Broadcast July 25th

www.broadcastnow.co.uk

25 July 2014

ANALYSIS

ROUNDTABLE

BEHIND THE SCENES

Page 5

Page 20

Page 24

BBC annual report: key points digested

What the rise of big data means for TV

Meet Channel 5’s blinged-up babies

Jane Lush returns to TV with Brucie

BY MATTHEW CAMPELLI

BY ALEXANDRA CHAPMAN

ITV has challenged indies to create up to four major male-skewing brands as it races to replace more than 100 hours of European and domestic football.

ITV director of programme strategy David Bergg said preparing for life without the Champions League, Europa League and FA Cup next year is a top priority.

Speaking at ITV’s Producers’ Forum in London this week, he revealed that losing the football rights will leave ITV with a 110hour hole in its schedule between 2015 and 2016.

Director of television Peter Fincham hinted at the strategy during Broadcast’s Commissioning & Funding Forum earlier this month, and Bergg stressed that “opportunity knocks” for producers.

Bergg added that ITV is on the hunt for shows that can help mitigate the loss of male viewers – a lucrative source of advertising revenue.

ITV wants “three or four” brands that can emulate the demographic of shows including Top Gear and The Gadget Show. Bergg also pointed to Channel 4 hit The Island With Bear Grylls, which pulled in male and female viewers in equal numbers earlier this year.

The Champions League, which will remain on ITV until May next year before moving to BT Sport, averages 4.4 million viewers a season. Some 2.7 million of these are male, of which 1.9 million fall into the ABC1 demographic.

“Football matches have provided us with very valuable audi-

Strictly Come Dancing commissioner and former Splash Media managing director Jane Lush is back in production with a Bruce Forsythfronted (below) BBC1 variety show.

The pair will be reunited 10 years after they launched Strictly together for a one-off special: Bruce Forsyth’s Hall Of Fame. It will be made by Lush’s new indie Kalooki Pictures alongside Hat Trick Productions, and marks her first step back into production since Splash went into administration at the end of 2013.

The format provides a stage for comedians, singers and actors to emulate their heroes through special performances in front of a live theatre audience.

Hall Of Fame will launch as a single programme later this year, but Lush hopes it will establish itself as a returnable brand.

It is Forsyth’s first show since the BBC announced in April that the 2013 series of Strictly was his last as full-time host. The corporation hinted at the time that other projects would be in the offing for the veteran presenter. ➤ See page 3 for more details

The Island With Bear Grylls: ITV wants shows with a similar demographic

Football matches have provided us with very valuable audiences David Bergg, ITV

ences to sell to advertisers and we need programmes that attempt to replicate the scale and profile of these male audiences,” Bergg said.

Top Gear was highlighted as a programme that “almost replicates the profile and volume of the football”, with an average audience of 4.8 million, 60% of which is male. However, Bergg warned against pitching imitations.

The programme strategy boss told the room of 300 producers

that ITV would be interested in “tough factual pieces, some comedy drama of a bawdy nature, sci-fi aimed at families, quiz shows with a comedic nature and youngskewing male action adventure”.

Potential slots to accommodate new shows include Tuesday evenings, where Champions League football currently airs, and Fridays at 9pm. There are also opportunities in Sunday early evening and post-news slots.

The challenge ITV faces in maintaining audience gender parity was laid bare when Bergg revealed that Harry Potter And The Deathly Hallows had been the channel’s most male-skewing offering this year, outside of football. ➤ For more on ITV commissioners’ wishlists, visit broadcastnow.co.uk

£4.99

ITV challenges indies to shoot for football gap

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

Bright ideas needed for Bloke TV ITV’s call to action is a chance to revisit a major TV challenge

I

s TV neglecting blokes? I ask because ITV is working hard to fill a 110hour gap in its schedule caused by the loss of FA Cup and European football – and relatively few shows spring to mind that could attract similarly maleskewed audiences.

ITV director of programme strategy David Bergg’s examples were good but obvious – Top Gear and The Gadget Show – and even Channel 4’s ordinary-blokes-

‘The challenge for producers is to deliver shows that are male-skewing without resorting to clichés’ fight-for-survival hit The Island With Bear Grylls delivered male and female viewers in equal measure.

There are rumours, in fact, that series two will feature an island entirely of women, or that two islands will be filmed simultaneously: one featuring a group of men and the other a group of women.

Either way, there’s every chance it’ll become a more obviously co-viewing format when it returns.

Perhaps it’s because women are easier to reach that the industry seems to superserve them. Discovery’s hugely successful TLC brand made its UK debut last April, and A+E’s Lifetime added to the competition in November 2013. And in just a few months’ time, ITVBe will become the latest femalefriendly channel.

It launches on 8 October with reams (pardon the pun) of TOWIE, and shows such as Dinner Date, Baby Wears Prada 2 | Broadcast | 25 July 2014

è The BBC has culled its entire in-house Panorama reporting team as part of wide-ranging job cuts across its news division.

è Sky has confirmed a deal to buy 70% and The Real Housewives Of Cheshire. Are there male equivalents?

Probably not. Channel 4 and Twofour’s Royal Marine Commando School (below) is probably the most obviously macho show airing at present, but its audience is only just made up of more men than women (53% v 47%). Interestingly, the average male audience for that slot is just 39%. Maybe the real question is why are blokes neglecting TV? And what can the industry do about it?

BBC Worldwide is launching Brit around the world (more a chaps’ channel than a Bravo-style lads’ station) and Dave has been a huge success for UKTV, although it seems to be edging away from its very obviously male-skewing roots.

Now, ITV’s call to action will hopefully set minds racing to try to crack the problem. The challenge for producers – in-house and indies alike – is to deliver shows that are male-skewing (or at least male-friendly) without resorting to clichés.

It’s something advertisers struggle with.

If you watch as much football as I do, you’ll be used to seeing blokey ads for BMWs and beer, but probably roll your eyes when there’s yet another inplay betting spot, with Ray Winstone’s ramped-up cockney tones imploring you to “have a bang on that”.

Instead, there’s now a greater need than ever for intelligent and engaging ideas that can help win over the elusive male viewers. ITV may have lost the football, but someone stands to win big with the right idea.

of Love Productions (maker of Bake Off, below) and is understood to have the option to acquire the remainder of the company after a period of several years.

è Tulisa Contostavlos is to open up about her Sun on Sunday sting in intimate detail for a BBC3 documentary from Shiver next week.

Ratings Top Five 1 The live broadcast of Monty Python’s final-ever performance on Sunday was Gold’s highest-rated show with 700,000 viewers.

2 Mentorn Media’s documentary about Britain’s Poshest Nannies pulled in 2m to ITV on Thursday.

Silver River two-parter Nick And Margaret: Too Many Immigrants? (below) averaged 3.1m for BBC1.

3

4 Wall to Wall Television’s Long Lost Family located 4.6m for ITV on Monday.

Channel 4 drama Utopia is averaging around 500,000, as the six-part series hit its halfway point on Tuesday.

