 3.98 3.97 3.96 3.91 3.90 3.85 3.82 3.82 3.81 3.74 3.74 3.68 3.58 3.56 3.53 3.53 3.51 3.39 3.38 3.32 3.28 3.28

45.12 35.29 35.49 32.60 28.03 29.64 39.33 27.02 29.32 34.57 26.94 26.11 24.14 26.70 26.97 29.98 28.24 29.17 24.54 22.70 25.06 21.12 21.99 23.72 17.98 24.01 23.68 29.03 21.01 20.86 22.39 20.55 25.83 22.04 18.94 21.09 18.83 18.64 19.49 18.72 24.00 18.31 17.71 16.72 17.13 16.12 17.56 18.30 17.06 16.49

BBC1 ITV ITV ITV ITV BBC1 ITV BBC1 BBC1 ITV ITV ITV BBC1 BBC1 BBC1 ITV ITV ITV ITV ITV BBC1 BBC1 ITV/ITN ITV/ITN BBC1 ITV/ITN BBC1 BBC1 ITV BBC1 BBC1 BBC1 BBC1 ITV/ITN BBC1/Shine TV BBC1 BBC1 ITV/STV Productions BBC1 ITV/CPL Productions BBC1 BBC1 BBC1/Boc-Pix/RTÉ BBC1/Shine TV BBC1 BBC1 ITV/Spun Gold TV BBC1 ITV/ITN BBC1

Figures include HD and +1 where applicable

Brazil V Chile

Alison Steadman’s Shetland www.broadcastnow.co.uk

All BARB ratings supplied by: Attentional

Source: BARB

51 51 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 77 79 80 81 82 83 83 85 86 87 88 89 90 91 92 93 94 95 96 97 97 97 100

Title

Day

Start

Viewers (m) (all homes)

Share %

Broadcaster/ Producer*

The National Lottery: Break The Safe BBC News At Six Tonight: Rise Of The Super Rats BBC News At Six ITV News At Ten & Weather World Cup Live: Nigeria V Argentina World Cup Live: Holland V Chile ITV News At Ten & Weather The One Show ITV News & Weather Panorama: Britain’s Homeless Families The Graham Norton Show It’ll Be Alright On The Night Benidorm The Chase Wimbledon 2014 New Tricks BBC News At Ten Benefits Britain: Life On The Dole BBC News ITV News At Ten & Weather Question Time The Cube: Celebrity Special BBC News At One BBC News At One BBC News At Ten BBC News At One BBC News At One ITV News & Weather Alison Steadman’s Shetland One Born Every Minute Pointless Celebrities Glastonbury 2014 The Auction House The Chase Today At Wimbledon Gardeners’ World Catchphrase You’ve Been Framed! George Clarke’s Amazing Spaces Bargain Hunt ITV News & Weather Bargain Hunt The One Show A Cabbie Abroad Saturday Kitchen Live Wimbledon 2014 Bargain Hunt The Andrew Marr Show BBC News At One

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

21.10 18.00 19.30 18.00 22.00 16.00 16.00 22.00 19.00 18.30 19.30 22.55 21.00 21.00 17.00 13.00 21.00 23.10 21.00 22.30 22.00 22.40 19.30 13.00 13.00 23.10 13.00 13.00 18.45 21.00 21.00 18.05 17.00 21.00 17.00 20.30 21.00 17.45 19.00 20.00 12.15 23.15 12.15 19.00 21.00 10.00 13.45 12.15 9.00 13.00

3.23 3.23 3.15 3.11 3.09 3.08 3.00 2.96 2.92 2.89 2.88 2.69 2.65 2.50 2.48 2.43 2.37 2.33 2.32 2.27 2.20 2.19 2.18 2.15 2.10 2.07 2.05 2.05 2.01 1.97 1.91 1.89 1.87 1.87 1.86 1.83 1.81 1.76 1.75 1.74 1.70 1.68 1.67 1.66 1.62 1.61 1.60 1.60 1.60 1.59

15.48 22.21 17.31 17.05 16.49 25.70 24.73 15.57 17.71 18.18 14.72 22.52 13.09 11.67 21.29 26.16 10.78 24.94 10.57 12.15 11.93 17.55 10.63 31.81 31.47 21.52 33.77 32.55 10.69 9.22 8.90 10.00 10.90 8.78 14.61 9.00 8.95 10.44 8.91 8.49 29.79 13.97 28.55 9.06 7.17 24.53 24.43 29.85 24.40 26.42

BBC1 BBC1 ITV BBC1 ITV/ITN ITV ITV ITV/ITN BBC1 ITV/ITN BBC1 BBC1/So Television ITV ITV/Tiger Aspect ITV BBC1 BBC1/Wall To Wall BBC1 C5 BBC1 ITV/ITN BBC1/Mentorn ITV/Objective Productions BBC1 BBC1 BBC1 BBC1 BBC1 ITV/ITN ITV C4/Dragonfly BBC1/Remarkable Television BBC2 C4/Dragonfly ITV BBC2 BBC2 ITV/STV Productions ITV C4/Plum Pictures BBC1 ITV BBC1 BBC2 BBC2 BBC1 BBC1 BBC1 BBC1 BBC1

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

Glastonbury 2014 www.broadcastnow.co.uk

George Clarke’s Amazing Spaces

From 8pm, BBC1’s coverage of Greece v Ivory Coast averaged 4 million/21%, the lowest peaktime match of the week. Opposite, ITV’s best was Love Your Garden at 8pm (3.2 million/17%; 140,000 +1), followed by Alison Steadman’s Shetland (1.8 million/8%; 165,000 +1). BBC1’s Ecuador v France match averaged 5.2 million/27% from 8.30pm, peaking at 6.1 million/28% at 9.25pm. At 8pm, ITV’s All Star Mr & Mrs netted 3.5 million/18% (140,000 +1), followed by a repeat of Benidorm (2.3 million/11%; 190,000 +1) On Thursday, ITV’s coverage of South Korea v Belgium from

‘The week’s best afternoon match, and best of all, was BBC1’s Brazil v Chile epic’ 8.30pm averaged 3.9 million/ 21% (42,000 +1), peaking at 4.9 million/23% at 9.35pm. At 8pm, BBC1’s Holby City achieved 3.5 million/17%, with ITV’s Emmer dale on 4.4 million/21% (331,000 +1) and C4’s George Clarke’s Amazing Spaces on 1.5 million/2% (240,000 +1). At 9pm, BBC1’s Celebrity MasterChef achieved 3.5 million/17%. On Friday’s World Cup rest day, Wimbledon stepped in with 4.7 million/25% at 7pm on BBC1. At 8.45pm, BBC1’s Celebrity MasterChef scored 3.8 million/ 19%. ITV’s best was Coronation Street’s 6.1 million/32% (170,000 +1) at 7.30pm. From 8.30pm on Saturday, ITV’s coverage of Colombia v Uruguay averaged 4.7 million/24% (43,000 +1), with a 6.1 million/33% peak at 10.45pm). On BBC1 at 8.30pm, Question Of Sport: Super Saturday netted 3.8 million/19%. On Sunday, ITV’s coverage of Holland v Mexico averaged 5.3 million/34% (78,000 +1) from 4pm, peaking at 9 million/44% at 6.50pm. On BBC2 between 5pm and 7pm, Dolly Parton belted it out to Glastonbury’s highest audience of the weekend: 1.9 million/11%. ITV’s coverage of Costa Rica v Greece averaged 5.2 million/30% (54,000 +1) from 8.30pm, peaking at 6.7 million/40% at 10.45pm. Best of the evening was Antiques Roadshow at 8.10pm with 5.8 million/27%.

See over for digital focus, plus channel and genre overviews 4 July 2014 | Broadcast | 29

Ratings Mon 23 June – Sun 29 June Channel Overview

C5 enjoys Life On The Dole BY Stephen Price

One of my earliest TV memories is seeing my dad study Percy Thrower on Gardener’s World and then rush out to the shed to look for a dibber like Percy’s. In among all the sport, it’s rather nice to see BBC2’s current dibbers have still got it. Elsewhere, benefits still had resonance for Channel 5, but BBC2’s hacking doc struggled. C5 scored a rare top spot for Benefits Britain: Life On The Dole at 9pm on Monday with 2.2 million/10% (150,000 +1). It was ahead of a repeat of Channel 4’s 24 Hours In A&E (800,000/4%; 150,000 +1) and the first of BBC2’s new two-parter Police Under Pressure (1.2 million/6%). C4’s best of the week was Wednesday’s One Born Every Minute with 1.7 million/8% (171,000 +1) at 9pm, ahead of BBC2’s quick-turnaround Panorama: Hacking: Power, Corruption And Lies, which managed just 800,000/4%, and C5’s The Hotel Inspector Returns (1.3 million/6%; 63,000 +1). BBC2’s best bit of non-event TV was Friday’s Gardener’s World at 9pm with 1.8 million/9% for 30 minutes. Opposite, C4’s 8 Out Of Ten Cats Does Countdown managed 1.2 million/6% (270,000 +1) for an hour, while C5’s Big Brother: Live Eviction achieved 1.2 million/6% (75,000 +1) over its 90 minutes.