5

Team Tweets è Clever ruse by the BBC? Media hacks holed up at the BBC Trust for the TV services review. Meanwhile, BBC News cuts being revealed now. @jake_kanter

www.broadcastnow.co.uk

News & Analysis

ITV to poll indies over CSR I would prefer to make real change without externally imposed quotas

BY Matthew Campelli

ITV will survey indies to gain a better understanding of working conditions and diversity in its programming supply chain as it bids to better reflect UK society.

The broadcaster’s director of television Peter Fincham said a “social partnership” strategy will be developed as a third element of ITV’s commissioning procedures, building on editorial and business affairs.

Speaking at the broadcaster’s annual Producers’ Forum, he said the first step in this process will be a YouGov survey. It will question indies on their corporate social responsibility (CSR) standards, with regard to how they pay staff and the social make-up of their workforce.

The research will be separate to ITV’s annual commissioning survey.

“We are not in the widget business, we’re in television. What we do collectively reflects the world we live in, and how we do it reflects the world we work in,” Fincham told a room of 300 producers this week.

“ITV is the first broadcaster in the UK to have the credit of a living

Peter Fincham, ITV

Fincham: YouTube survey will be first step in developing ‘social partnership’

wage employer, affirming our commitment to ending in-work poverty. If that’s what we’re paying within ITV, then when you make a programme for us we’d like you to do the same.”

Giving a flavour of the questions indies will be asked, he added: “Who do you employ? What opportunities do you create for new entrants? It’s all part of the social partnership.”

The former BBC1 controller said ITV’s output should aim to match the social make-up of the UK, where people from black, Asian and minority ethnic (BAME) backgrounds represent 14% of the population.

Production targets are off the table, however, with Fincham stressing he would “prefer to make a real change without externally imposed quotas”.

He confirmed that ITV’s commissioning team have been given objectives “to play a full part in maximising the growth of diverse talent and increasing diversity on screen” for the first time this year.

He added: “Diversity is a complex problem that nobody in this room can honestly claim that we’ve cracked. Can we, working together, make a genuinely sustainable difference? That’s a challenge we need to rise to.”

Separately, Fincham revealed that ITV has signed up to the Creative Diversity Network’s (CDN) commissioner training programme for BAME talent. The scheme will launch in the autumn and offer “experienced BAME professionals” 12 months of paid training within a television commissioning team.

It will be funded through CDN member Creative Skillset.

Lush reveals Kalooki plans after Hat Trick deal ➤ Continued from page 1 Jane Lush’s return to production was achieved after Hat Trick Productions managing director Jimmy Mulville helped her buy back Splash Media’s development slate from the indie’s administrator PCR last year.

Kalooki then signed a co-production deal with Hat Trick and Plum Pictures.

Lush told Broadcast: “We were passionate about the ideas that Splash had – there were ideas we had invested a lot of time in, and we didn’t want them to just lie fallow.”

She added that Have I Got News For You exec producer Mulville and his team are “brilliant” coproduction partners. The companies are already developing two www.broadcastnow.co.uk

There were ideas we had worked on for a long time and we didn’t want them to just lie fallow Jane Lush, Kalooki

Lush: developing two more projects

other projects, including a BBC pilot, which Lush is currently keeping under wraps.

She said Kalooki, which is also the name of rummy-style card game, would focus on popular factual, factual entertainment and pure entertainment.

Lush is running the company alongside former Splash creative director Badannie Gee and there are no plans to take on further staff at present. Kalooki’s registered office is in Elstree, but Lush is currently conducting most of her business out of Hat Trick’s Camden premises.

Splash produced series including Desperate Scousewives and A Farmer’s Life For Me, but cited a

downturn in the number of commissions and recommissions as the reason for its closure in November last year.

Kalooki’s first project, Bruce Forsyth’s Hall Of Fame, was ordered by BBC1 controller Charlotte Moore and entertainment con­troller Mark Linsey. Lush and Mulville are the executive producers, while Martin Dance is the series producer.

Linsey described Forsyth as “a legend of BBC1 Saturday night TV”, adding that it was “fantastic news that he’ll be back to host this exciting one-off special for us”.

Lush added: “I couldn’t be more excited to be working again with Sir Bruce exactly 10 years since we first embarked on the Strictly Come Dancing adventure together.”

25 July 2014 | Broadcast | 3

News & Analysis In Brief ITV appoints drama cover ITV has appointed Sarah Conroy as commissioning editor for drama to cover the maternity leave of Charlie Hampton.

Conroy joined the broadcaster earlier this month, reporting to director of drama Steve Nov­ ember. She will be tasked with developing new drama and over­ seeing existing series such as Mr Selfridge and Scott & Bailey.

Coyle left off Trust list Acting BBC Trust chair Diane Coyle (pictured) has failed to make the shortlist to take the position on permanently.

Coyle, who temporarily replaced Lord Patten following his resigna­ tion in May, confirmed she had applied for the role in June. But the Department for Culture, Media and Sport has decided not to progress her application, with Lord Coe remaining the favourite.

C4’s Doble to join R1 Channel 4 News’ multiplatform head Anna Doble plans to take Radio 1 Newsbeat to the “next level” when she joins the BBC music station later this year.

Doble will join Radio 1 in Sep­ tember as assistant editor after 10 years at C4 News producer ITN. She will work with editor Louisa Compton to grow the reach of the Radio 1 and 1Xtra news service.

Netflix ups local focus Netflix is to increase its focus on local producer relationships as it continues with its inter­ national expansion plans. The VoD service recorded its slowest quarter of international growth in a year, generating 1.1 million net subscriber additions over the three months to 30 June, but the business is predicting improved growth driven by launches in new territories. Chief creative officer Ted Sarandos told inves­ tors that as Netflix continues to expand globally, it is vital to keep at least 20% of content local.

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

Unions ready to fight BBC over news redundancies

BY Alexandra Chapman

The BBC may have averted a strike during the opening of the Commonwealth Games this week – but it faces a fresh threat of industrial action over job cuts in its news division.

Bectu assistant general secre­ tary Luke Crawley said the union will look to ballot its members if the BBC does not make efforts to redeploy staff facing redundancy in September.

Director of BBC news and current affairs James Harding told staff last week that 415 permanent roles and 100 part-time jobs will be slashed in a bid to save £48m a year. The BBC plans to create 195 new roles after the redundancies, resulting in a net reduction of around 220 jobs.

Staff face a “stressful summer”, according to one insider, because the BBC is yet to identify exactly who will lose their job. Consulta­ tion processes are now under way.

BBC employees set to lose their job include Panorama’s in-house reporting team, which includes noted journalists such as John

Panorama: journalist John Sweeney among BBC News casualties

Sweeney and Paul Kenyon. The current affairs strand will rely entirely on freelance reporters.

Other areas under scrutiny include presenters on the BBC News Channel and BBC3’s 60 Seconds.