Source: BARB

WEEK 26 Average hours per viewer Daytime share (%) Peaktime share (%) w/c 23.06.14 Peaktime share (%) w/c 24.06.14 Year to date Average hours per viewer Audience share (%) Audience share (%) 2013

BBC1 5.11 20.45 22.27 20.27 BBC1 5.69 21.86 21.06

BBC2 1.54 7.14 6.90 10.53 BBC2 1.65 6.32 5.75

ITV1 4.29 15.22 22.15 18.29 ITV1 4.10 15.77 16.25

C4 1.24 4.93 5.35 5.51 C4 1.48 5.70 5.84

Start

Viewers (m) (all homes)

Share %

30 | Broadcast | 4 July 2014

Total 23.94 100.00 100.00 100.00 Total 26.02 100.00 100.00

Top 30 bbc2, channel 4 and channel 5 Title

Day

Broadcaster

Benefits Britain: Life On The Dole

Mon

21.00

2.32

10.57

One Born Every Minute

Wed

21.00

1.91

8.90

Glastonbury 2014

Sun

17.00

1.87

10.90

The Auction House

Tue

21.00

1.87

8.78

BBC2

Today At Wimbledon

Thu

20.30

1.83

9.00

BBC2

Gardeners’ World

Fri

21.00

1.81

8.95

BBC2

George Clarke’s Amazing Spaces

Thu

20.00

1.74

8.49

The One Show

Fri

19.00

1.66

9.06

BBC2

A Cabbie Abroad

Sun

21.00

1.62

7.17

BBC2

Shopgirls: True Story Of Life Behind The Counter

Tue

21.00

1.54

7.21

BBC2

Wimbledon 2014

Sat

16.30

1.53

8.72

BBC2

Location, Location, Location

Tue

20.00

1.52

7.88

Glastonbury 2014

Fri

22.00

1.51

8.07

BBC2

8 Out Of 10 Cats Does Countdown

Fri

21.00

1.48

7.34

CSI: Crime Scene Investigation

Tue

21.00

1.45

6.81

C5 C4

Transformers

Sat

19.15

1.43

6.96

Today At Wimbledon

Mon

20.00

1.38

6.29

BBC2

The Hotel Inspector Returns

Wed

21.00

1.36

6.35

The Dog Rescuers

Tue

20.00

1.31

6.82

Today At Wimbledon

Wed

20.00

1.29

6.59

BBC2

Big Brother

Thu

22.00

1.29

7.24

Angry Britain: Work Rage

Mon

20.00

1.29

5.87

Big Brother

Mon

22.00

1.28

7.09

Big Brother: Live Eviction

Fri

21.00

1.27

6.48

Trauma Doctors: Every Second Counts

Thu

21.00

1.25

5.95

Big Brother

Tue

22.00

1.24

7.08

Police Under Pressure

Mon

21.00

1.23

5.62

BBC2

Big Brother

Sun

21.00

1.20

5.28

Today At Wimbledon

Fri

20.20

1.19

5.60

BBC2

Mock The Week

Thu

22.00

1.18

6.17

BBC2

Figures include HD and +1 where applicable

Multichannel 38.94

Launch figure for BBC2’s Shopgirls: The True Story Of Life Behind The Counter (Tuesday, 9pm)

Others 10.76 48.17 38.94 41.21 Others 12.08 46.42 47.06

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

daytime share (%) w/c 23.06.14

peaktime share (%) w/c 23.06.14

1.5m

C5 1.01 4.08 4.39 4.18 C5 1.02 3.93 4.03

BBC1 22.27

ITV 22.15 C5 4.39 BBC2 6.90 C4 5.35

Multichannel 48.17

910k

C4’s Beauty Queen Or Bust launched with around half the 1.7 million slot average (Thursday, 9pm)

BBC1 20.45

ITV 15.22

BBC2 7.14 C5 4.08 C4 4.93

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

Newsround Naomi’s Nightmares Of Nature Newsround Naomi’s Nightmares Of Nature Newsround Naomi’s Nightmares Of Nature Mister Maker Around The World Charlie And Lola Naomi’s Nightmares Of Nature Andy’s Dinosaur Adventures

Top 10 Factual programmes

Day

Start

Viewers (Age 4-15)

Share (%)

Channel

Mon Mon Wed Wed Tue Tue Sat Sat Thu Fri

07.40 07.45 07.40 07.45 07.40 07.45 10.05 10.35 07.45 16.30

188,000 187,700 168,300 162,300 160,900 159,900 158,200 157,100 149,500 148,800

21.69 18.39 15.92 14.81 17.55 15.18 15.10 15.03 14.39 14.60

CBBC CBBC CBBC CBBC CBBC CBBC CBeebies CBeebies CBBC CBeebies

Naomi’s Nightmares Of Nature

Title

Casualty Holby City New Tricks CSI: Crime Scene Investigation Midsomer Murders Midsomer Murders Lewis Midsomer Murders Foyle’s War Doc Martin

UP Question Of Sport: Super Saturday gains 1.1m

Start

Viewers (millions)

Share (%)

Channel

Sun Thu Mon Tue Tue Fri Wed Mon Sat Sat

21.10 20.00 21.00 21.00 20.00 20.00 20.00 20.00 21.00 20.00

4.07 3.51 2.37 1.45 1.22 1.12 1.10 0.99 0.84 0.82

17.98 17.13 10.78 6.81 6.03 5.45 5.36 4.53 4.21 4.08

BBC1 BBC1 BBC1 C5 ITV3 ITV3 ITV3 ITV3 ITV3 ITV3

MOTD Live: Brazil V Chile World Cup: Costa Rica V England World Cup: Holland V Mexico World Cup: Cameroon V Brazil MOTD Live: Ecuador V France World Cup: Costa Rica V Greece World Cup: Colombia V Uruguay Wimbledon 2014 MOTD Live: USA V Germany World Cup: South Korea V Belgium

Viewers (millions)

Share (%)

Channel

Sun Sun Mon Wed Fri Thu Tue Tue Wed Mon

20.10 19.20 19.00 19.30 20.45 21.00 20.00 19.00 19.00 19.30

5.75 5.27 4.05 3.91 3.82 3.53 3.38 3.32 2.92 2.88

27.02 26.70 23.68 20.55 18.94 16.72 17.56 18.30 17.71 14.72

BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 ITV BBC1 BBC1 BBC1

1 2 3 4 5 6 7 8 9 10

A Question Of Sport: Super Sat Celebrity Catchphrase All Star Mr & Mrs National Lottery: Break The Safe The Graham Norton Show It’ll Be Alright On The Night The Chase The Cube: Celebrity Special Pointless Celebrities The Chase

UP All Star Mr & Mrs up 520,000

Day

Start

Viewers (millions)

Share (%)

Channel

Sat Sun Wed Sat Fri Fri Fri Sat Sun Thu

20.30 19.30 20.00 21.10 22.55 21.00 17.00 19.30 18.05 17.00

3.81 3.74 3.68 3.23 2.69 2.65 2.48 2.18 1.89 1.86

18.83 18.64 18.72 15.48 22.52 13.09 21.29 10.63 10.00 14.61

BBC1 ITV ITV BBC1 BBC1 ITV ITV ITV BBC1 ITV

DOWN Doc Martin falls 10,000

UP Antiques Roadshow rises 880,000

Top 10 Current affairs programmes Day

Start

Viewers (millions)

Share (%)

Channel

Sat Tue Sun Mon Wed Sun Sat Fri Thu Thu

16.30 16.00 16.00 20.30 20.30 20.30 20.30 19.00 16.30 20.30

7.70 5.76 5.41 5.30 5.19 5.19 4.76 4.66 4.05 3.98

45.12 39.33 34.57 26.94 26.97 29.98 24.54 25.06 29.03 21.01

BBC1 ITV ITV ITV BBC1 ITV ITV BBC1 BBC1 ITV

next week comedy and music & arts www.broadcastnow.co.uk

Start

Tonight: Rise Of The Super Rats

Title

DOWN Casualty loses 170,000

UP Holby City rises 1.2m

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

Antiques Roadshow Countryfile The One Show Watchdog Celebrity MasterChef Celebrity MasterChef Love Your Garden The One Show The One Show Britain’s Homeless Families

Day

Top 10 Entertainment programmes

Day

DOWN The Graham Norton Show drops 1.6m

Title

1 2 3 4 5 6 7 8 9 10

A Question Of Sport: Super Saturday

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

Title

1 2 3 4 5 6 7 8 9 10

Tonight: Rise Of The Super Rats Benefits Britain: Life On The Dole Question Time The Andrew Marr Show Crimewatch Roadshow Crimewatch Roadshow On Assignment Crimewatch Roadshow Crimewatch Roadshow Crimewatch Roadshow

Day

Start

Viewers (millions)

Share (%)

Channel

Thu Mon Thu Sun Mon Fri Wed Tue Thu Wed

19.30 21.00 22.40 9.00 9.15 9.15 22.35 9.15 9.15 9.15

3.15 2.32 2.19 1.60 1.23 1.19 1.17 1.13 1.08 0.97

17.31 10.57 17.55 24.40 26.38 25.46 7.50 25.92 24.65 21.80

ITV C5 BBC1 BBC1 BBC1 BBC1 ITV BBC1 BBC1 BBC1

See over for demographic and digital focus 4 July 2014 | Broadcast | 31

Ratings Mon 23 June – Sun 29 June Demographic Focus Channels

Source: BARB

Individuals Share (%)