Crawley argued that staff “may be forced to take redundancy” as the opening up of new roles “com­ pletely undermines any meaning­ ful attempt at redeployment and is contrary to the agreements we have with the BBC on this issue”.

He added: “If the BBC is ignor­ ing the existing redeployment agreement, then we will look to

ballot our members and push for industrial action.” The joint unions, including the National Union of Journalists, met with the BBC on 24 July to discuss the matter.

The new dispute follows success­ ful efforts by the BBC last week to avert a 12-hour walkout on the opening day of the Commonwealth Games. It tabled a “significantly improved” pay increase of 2.5% to BBC staff for 2015. Bectu general secretary Gerry Morrissey argued: “We’ve had more movement from the BBC on pay in the past few days than we have in the past five years.”

BBC to hire champion for disabled talent

BY Alexandra Chapman

The BBC will recruit its first disa­ bility champion to its commis­ sioning team as it prepares a two-pronged plan to improve opportunities for disabled talent.

The corporation will advertise for a disability executive in September and the successful candidate will be tasked with quadrupling the level of disabled talent appearing in BBC output over the next three years.

The role will include responsi­ bility for championing disabled people and projects through devel­ oping new content, and bringing it to the attention of commissioners.

It is not dissimilar to the appoint­ ment of diversity champion Deena

Nikki Fox: BBC disability reporter

Saeed in April. She reports to BBC1 controller Charlotte Moore, but the BBC is yet to decide who will be the disability champion’s line manager.

The on-screen initiatives are in addition to existing plans to grow the BBC’s number of disabled staff to 5% of its workforce by 2017, from the current level of 3.7%.

The BBC also wants to double the number of senior managers with a disability over the next three years.

“A lack of apparent opportunities for progression has been identified by both BAME and disabled staff in the past 12-18 months,” the BBC said in its annual report this week.

The BBC Trust added: “We are concerned by the lack of progress in the employment of disabled staff.”

Under its plans to boost disabil­ ity representation, the broadcaster also announced last week that it would expand its six-month paidplacement Extend scheme for experienced disabled talent.

The action follows BBC News appointing Nikki Fox as its first disability correspondent. www.broadcastnow.co.uk

News & Analysis

BBC3 vision being finalised BBC daytime boss Damian Kavanagh to present formal plans to the Trust in a ‘few weeks’

BY ALEXANDRA CHAPMAN

A team led by BBC daytime boss Damian Kavanagh is due to present formal proposals on BBC3’s online move in a matter of weeks – but a BBC Trust decision on the channel’s future is unlikely to be made this year.

Kavanagh has been drawing up a strategy for BBC3 since April alongside a small team from across the corporation, including technology, social media and iPlayer executives.

They have been working on the radio floor of New Broadcasting House to give them the space to develop proposals in isolation from the rest of the BBC’s television staff. The BBC Trust expects the plans to be delivered in a “few weeks’” time, which would be in line with the original summer submission target.

Acting Trust chairman Diane Coyle made clear at a press briefing for the BBC’s annual report this week that its public value test will take six months. It means that

We must go faster and do as much as we can across all platforms Danny Cohen, BBC

People Just Do Nothing: BBC3 mockumentary made its debut online

BBC3’s future is likely to remain in limbo until 2015. BBC executive proposals would see the channel become online-only that autumn.

The Trust’s television services review last week argued that BBC3 is “yet to establish itself as an online destination” and is lagging behind rivals, such as YouTube and Netflix, in terms of its digital

innovation. This is despite building online engagement being part of its remit.

Director general Tony Hall said the findings were “not surprising”, while Danny Cohen added that improving the BBC’s online offering for young audiences is a major factor in the move – aside from the £50m worth of savings it will deliver.

BBC ANNUAL REPORT: THE STATS

£374m

Savings at halfway point of DQF

18.5 hours a week

£484m

314 hours

Indie spend fell £6m (1.2%)

BBC2 drama output more than doubled

Viewers spent 5% less time with BBC

53%

Support for licence fee up 10 percentage points since 2009

£2.27bn

19.9%

BBC Nations spend rose 4.2 percentage points on 2012/13

£194m

Total talent pay down 3%

£7m Cost of Savile review up £2m

www.broadcastnow.co.uk

“No broadcaster is where it should be digitally and to me this is an argument to go faster and to make sure we do as much as we can across all platforms,” the director of television argued.

Elsewhere, the BBC’s annual report revealed that audience appreciation and reach for BBC1, BBC2, BBC3 and BBC4 fell in the 12 months to the end of March.

BBC1 suffered the sharpest decline, as its Appreciation Index figures fell from 82.6 (out of 100) last year to 81.5 in 2014, amid postLondon Olympics blues.

The falls came against the backdrop of budget cuts across each of the channels, as the BBC reached the halfway point of Delivering Quality First (see box).

TV spend down 8%

16,672 Total public service headcount up by 138

Source: BBC Annual Report 2013/14

25 July 2014 | Broadcast | 5

News & Analysis

King Bert eyes ent push following BBCW tie-up

BY Peter White

King Bert Productions, the indie established by former BBC comedy boss Jo Sargent and comedians Miranda Hart and David Walliams, is eyeing a push into entertainment formats after striking a first-look deal with BBC Worldwide.

The production company was founded last April and is working on a number of funded developments for the BBC and other broadcasters. It will produce series starring Hart and Walliams, as well as lining up projects without them.

Among King Bert developments is a remake of The Generation Game with Hart for BBC1. Sargent, who was previously creative head of comedy at the BBC, would not discuss the show in detail, but the corporation confirmed in April that it was in talks over a series.

“We’re still working on a big entertainment format and there’s a huge opportunity to have Miranda at the heart of that,” Sargent hinted. “It’s warm and fuzzy.”

The indie has produced the second series of BBC1’s Big School, starring Walliams and Catherine Tate. It is also adapting Walliams’ novel Boy In The Dress for BBC1.

Gangsta Granny: Walliams and Hart appeared in the BBC1 comedy drama

Sargent, who has produced series including Absolutely Fabulous, Two Pints Of Lager And A Packet Of Crisps and Comic Relief, is now keen to work with other channels.

“I left the BBC to see what else was out there and shake things up a bit,” she said. “I wanted to work for different broadcasters in a slightly more commercial way, and to look internationally.”

The producer has two sitcoms in development with Channel 4 and is working on a project with young comedians Max and Ivan.

Sargent stressed that King Bert is not a vanity project for Walliams and Hart, who worked together on BBC1 comedy Gangsta Granny last year. “I was already developing things on my own and they are up for helping,” she said. “We’ve got a couple of funded developments that are nothing to do with them.”

BBCW’s deal with King Bert will guarantee the commercial arm a first look at global distribution rights to the indie’s projects in return for development funding and investment. ➤ See International News, page 11

Left Bank Pictures has continued to make inroads into the digital space after securing a deal to remake Sky 1 drama Mad Dogs (left) for VoD service Amazon Prime Instant Video. The project was initially developed as a mini-series for cable network FX last year, but it has now been taken on by Amazon, which has ordered a pilot from the Sony Pictures Television-owned indie.