Adults ABC1 Share (%)1

Adults ABC1 Profile (%)2

Adults 16-34 Share (%)1

Adults 16-34 Profile (%)2

Male Share (%)1

Male Profile (%)2

Female Share (%)1

BBC1

21.73

25.28

48.92

15.33

ITV

18.31

18.27

41.98

17.55

Female Profile (%)2

12.88

22.37

48.91

21.16

51.09

17.50

19.00

49.30

17.68

50.69 53.26

BBC2

6.50

8.79

56.88

4.90

13.76

6.39

46.73

6.59

5.04

5.07

42.27

6.12

22.14

4.52

42.61

5.52

57.40

4.41

4.00

38.13

4.41

18.23

3.30

35.58

5.42

64.42

ITV3

2.97

2.74

38.82

0.55

3.38

2.26

36.17

3.61

63.82

ITV2

2.26

1.81

33.71

3.77

30.47

1.68

35.32

2.78

64.69

1.76

1.68

40.17

4.83

50.23

1.65

44.74

1.85

55.24

Film 4

1.74

1.28

30.98

1.58

16.64

2.08

56.98

1.42

43.00

BBC3

1.55

1.43

38.81

3.25

38.33

1.71

52.46

1.40

47.55

Dave

1.49

1.30

36.83

2.31

28.37

1.85

58.95

1.17

41.08

ITV4

1.32

1.31

41.47

1.20

16.53

1.86

66.70

0.84

33.29

More 4

1.22

1.21

41.55

1.19

17.71

1.08

42.16

1.35

57.86

BBC4

1.03

1.43

58.51

0.37

6.52

1.09

50.42

0.97

49.59

5 USA

0.94

0.72

32.25

0.58

11.20

0.85

42.99

1.02

57.03

Sky 1

0.75

0.71

39.89

1.50

36.28

0.86

54.04

0.66

46.03

Yesterday

0.75

0.61

34.11

0.22

5.27

0.95

59.84

0.57

40.16

Drama

0.73

0.67

38.35

0.29

7.12

0.64

41.73

0.82

58.27

0.51

0.48

39.52

0.60

21.68

0.45

42.01

0.56

58.03

75%

Three-quarters of viewers of BBC3’s fact-based drama Murdered By My Boyfriend were female, up from the 53% slot average, on Monday at 9pm. It also skewed older: 25% were over 65, up from the 13% average.

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

Digital focus

BBC3 scores a drama hit BY Stephen Price

The trouble with the iconic Arena bottle bobbing along to Brian Eno’s ethereal music is that it makes me want to rush off on a voyage. Still, those who hung around on Sunday saw a doc about a US magazine, while BBC3’s timely drama drew big numbers across the week. BBC3 drama Murdered By My Boyfriend achieved 780,000/3.6% at 9pm on Monday. The best of its six repeats was Thursday at 10pm’s 464,000/3%. Altogether, the repeats added another 1.5 million to deliver a total of 2.3 million over the week. On Sunday, BBC4’s Arena: The 50 Year Argument – The New York Review of Books, directed by Martin Scorsese, achieved 147,000/1% from 9pm for 100 minutes. The best performer of the week was again E4’s The Big Bang Theory on 1.4 million/7% on Thursday at 8pm. ITV4 benefited from the final World Cup group matches with its best, Croatia V Mexico, on Monday at 8.30pm: 840,000/4.2%. 32 | Broadcast | 4 July 2014

Source: BARB

digital homes

Top 30 multichannel programmes Title

1 2 3 4 5 6 7 8 9 9 11 11 11 14 15 16 17 17 19 20 21 22 23 24 25 25 25 25 29 30

The Big Bang Theory Midsomer Murders Midsomer Murders Lewis Hollyoaks Midsomer Murders Glastonbury: Ellie Goulding How I Met Your Mother Hollyoaks Hollyoaks WC: Croatia V Mexico The Only Way Is Essex Foyle’s War Doc Martin Hollyoaks Glastonbury: Paolo Nutini Glastonbury: Ed Sheeran Murdered By My Boyfriend The Only Way Is Marbs MOTD: Japan V Colombia Hollyoaks Only Connect WC: Italy V Uruguay Glastonbury: Elbow The Big Bang Theory Nanny Mcphee… Big Bang The Big Bang Theory New Girl Glastonbury: Black Keys Foyle’s War

Figures include HD and +1 where applicable

Day

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

Start

20.00 20.00 20.00 20.00 19.00 20.00 21.00 20.30 19.00 19.00 20.30 22.00 21.00 20.00 19.00 21.00 19.00 21.00 22.00 20.30 19.00 20.30 16.00 21.00 19.00 17.50 18.30 21.00 20.00 20.00

Viewers (millions)

Share (%)

Channel

1.41 1.22 1.12 1.10 1.06 0.99 0.94 0.93 0.90 0.90 0.84 0.84 0.84 0.82 0.80 0.79 0.78 0.78 0.77 0.74 0.72 0.72 0.69 0.68 0.67 0.67 0.67 0.67 0.66 0.65

6.84 6.03 5.45 5.36 6.41 4.53 4.15 4.59 5.29 4.95 4.16 4.36 4.21 4.08 4.41 3.89 4.02 3.55 4.19 3.82 4.17 3.28 4.87 3.37 3.51 3.53 4.04 3.11 3.17 3.14

E4 ITV3 ITV3 ITV3 E4 ITV3 BBC3 E4 E4 E4 ITV4 ITV2 ITV3 ITV3 E4 BBC3 BBC3 BBC3 ITV2 BBC3 E4 BBC4 ITV4 BBC4 E4 ITV2 E4 E4 BBC3 ITV3

Channels

Share (%)

BBC1 ITV BBC2 C4 C5 Total multichannel ITV3 ITV2 E4 Film 4 BBC3 Dave ITV4 CBeebies More 4 BBC4 5 USA Pick

21.73 18.31 6.50 5.04 4.41 44.01 2.97 2.26 1.76 1.74 1.55 1.49 1.32 1.26 1.22 1.03 0.94 0.89

Figures include HD and +1 where applicable

940k Ellie Goulding’s Sunday night Glastonbury set drew BBC3’s biggest audience of the week

www.broadcastnow.co.uk

All BARB ratings supplied by: Attentional

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

Title

Day

Start

Viewers (all homes)

Share %

Storage Hunters Storage Hunters Storage Hunters New Tricks Storage Hunters Storage Hunters Storage Hunters Storage Hunters Storage Hunters 24: Live Another Day Storage Hunters Storage Hunters Storage Hunters Storage Hunters Storage Hunters ICC World Twenty20 Storage Hunters Gavin & Stacey Storage Hunters Storage Hunters Storage Hunters Modern Family ICC World Twenty20 Gavin & Stacey Gavin & Stacey Gavin & Stacey Sin City Motors The Simpsons The Simpsons The Simpsons Storage Hunters Storage Hunters The Simpsons Bones Gavin & Stacey The Simpsons The Simpsons Gavin & Stacey The Simpsons The Simpsons Gavin & Stacey Storage Hunters Gavin & Stacey The Simpsons ICC World Twenty20 Gavin & Stacey Gavin & Stacey Football’s Funniest Moments Storage Hunters Gavin & Stacey Christmas Special

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

20.30 20.30 20.30 21.00 19.00 19.30 20.00 11.00 13.30 21.00 11.30 20.00 13.00 14.00 20.30 18.30 12.00 21.40 12.30 20.30 20.00 20.30 18.00 21.00 21.40 21.40 20.00 20.00 19.30 19.00 14.30 20.30 19.00 21.00 21.40 20.00 19.30 21.00 19.00 19.30 21.40 10.30 22.20 19.30 19.00 22.20 21.00 20.00 20.00 21.40

568,100 493,100 478,400 444,800 423,200 422,700 410,800 405,400 395,700 394,400 375,200 375,000 374,400 371,100 361,400 358,800 351,600 351,200 349,900 349,300 340,200 330,300 329,800 327,700 327,500 322,500 321,500 314,900 314,300 314,200 313,100 308,700 307,800 307,800 306,700 306,400 304,400 303,500 299,100 298,900 298,500 298,000 296,800 296,600 296,000 295,000 291,700 291,300 287,500 285,300

2.79 2.31 2.39 2.15 2.33 2.21 1.99 5.96 4.58 1.84 5.39 1.84 4.47 4.35 1.65 1.84 4.90 1.73 4.51 1.74 1.77 1.51 1.81 1.55 1.60 1.59 1.67 1.64 1.64 1.90 3.53 1.45 1.80 1.44 1.51 1.50 1.62 1.45 1.65 1.53 1.42 4.53 1.75 1.63 1.63 1.60 1.29 1.42 1.31 1.58

Figures include HD and +1 where applicable

Storage Hunters www.broadcastnow.co.uk

24: Live Another Day

Broadcaster/ Producer* Dave/T Group Dave/T Group Dave/T Group Drama/Wall To Wall Dave/T Group Dave/T Group Dave/T Group Dave/T Group Dave/T Group Sky 1 Dave/T Group Dave/T Group Dave/T Group Dave/T Group Dave/T Group Sky Sports 2 Dave/T Group Dave/Baby Cow Dave/T Group Dave/T Group Dave/T Group Sky 1 Sky Sports 2 Dave/Baby Cow Dave/Baby Cow Dave/Baby Cow Dave Sky 1 Sky 1 Sky 1 Dave/T Group Dave/T Group Sky 1 Sky Living Dave/Baby Cow Sky 1 Sky 1 Dave/Baby Cow Sky 1 Sky 1 Dave/Baby Cow Dave/T Group Dave/Baby Cow Sky 1 Sky Sports 2 Dave/Baby Cow Dave/Baby Cow Sky 1 Dave/T Group Dave/Baby Cow

65k

Sky Atlantic comedy Mr Sloane bowed out with a stronger figure than the previous week’s 48,000

Storage cleans up for Dave BY Stephen Price

Leopards, jaguars and tigers chase down their terrified prey with stealth, speed and power across majestic planes. In much the same way, apart from every single regard, blue-collar Americans hunt down their rather more static quarry by shouting. And this week, watching them do it proved to be popular on something of an epic scale. Elsewhere, 24: Live Another Day tried to barge in, while old New Tricks waved the flag for the non-stored. Of the top 50 this week, nearly half were Dave’s Storage Hunters. The best of its 21 entries was Thursday at 8.30pm with 568,000/ 3%, followed by Sunday’s 493,000/ 2% at 8.30pm. The least strong was Monday at 8pm with 288,000/1%. Altogether, Dave had 33 entries in the top 50 this week, including 11 episodes of Gavin & Stacey, the best of which was Thursday at 9.40pm with 351,000/2%. In among the cupboards, Drama’s New Tricks on Thursday at 9pm achieved 445,000/2%, the best non-storage show of the week. The best non-UKTV programme was Sky 1’s 24: Live Another Day, which achieved 394,000/2% on Wednesday at 9pm. The sixth episode of Sky Atlantic’s gothic Penny Dreadful achieved 221,000/1%, its lowest in the Tuesday 9pm premiere slot; 107,000 watched the three repeats. 4 July 2014 | Broadcast | 33