The commission builds on Left Bank’s deal with Netflix for £100m, 20-part drama The Crown, which will trace the story of Queen Elizabeth II’s reign.

6 | Broadcast | 25 July 2014

Love develops projects for new stakeholder Sky Love Productions is understood to have up to two major projects in development with Sky after the pay-TV broadcaster acquired a 70% stake in The Great British Bake Off indie this week.

Given that Love specialises in factual and factual entertainment, it is likely the projects would have come via the team overseen by Celia Taylor, who this week had her head of factual role expanded to include entertainment commissioning.

Sky’s stake in Love, which was co-founded by Richard McKerrow and Anna Beattie in 2004, is the broadcaster’s first indie acquisition and is expected to be followed by more deals.

Sky’s ultimate investment in Love could run to more than £40m, based on Sky having an option to buy out the remainder in five years’ time.

Sky Vision will distribute Love’s series internationally, but the indie will remain a standalone operating division and will continue to make shows for other broadcasters.

This includes Channel 4, which has recently ordered Immigration Street and Make Leicester British, and is eyeing a second series of Benefits Street.

Love is also set to work with Taylor, who has been promoted to head of non-scripted commissioning, entertainment.

Taylor, who ordered series including An Idiot Abroad and Greggs: More Than Meats The Pie, replaces former head of entertainment Phil Edgar-Jones, who became director of Sky Arts in March.

Acting head of entertainment Chris Brogden will revert back to his role as an entertainment commissioner.

GBBO: back in August on BBC1 www.broadcastnow.co.uk

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Commissioning News

E4 takes Bad Robots to series

By Matthew Campelli

E4 has strengthened its comedy slate with a hidden-camera series in which people are pranked by machines such as photo booths and electronic road signs.

Objective Productions’ Bad Robots will be given a 6 x 30-minute run on the channel from the autumn, although the TX has not been confirmed.

The show features argumen­ tative vending machines, biased pub quiz machines and overly helpful service tills, which cause problems for their users.

The project was originally ordered for Channel 4’s online platform Blaps and Objective made four short-form Bad Robots.

When those were delivered, the decision was taken to commission it as a full TV series rather than play the shorts.

Objective head of entertainment Nathan Eastwood created the show and will executive produce with chief executive Andrew Newman.

The series is directed and produced by Paul Routledge and Ben Spiteri respectively.

BBC to develop screenplay

by Birdsong author Faulks The BBC is developing Sebastian Faulks’ first self-penned screenplay, On Green Dolphin Street, after Eleventh Hour Films picked up the rights to the book. The broadcaster is understood to be working with the indie, headed by Jill Green, on a 90-minute feature adaptation of the epic love story, which is set in Washington in the 1960s. Faulks is best known for his World War I novel Bird-song (pictured), which was adapted for BBC1 by Working Title Pictures in 2012.

Channel 4 Education orders youth-skewing slate Raw TV and Firecracker Films are among the indies to have 8 | Broadcast | 25 July 2014

Balls Of Steel: C4 show’s production company Objective is also behind hidden-camera series Bad Robots for E4

There is nothing more hilarious than the human spirit when confronted by a bad robot Nathan Eastwood, Objective

Eastwood told Broadcast the idea was conceived on a visit to China when he came across “a wind-up robot that looked really evil. I thought: ‘what if the machines went bad?’”

picked up commissions from Channel 4 Education for its new online hub Am I Normal. The broadcaster has ordered a raft of content covering youngskewing issues, including family and friendships, sex and relationships and online literacy, to air on its main channel and online. Knickerbockerglory, Factory Films and Nerd TV also won commissions.

Watch summons magician Mills for Objective series Psychological illusionist Katherine Mills is to perform mentalism and magic on Watch as the channel seeks to build on the success of Dynamo: Magician Impossible.

UKTV has greenlit the 4 x 60-minute series Katherine Mills:

He added that Bad Robots will have a coherent narrative that will link the hidden-camera sketches. One option is a story in which the original toy robot owns the factory that produces the misbehaving machines.

The show used advanced Toshiba cameras measuring 5 sq cm to meet C4’s HD requirement.

Bad Robots was greenlit by C4 assistant editor of comedy Laura Riseam and C4 head of comedy Phil Clarke.

“The strength of Bad Robots is the simplicity of the idea,” said

Clarke. “We interact with machines every day; we rely on them utterly and trust them implicitly.

“So what happens when the machines go bad? This show reveals there is nothing more hilarious and enduring than the human spirit when confronted by a bad robot.”

Mind Games from Objective and Crook Productions. The show will mix Mills’ mind-reading skills with her love of magic as she performs tricks on the public. She currently appears in CBBC series Help! My Supply Teacher Is Magic. Mind Games, which will air later this year, was commissioned by Watch commissioning editor Hilary Rosen and general manager Steve North.

and the type of people who work for them.

For details of all commissions, see

http://greenlight.broadcastnow.co.uk

Tulisa to reveal story of Sun sting in BBC3 film Tulisa Contostavlos (below) will open up about her Sun on Sunday sting in intimate detail for a

Sky Living ob doc follows the lives of billionaires The lifestyles of the rich and famous are to be explored by Remy Blumenfeld’s indie Thinking Violets in an ob doc series for Sky Living. The femaleskewing channel has ordered the 6 x 60-minute Billionaire Lifestyles (working title) to launch in the autumn. The series will follow a range of ultra-highnet-worth individuals and reveal some of the issues they face

BBC3 documentary next week.

Cameras have been following the former The X Factor judge since she discovered that she had been “entrapped” by the former News of the World investigations editor, Mazher Mahmood, last year. ITV Studios’ factual arm Shiver is producing the film, with Jonathan Levi authoring. www.broadcastnow.co.uk

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International News

BBC First eyes scripted drama

BY PETER WHITE

BBC Worldwide chief executive Tim Davie has revealed that global drama channel BBC First will offer UK indies major scripted opportunities after its launch this summer.

The channel, which has been compared to premium US cable network HBO, will debut in Australia next month on pay-TV service Foxtel. It will then be rolled out globally.

“One of the phases we’re now entering, which requires investment, is seeing the launch of the new channel propositions that play to the BBC’s strengths of very high-quality, UK-developed drama,” Davie told Broadcast.

“The vision of a strong, pay-TV channel means that the longterm opportunities [for British producers] are exciting.”

He added that director of scripted Liam Keelan is on the hunt for ideas with global appeal.

BBC First will launch with a number of titles, including Jimmy McGovern’s 7 x 60-minute Banished, which will also air on BBC2.

The co-production between RSJ Films and See Saw Films tells the story of a British penal colony in Australia and stars Being Human’s Russell Tovey and Ripper Street’s Myanna Buring.

The channel will also launch with series including The Fall, The Honourable Woman, The Musketeers and a number of one-offs from Sky’s Playhouse Presents strand.