Ratings Mon 23 June – Sun 29 June

All BARB ratings supplied by: Attentional

Consolidated Ratings

Fargo no match for Homeland BY Stephen Price

According to Canadian ichthyologists, fish do apparently have memories. Worryingly, the study also found that some people believe their fish watch television with them. Next thing you know, science will discover that fish have little sitting rooms on the ocean floor where they recline in wingback chairs, puffing on cheroots and moaning that despite all these channels, there’s nothing on. This week, if the fish are so inclined, they could have seen Essex return and Chelsea leave, fretted about when Fargo will return or pondered the life of humans on the dole.

C4: Fargo Channel 4’s Sunday night drama import Fargo ended on 22 June at 9pm with a live rating of 1.4

Source: BARB

million/6%. After 494,000 recorded and watched, it finished on 1.9 million/8%. Overall, the series averaged 2 million/8%; the best the opener’s 2.6 million/10% on 20th April. Its average 16-34 adults rating was 465,000/10%, peaking with 27 April’s 614,000/13%. In the same slot last autumn, the third series of Homeland averaged a larger 3.1 million/11% and an average 16-34 audience of 687,000/12%.

C5: Benefits Britain: Life On The Dole Channel 5 has wrung much value out of the benefits debate (The Big Benefits Row: Live Debate averaged 2.6 million/9% on 3 February). But its biggest ratings winner so far is its current self-produced series Benefits Britain: Life On the Dole. On 16 June, the first episode achieved 2.8 million/11% after 432,000 recorded and watched. The second episode on 23 June pipped that with 2.9 million/12% after more than 500,000 watched

via PVR. It’s the second-best performer for the channel in 2014 behind Celebrity Big Brother’s 3.7 million/15% on 29 January.

ITV: The Only Way Is Essex ITV2’s The Only Way Is Essex returned for a 12th series with the now traditional Marbs special on Sunday 22 June at 10pm, scoring 1.6 million/8% after 616,000 recorded and watched. That’s more than any of series 11 in the spring. Its 448,000/25% of 16-24 adults was also the best of 2014, beating series 11’s finale (423,000/27%) on 2 April.

E4: Made In Chelsea

Total for the return of Channel 4’s Friday Night Dinner after 570,000 caught up

E4’s Made In Chelsea ended its latest series, the seventh, on Monday 16 June at 9pm with 1.4 million/6% after more than 517,000 recorded and watched. It was the second best of the 11-part series behind 2 June’s 1.5 million/8% at 10pm, when 751,000 recorded and watched. The final episode’s 438,000/20% of 16-24 adults was the best of the series.

Top 30 Consolidated Ratings: ranked by gain

1 2 3 4 5 5 5 8 8 10 11 11 13 14 15 15 15 18 19 19 21 22 23 24 24 26 27 28 29 30

1.7m UP The Graham Norton Show up 1.6m DOWN CSI drops 300,000

Title

Day

Start

Viewers (m) (all homes)

Share %

Gain (m)

Gain %

Casualty Coronation Street EastEnders EastEnders EastEnders The Big Bang Theory Celebrity MasterChef Game Of Thrones Holby City Coronation Street Celebrity MasterChef The Graham Norton Show The Only Way Is Essex EastEnders Criminal Minds The Hunger Games Emmerdale Friday Night Dinner 24: Live Another Day CSI: Crime Scene Investigation Modern Family Made In Chelsea EastEnders Fargo NCIS Emmerdale One Born Every Minute Bones Benefits Britain: Life On The Dole 8 Out Of 10 Cats Does Countdown

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

21.15 19.30 19.00 19.00 19.00 20.00 21.00 21.00 20.00 20.00 20.30 22.40 22.00 20.00 21.00 21.00 19.00 22.00 21.00 21.00 20.30 21.00 25.20 21.00 21.00 19.30 21.00 21.00 21.00 21.00

5.20 7.88 6.14 6.58 6.65 1.94 2.77 1.93 2.84 8.74 4.51 4.96 1.58 5.96 0.92 3.28 5.42 1.71 1.10 1.70 0.93 1.44 0.72 1.86 0.90 6.42 2.14 0.76 2.84 1.93

21.58 40.34 33.35 32.10 34.51 6.82 9.30 7.59 9.95 35.51 20.71 31.56 8.45 30.18 3.54 18.23 30.35 8.69 4.31 6.51 3.64 5.55 20.91 7.87 3.99 32.95 8.45 3.01 10.93 8.67

0.96 0.90 0.83 0.78 0.74 0.74 0.74 0.73 0.73 0.69 0.68 0.68 0.62 0.59 0.58 0.58 0.58 0.57 0.56 0.56 0.53 0.52 0.51 0.49 0.49 0.46 0.45 0.45 0.43 0.42

22.60 12.90 15.70 13.50 12.60 61.30 36.40 60.70 34.60 8.60 17.90 15.80 63.70 11.10 168.10 21.40 11.90 50.70 105.50 49.00 135.10 56.40 239.70 36.20 119.60 7.70 26.90 140.60 17.90 28.20

Broadcaster BBC1 ITV BBC1 BBC1 BBC1 E4 BBC1 Sky Atlantic BBC1 ITV BBC1 BBC1 ITV2 BBC1 Sky Living C4 ITV C4 Sky 1 C5 Sky 1 E4 BBC1 C4 Fox ITV C4 Sky Living C5 C4

Figures include HD and +1 where applicable

34 | Broadcast | 4 July 2014

www.broadcastnow.co.uk

NOW OPEN FOR ENTRIES For the second year running Broadcast TECH is on the hunt for the most talented under 30s working with technology

We’re looking for nominations for the brightest stars, with a proven track record of ambition and success. The winners will be invited to a prize-giving ceremony on 5 November and

celebrated in the 7 November issue. If your peers, staff or freelancers have been producing outstanding work over the past 12 months, now is your chance to show your appreciation.

2014 categories ● ● ● ● ● ● ● ● ● ●

VFX ENGINEER RUNNER SOUND TECHNICIAN - POST ONLINE EDITOR CAMERA OPERATOR SOUND TECHNICIAN - PRODUCTION COLOURIST LIGHTING TECHNICIAN PRODUCER

Entry deadline 7 August 2014 Email Jane.Maguire@mb-insight.com now to request your entry form NB: nominees must be under 30 on 5 November 2014

AWARDS NIGHT 5 NOVEMBER 2014, LONDON

AS PART OF THE BROADCAST PRODUCTION & POST FORUM

Off Cuts

Contact robin.parker@emap.com

Broadcast Digital Awards 2014

Broadcast digital awards 2014

All A twitter Well done @Chuffty [Warner Bros’ Martin Trickey, below] – not for winning a #BroadcastDigi award, but for “Best Use of @AdamBuxton” @alexjayling (Alex Ayling) BBCW YouTube channel manager

@bbcthree basically winning everything. I wonder if BBC1 +1 will have the same success next year. #BroadcastDigi

£4.99

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

Adam Buxton was back for a second year hosting the Broadcast Digital Awards last week, and he was on a mission. Noting that his rigid posture in last year’s winners photos made it look like he was in “the world’s worst game of Where’s Wally”, he tasked himself with striking a new pose for each of the 18 awards (see page 16 for the full range). Dressed in “boiler man” chic, Buxton treated the audience to some of his YouTube videos, gags

and observations, and led us in rousing cheers for every nomination for his favourite, Horse & Country TV. Elsewhere, Zai Bennett and team barely had time to sit down between each of their three trips to collect BBC3’s haul; we spotted rival magicians Troy and Ben Hanlin swapping tips; and if Made In Chelsea stars Ollie, Sam and Alex had a moment when they weren’t surrounded by female attendees, we weren’t there to witness it.

@farazosman (Faraz Osman) Creative director, Lemonade Money

Everyone be like “Soz you didn’t win at the #BroadcastDigi awards” and I’m all like “err, did you not see us be FIRST on the dancefloor.”

1 Adam Buxton, presenter of this year’s awards 2 Channel 4 chief creative officer Jay Hunt chats to Broadcast editor Chris Curtis 3 Jim Rosenthal, sports presenter 4 Nikki Sanderson, actress 5 Telegraph Hill founder Barry Pilling 6 Rochanne Squire and Dominic Young, IMG Sport Video Archive 7 The Nickelodeon team with their Best App award 8 BBC3 controller Zai Bennett and team celebrate their multiple wins 9 Made In Chelsea’s Alex and Sam get into the photobooth spirit 10 The awards dinner and 10 ceremony at The Brewery, London

@VickiLutas (Vicki Lutas) Senior content producer, Hollyoaks

Thanks to @AdamBuxton for the early nomination for @HorseAndCountry Channel of the Year 2015! #BroadcastDigi @JonaRippon (Jonathan Rippon) Head of programming, Horse & Country TV

“AMIRA offers the reliability you need when filming wildlife in remote locations, with its impressive dynamic range, in-built ND filters, instant variable frame rates and simple, intuitive form factor.” Cinematographer Susan Gibson (One Planet: Mountains and Grasslands)

TRuly CINeMATIC www.arri.com/amira

36 | Broadcast | 4 July 2014