The investment in BBC First was part of BBCW’s £200.6m content strategy for the year ending March 2014 – a pot of cash that increased £24.2m on 2012/13.

This is likely to increase again next year, but Davie declined to reveal by how much.

“My long-term goal is to grow and focus this business, and part of that will be continued increases in content investment,” he said.

The programming push also includes money pumped into other original commissions, such as BBC America’s John Simmfronted mystery drama Intruders (made by BBC Worldwide Productions) and wildlife series Wild Alaska and Oceans. www.broadcastnow.co.uk

Intruders: BBCW content investment includes original commissions such as John Simm-fronted mystery drama

Furthermore, it encompasses development and distribution investment for indies including Sanjay Singhal’s Voltage TV, Lesley Douglas’s Lonesome Pine Productions and King Bert Productions, which was set up by David Walliams, Miranda Hart and Absolutely Fabulous producer Jo Sargent (see page 6).

Sargent said that King Bert struck the agreement with BBCW this week because it wanted to explore international opportunities. “We increasingly need

funding from abroad to get stuff made,” she said.

Davie said BBC Worldwide would continue to compete for partnerships with indies, despite fervent competition from British super-indies and Hollywood studios.

“Clearly we are in an age of consolidation and the value of premium content has never been higher, but having said that, there are a group of people who see the attraction of working with a UKbased business that is driven by BBC values,” he added.

BBCW INTERNATIONAL PRODUCTION PLEDGE BBCW has vowed to continue to focus on growing its international production hubs, despite radical BBC plans to liberate inhouse producers to pitch to overseas broadcasters.

“We see an increasingly global market and the validity of having production bases around the world has never been clearer,” said Davie, making clear that the US and France are a priority for BBCW. He highlighted the success of BBC Worldwide Productions France, which has had Danse Avec

Les Stars (Dancing With The Stars) and Le Meilleur Patissier (Great British Bake Off, pictured) recommissioned. It has also landed deals to make local versions of Antiques Roadshow and The Great British Sewing Bee.

We are in an age of consolidation and the value of premium content has never been higher Tim Davie, BBCW

“We remain the biggest TV distribution business outside of the US, so rationally, we offer a good place [for producers to come] and we’re committed to people working with creative headroom, which is distinct from some US groups.”

Elsewhere, Davie reiterated BBCW’s intention to launch global versions of BBC Store after the download-to-own portal debuts in the UK in 2015. “We are building BBC Store with a mind to its international potential,” he said.

The chief executive picked up a bonus of £231,000 in the 12 months to the end of March. This was despite BBCW posting a 7% year-on-year fall in revenues to £1.04bn, and a 21.5% decline in pre-tax profits to £126.5m. This was against the tough comparative of 2012/13, however, when the sale of Lonely Planet delivered £35.7m to BBCW’s bottom line.

25 July 2014 | Broadcast | 11

Multiplatform

Barcroft sets sights on MCN Our plan is to become a premium MCN, where people watch quality films and shows

BY alex farber

Barcroft Media will invest hundreds of thousands of pounds into developing a premium multichannel network (MCN) after commissioning its first presenterled YouTube series.

The producer is planning to expand its existing channel, Barcroft TV, which has generated 500 million video views to date, with the launch of up to 10 genrebased channels in the next year.

One will be an entertainmentfocused motoring channel, while others are likely to include nature and extreme themes. The channels will be distributed via YouTube and seven international VoD platforms, including Japan’s GyaO! and China’s YouKu. Barcroft plans to commission short-form content from other indies to populate its network, bolstering the five to 10 videos it currently produces in-house each week. Revenue-share deals will also be struck with distributors for second-window rights to fulllength documentaries.

“Our plan is to become a premium MCN, where people come

Sam Barcroft, Barcroft Media

Top 5 Shorts: Alix Fox has signed up for Barcroft’s first presenter-led show

to watch quality films and shows as they would with Nat Geo, Vice or the BBC. We’re not interested in signing up some 12-year-old guitarist from Alabama,” said Barcroft Media founder Sam Barcroft.

“Increasingly, advertisers don’t want to reach any old casual viewer, they want to talk to people who are watching something proper.”

He added that operating a greater selection of tightly focused channels will appeal more to

advertisers. And while he is keen to nearly double Barcroft’s number of YouTube subscribers to 1 million, other measures are becoming increasingly important.

“Platforms are becoming more interested in dwell times and engagement levels, while the volume of video views is of less importance,” said Barcroft, adding that longer views result in better advertising revenue terms with the VoD platforms.

Former ITV online executive Adam Muddett has been hired as head of video production to help lead Barcroft’s push. He will work closely with former Bizarre magazine news editor Alix Fox, who has been hired as head of social to drive engagement with visitors.

Fox will also front Barcroft TV’s first presenter-led show Top 5 Shorts. The weekly round-up will feature Barcroft TV’s most popular and discussed content. “The show is partly a way to communicate more with our viewers and let them know about our plans,” Barcroft said.

Barcroft’s network is supported by mega-MCN Rightster, which acquired rival Base79 for £50m earlier this month. Rightster works with Barcroft to help serve its content and deliver advertising.

MTV UK trials Tunepics app for Geordie Shore BY alex farber

MTV UK is trialling fledgling mobile social network Tunepics for the current series of Geordie Shore.

The free iOS app allows users to post images that can be tagged with 30-second music clips, along with an ‘emotion wheel’ to express the way they feel about the post.

The Viacom-owned broadcaster has created a Tunepics profile, which it will use to post up to five images of cast members and key scenes from each episode of the eighth series of the Lime Picturesproduced show.

MTV UK vice-president of marketing, creative and publicity Jo Bacon said the social network had the potential to be “the Instagram of sound”.

12 | Broadcast | 25 July 2014

Geordie Shore: images from the show will be tagged with music clips

“The added ability of being able to add an emotional layer and a layer of music, which is a big part of our brand, makes it a valuable service for us,” she said.

“Pairing key editorial moments with tracks from the show captures the emotion of those moment and acts as short-form social bites.”

Bacon added that humour would play a vital part in the updates from the structured reality series, which returned to screens on Tuesday.

Geordie Shore already has a significant social media following, boasting 1.7 million Facebook fans, as well as 8 million Twitter and 4 million Instagram followers.

These will continue to be updated in conjunction with the show’s Tunepics profile, which has already attracted 2,500 followers.

“It is another tool in our armoury. As a youth brand, it is important for us to be where the opinion-formers are,” said Bacon.

“We go where our audience goes.

There is a lot of excitement around Tunepics and we intuitively feel it is going to grow.” www.broadcastnow.co.uk

TIC

£5

0

RESTORATION & ARCHIVE FORUM

KE

TP

+V RICE AT

2 September 2014, BFI South Bank, London

This one-day event focuses on the latest technological innovations, industry trends and developments in restoration and archive within the film and television sector.

Programme This event is a unique opportunity to gain insight into archiving and restoring content in the UK from industry leaders. The aim of the event is to educate and develop the skillset within this particular area of the industry, which is often under-served. Tickets are priced competitively to allow the event to be accessible to a broad range of industry professionals.

10.00 – 10.15 KEYNOTE OPENING 10.15 – 11.15 MAINTAINING ARCHIVES IN THE CONNECTED WORLD A panel discussion that looks at the most effective maintenance of the modern broadcast archive in an increasingly transmedia and multiplatform ecology.

■ What are the latest advances in automating the transfer, digitisation, logging and retrieval of assets?

■ How can we preserve and protect data-based assets?

11.30 -12.30 RESTORING CLASSIC BROADCAST ASSETS A high-profile case study that probes the challenges and demands of aspects of broadcast restoration.

■ What are the specific challenges in restoring old broadcast shows?

■ Where is the demand for remastered content coming from, how will it change through time as new formats and platforms are embraced by the consumer, and what is the best balance — in terms of quality and cost — between manual and automatic toolsets?

12.30 – 13.30 BREAK FOR LUNCH 13.30 – 14.30 BUILDING THE ARCHIVE A high-profile case study which focuses on a media archive project concentrating specifically on the challenges inherent in the monetisation of digital assets.

■ What are the potential pitfalls of digitising and establishing an archive?

■ What are the challenges in preparing for the current plethora of platforms for access and those in the future?

14.50 –15.50 FUTURE CHALLENGES IN FILM RESTORATION This session will investigate the boom in the area of film archive that has taken place in recent years and look at the prestige many countries feel in having their treasured celluloid assets preserved for future generations.

■ What is considered an acceptable resolution, bit depth and frame rate for futureproofing?

■ What are the best media management and storage solutions for effective restoration workflows? Does film still have a role to play?

15.30 – 16.00 CLOSING REMARKS

TO BOOK YOUR PLACE CONTACT | hannah.grix@mb-insight.com | 0203 033 2889 For sponsorship enquiries please contact: patricia.arescy@broadcastnow.co.uk, 020 3033 4287 | scott.benfold@screendaily.com, 020 3638 5050

Technology & Facilities Creative review

This Old Thing

Doctor Who promo

Commonwealth Games 2014

Post Films at 59 Client RDF Television West Brief Provide picture and audio post services for the Channel 4 show about shopping for vintage clothes.

How it was done Moving offline media between Films at 59 and London facilities Suite and Run VT was a challenge, but workflow supervisor David Cawte’s clear specification ensured the process was smooth and quick.

The finishing team – including colourist Tony Osborne, online editor and colourist Franz Ketterer, online editor and colourist Adrian Rigby and online editor and grade prep Jim Reynolds – built contrast and strong highlights to emphasise the natural light flooding in through workshop windows. The grade was split between Symphony and Nucoda to push the colours and vibrancy. Nucoda’s isolation tools were used to make the clothing ‘sing’ without creating unnatural flesh tones.

Watch it Wednesdays, 8pm, C4

Creative Red Bee Media Post Various Client BBC Brief Announce to the world that the new Doctor will land on 23 August, through the creation of a series of blockbuster moments to excite and enthral viewers.

How it was done Red Bee created a number of teasers, as well a clip-based promo for TV and cinema. Led by creatives Jason Thomson and Mina Patel, the team wanted a different look and feel to previous campaigns, so they made them “darker, edgier and more cinematic”.

The teasers were shot on a Phantom 4K at 500fps. Post was done by Framestore using Flame, while audio post was provided by Unit. The launch trailer was finished at Red Bee. Smoke was used by Prime Focus’ Paul Callaghan to grade and format the final version. Grand Central Studios’ Gary Turnbull looked after the audio.

Watch it Now across BBC channels

GFX and titles Jump Design Client BBC Sport Brief Reflect the fierce competition between nations and athletes’ world-class sporting prowess while reinforcing the BBC’s ‘Not So Friendly Games’ campaign.

How it was done Jump’s concept was to feature athletes performing within a highly stylised environment of Glasgow landmarks. Shot on Red, Jump captured athletes on green screen from some unexpected angles.

The titles also feature shots of athletes sourced from BBC Sport’s archive and the BBC’s marketing campaign. Each shot was rotoscoped before using After Effects to comp the footage into a bespoke Glasgow environment that was built in Cinema 4D. The final grade reflects the warm, inviting summer weather, combined with the industrial textures that allude to Glasgow’s history. Nicky Thompson was art director and Mark Fairless lead animator.

Watch it From Wednesday, BBC1

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

BBC S&PP puts back TV Centre return to 2017

Nativ hires Red Touch’s Ritchie for EMEA role

BBC Studios and Post Production (BBC S&PP) will not return to Television Centre until 2017. The BBC commercial subsidiary was due to move back to the redeveloped site in 2015, but BBC S&PP chief executive Anna Mallett said there were “strong financial, commercial and operational benefits for all parties in agreeing to change our return date”. Earlier this week, the BBC’s Annual Report revealed that BBC S&PP generated £29m of revenue from its new locations and smaller studio footprint in 2013/14, compared with £38m the previous year.

Nativ has recruited Red Touch Media’s Michael Ritchie (below) as head of sales for the Europe, Middle East and Africa region. In the newly created role, Ritchie will help to expand Nativ’s European client base. Nativ chief executive Jon Folland said: “Michael’s experience at Warner Bros, Autodesk and Vividas will be invaluable to Nativ as we continue to expand the customers of our media logistic platform across the EMEA region.”

14 | Broadcast | 25 July 2014

Onsight hands commercial post to Platform’s Rowan Onsight has appointed Platform Post’s Joanna Rowan to the role of commercial manager. Based at the

company’s new post facility near St Martin’s Lane, she will focus on sales and all commercial aspects of the business. Onsight chief executive Simon Craddock said: “With our new facility, Joanna’s commercial and post experience will be invaluable at this exciting time.”

Rowan was Platform’s commercial manager for around eight months and, prior to that, worked for Evolutions as business manager.

Drèsd joins tenants at Bristol’s Bottle Yard Sustainable TV and film setclearance firm Drèsd is the 11th company to join the tenant community at Bristol’s Bottle Yard Studios. Drèsd, which is headquartered at Pinewood Studios and has a warehouse facility in Essex, repurposes and recycles sets. Founder Lynn McFarlane (above right) said: “Alongside Drèsd’s core work of clearing sets

in a sustainable manner, at our new location in Bristol we’ll be offering a repurposing prop house, designand-build workshops for interiors and events, up-cycled set building, in-house creative workshops and training, as well as running apprenticeship schemes.”

PBS Media launches facility with 4K capability Jersey-based PBS Media is launching a 4K-capable post operation.

The new facility has three Avid suites with Sapphire VFX plug-ins alongside two Mac FCPX suites.

It also uses Dashwood tools for www.broadcastnow.co.uk

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

Video Europe merges with GLP to boost market share BY george bevir

Video Europe is to merge with frame-rate conversion kit supplier Galaxy Light and Power (GLP).

Video Europe hopes the deal will boost its share of the outside broadcast market. GLP has worked on events including Wimble­don, the London 2012 Olympics and Glastonbury, while its clients include CBS, NBC and ESPN. As part of the merger, the GLP brand will be dropped and chief executive Andy Grant will take on the role of technical director for Video Europe.

“We’re very excited about having someone so outwardly technical as part of the team,” said Video Europe business development director Terry Millard. “[GLP] is not just a dry-hire firm, it is very much hands-on and offers bespoke solutions for each project. That is why it is such a good fit for Video Europe.”

Millard described GLP as “the world’s largest supplier of high-end colour correctors and

3D manipulation and DaVinci Resolve with a Tangent Wave control panel for grading, and has a Mac-based motion graphics suite. PBS Media was formed out of a 2013 merger between Hall TV, Rich Media and PBS Group, along with the 2014 buyout of Spike Productions. The investment in the new build and equipment, including merger costs, was in the region of £950,000.

Wimbledon: GLP has worked on events including the tennis tournament

standards convertors”, and said he hoped the deal would “open a few more doors” for Video Europe, which over the past 12 months has invested “millions” in flypack kit to service the OB market for events such as T20 cricket coverage in the Caribbean.

“While we operate in the same industry, the two companies have grown with different services. We hope that combining the two will

bring a variety of opportunities for both businesses,” Millard said.

Kit including For-A’s FT-One 4K Super Slow Motion Camcorder and its FA-9500 Multi-Purpose Signal Processor – for up, down and cross conversion – along with a Snell Archangel PH.C -HD restoration system, will be available from Video Europe as a result of the merger.

The deal is expected to be completed on Monday.

ERA launches VFX, TV and gaming division Lava

and will focus on end-to-end solutions that empower our clients to plan and produce their best work.”

IT infrastructure systems integrator ERA has launched Lava, a division that will focus on providing software and hardware for VFX, TV and gaming. Lava will be

Convergent Design begins to ship Odyssey7 kit Convergent Design’s Odyssey7 monitor and recorder is now shipping. Monitor functions include waveform, histogram, false colour, focus assist and pixel zoom. It captures HD video in ProRes 422 (HQ), including 1080/30p, 1080/60i and 720/60p. The company said future updates would expand the available frame rates and add other formats of compressed HD video recording. www.broadcastnow.co.uk

based in Soho and will have a presence at MediaCityUK in Salford, as well as in Canada. ERA head of business development David Fowler (above) will lead Lava as head of creative business. He said: “We’ve launched Lava to solve real problems, not force-fit technology.

We’re taking a different approach

MPC overhauls Data Calc Pro iPhone app MPC has revamped its Data Calc Pro iPhone app. It was developed

by MPC Data Lab and calculates the amount of storage required for each stage of a project, from pre-production to delivery. Luke Kneafsey, from MPC’s Data Lab, said: “The idea for the app was born out of our need to work with the vast array of new digital cameras and the variety of codecs they record.”

Sohonet signs multi-year deal with euNetworks Sohonet has signed a new contract with fibre network provider euNetworks. The new “multi-year deal” will see euNetworks’ fibre infrastructure extended to connect

TLS restructure leads to job cuts in post production The London Studios (TLS) has made a number of redundancies in its post-production team as part of a restructure at the ITV Studiosowned facilities business.

Broadcast understands that around 10 people in the technical and operations team have lost their job, although that figure could rise slightly.

A spokeswoman for ITV Studios said: “Following a detailed review of our post-production business, we have resized the operation to best support in-house production needs and those of the external market. The business is now a more cost-effective, streamlined operation, benefiting internal and external clients alike.”

The changes follow ITV Studios’ decision to adopt a more formal, procurement-driven approach to the way it selects post-production suppliers. Several sources have said they expect TLS to concentrate on providing post services for internal and external shows that use its entertainment studio facilities, but it is expected to retain the capacity to work across other genres.

50 of Sohonet’s client sites in the Soho and Chiswick Park area of London. EuNetworks is also delivering a core infrastructure ring for Sohonet, connecting all of its main points of presence in London, which it said would provide Sohonet with “further scalability and operating efficiencies”.

BBC set to end Red Bee promo production contract The BBC has opted not to renew its exclusive promo production contract with Red Bee Media.

Red Bee, which was acquired by Ericsson in May, has a contract to supply multiplatform promotions until the end of 2015. At the end of the contract, the BBC will take some work in-house, while indies will be asked to pitch for other projects. The broadcaster said the model would “balance in-house capability with a new, more open relationship with the market”.

25 July 2014 | Broadcast | 15

1996-2015: 20th anniversary 4 February 2015 | Grosvenor House | London

Now open for entries Entry deadline:

5 September 2014 Visit

broadcastawards.co.uk Entry enquiries and table bookings contact Dee Adeosun T 020 3033 2640 E dee.adeosun@mb-insight.com

For sponsorship enquiries contact Sonya Jacobs T 020 3033 2935 E sonya.jacobs@mb-insight.com

Categories - Best Entertainment Programme Sponsored by Fountain Studios - Best Popular Factual Programme Sponsored by The Hospital Club Studios - Best Documentary Programme - Best Daytime Programme - Best Pre-School Programme - Best Soap/Continuing Drama - Best Children’s Programme Sponsored by Dock10 - International Programme Sales Sponsored by Film London - Best Multichannel Programme - Best Documentary Series Sponsored by Procam - Best Drama Series or Serial Sponsored by 3 Mills Studios - Best Single Drama Sponsored by Elstree Studios - Best News/Current Affairs Programme - Best Independent Production Company Sponsored by The London Studios - Best Comedy Programme - Best Sports Programme Sponsored by SIS Live - Best Music Programme Sponsored by NEP Visions - Best Original Programme - Best Post Production House Sponsored by Avid - Channel of the Year

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Comment

Data will tell us the ‘what’ of the consumer journey, but it doesn’t give us any understanding of ‘why’ Sanjeevan Bala, Roundtable, page 20

Zetland House, 5-25 Scrutton Street, London EC2A 4HJ Editor Chris Curtis 020 3033 2718 Features Editor Robin Parker 020 3033 4202 News Editor Jake Kanter 020 3033 4205 Web Editor Alex Farber 020 3033 4204 Web Assistant Nicol Banin 020 3033 2775 International Editor Peter White 020 3033 4271 Technology and Facilities Editor George Bevir 020 3033 4207 Senior Reporters Alexandra Chapman 020 3033 2750 Andreas Wiseman 020 3638 5066 Reporter Matthew Campelli 020 3033 2608 Production Editor Dominic Needham 020 3033 4201 Group Art Director, MBI Peter Gingell 020 3033 4203 Head of Production and Art, MBI Mark Mowbray 020 3033 2817 Contributors Kate Bulkley, Stephen Price Group Commercial Director, MBI Alison Pitchford 020 3033 2949 Conference Director, MBI Charlotte Wheeler 07702 381809 Events Manager, MBI Mai Le 020 3033 2950 Sales Manager Sonya Jacobs 020 3033 2935 Business Development Director Patricia Arescy 020 3033 4287 Business Development Executive Donogh Hurley 020 3033 4232 Recruitment & Classified Manager Paul Martin 020 3033 4238 Sales Administrator Justyna Zieba 020 3033 2694 Marketing Executive Sheryl Rood 020 3033 2872 Production Manager, MBI Jon Cooke 020 3033 4296 Chief Executive, MBI Conor Dignam 020 3033 2717 Advertising Fax 020 3033 2604 Subscription Enquiries 01604 828706 Customer Services Email help@subscribe.broadcastnow.co.uk 0203 033 2620 The formula to email individual members of staff is: firstname.surname@broadcastnow.co.uk The formula to email individual members of staff with MBI after their job title: firstname.surname@mb-insight.com

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18 | Broadcast | 25 July 2014

Thrill of crossing finishing line Rudisha doc was worth 10 years of hard work, says Ed Sunderland

W

hen I told my friend Jim de Zoete about an Irish missionary, Brother Colm O’Connell, who coached Kenya’s Kalenjin tribe in middle-distance running, he suggested we take a trip to Kenya to track him down and see if there was a documentary in it.

It sounded like fun and I thought: “Why not?” Just one thing: I had no idea how to make a documentary.

It would take over my life for the next 10 years.

When we met him, we were struck by Brother Colm’s evolving and incongruous role: an amateur coach among the professionals; a religious man on the fringes of an intensely commercial and competitive world. Those juxtapositions were at the heart of our developing interest in the story. We knew we had to follow him as he coached the next generation.

When you have a subject you believe in, you can’t let inexperience stand in the way. One way or another, we felt compelled to tell this story, so at the start of April 2005, I quit my pre-television job, with no idea what I would do on my return.

We set out for the camp, armed with a DV camera, some basic sound equipment and a couple of books on documentary-making. One advised: ‘The first documentary you make, whatever you do, don’t shoot it abroad and don’t use archive.’ Ah. Too late.

As fate would have it, one of the young athletes who walked through the gates of St Patrick’s on day one – a shy, tall Maasai boy called David Rudisha – would turn out to be one of the greatest athletes on the planet.

I soon learned that these stories rarely make it to the screen, not just because the contributors live 6,500 miles away, but because with no guarantee of athletes reaching their potential, they’re too risky to produce.

Despite meeting various executive producers and commissioners over the years, trying to secure funding to complete the film proved impossible and we were forced to continue funding it ourselves.

There were long when periods we rued the huge distances and significant costs involved in simply getting to our shooting location, not to mention the difficulties of juggling filming commitments with home and work responsibilities.

But one advantage of making this over 10 years has been the opportunity to develop my film-making skills to a point where I could do justice to the film we set out to make. Starting it was the catalyst that set me on my own path in TV and I have been lucky enough to work on some great programmes and collaborate with some brilliant people.

David’s victory at the 2012 London Olympics – winning the 800 metres and breaking the world record – was the moment we knew we must finish it. I must have watched that race more than 100 times in the edit and it still has the same electrifying effect as when I saw it live on TV. We were finally in a position to deliver a film that captured David’s journey from the village to the world, and that is what finally enabled us to raise funds, partially through Jerusalem Production, run by the Sainsbury Family Charitable Trust, and the rest private investment. It still hasn’t quite sunk in that we’ve actually finished it, but I’m so proud that we have. ➤ Ed Sunderland is producer/director of 100 Seconds To Beat The World: The David Rudisha Story, which aired on BBC4 this week and is available on BBC iPlayer

‘I had no idea how to make a doc. It would take over my life for 10 years’

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Be flexible to retain talent

Comment TV industry has lost one of the good guys

TV can do more to stop talented women leaving the industry Neil Oughton pays tribute just when they reach their creative peak, says Kate Beal to colleague Mark Lowson

M

W1A: BBC comedy features female execs, producers and talent – but TV must do more to retain them

I

grew up with the assumption that being a successful woman with a sus­tain­able career in tele­vision was an achievable normality. My mother Jan Beal started out as a news copytaker in the 1960s and went on to achieve great things in a very male-dominated environment.

I’m not sure my daughter will feel the same.

My contemporaries and I are largely freelance and have no long-term career expectations.

After a recent panel discussion on women in TV at a top media university, I was surrounded by young girls telling me of their experiences.

They were excited to see a number of female speakers on the panel, but they surprised me in their assumption of a basic division that boys do the technical jobs and girls take on the production roles.

When these girls enter the workplace, thankfully they won’t face the old-school sexism that others have grown up with. Incidents ignored, or seen as part of the job, only 10 years ago are no longer acceptable. The line is clear and women are more respected by their male colleagues than ever.

Young women make great strides in TV and are encouraged to do so. Over the years, formal and informal mentoring of young women has made a real difference.

But it’s not just sexism, everyday or otherwise, that we have to overcome now in 2014 – it’s practicalities. This is where I think the major difference lies between my generation and my mum’s. www.broadcastnow.co.uk

It’s a challenge for a woman in her midthirties to have a family and keep working, especially if she is a producer/director.

Our predecessors had staff jobs, maternity leave and pensions. It’s tough to bring up a child amid the instability of a casual workforce with demanding filming schedules – but the peer-led organisation Media Parents can be a great help.

We need more flexible working hours, clearer, thought-out production schedules and job shares. None of this is ground‘We need more flexible working breaking – we just need to hours, clearer do more. When a woman hits production her mid-thirschedules and ties, she’s job shares’ in her creative stride. That’s when we need to retain talent – not lose it.

Ageism combined with sexism is still at play.

Women tend to leave the industry by the age of 50 and I wonder how much of this is by choice.

Over the past 10 years, I’ve watched my mum’s contemporaries have to fight for jobs they are more than qualified for.

Yet despite some of the setbacks, I believe we can make this current television landscape work, and some are already leading the way in suggesting improvements. My mum’s generation led the way too and we can continue to break that glass ceiling to achieve all they dreamed of. ➤ Kate Beal is managing director of Talent TV South

ark Lowson’s sudden death in a road accident in Aldershot on Sunday 13 July has robbed the UK broadcasting industry of more than just a young and talented sports TV director.

Quite simply, Mark was one of the good guys, whose gentle nature, warm personality and permanent smile touched all who met him.

Mark was 36 and had been freelance for a couple of years. He had just returned from the World Cup in Brazil, where he had been working as a co-ordinating producer for HBS, overseeing big-screen production at a cluster of venues.

Originally from Hull, Mark had learned his trade with us at Input Media, joining as a tech­ nician in May 2005. His ambition and passion to become a director were soon evident and he took every opportunity to develop his talent.

Mark progressed quickly and was soon visionmixing and directing across the full range of our portfolio. His big strength was his ability to get on with anyone and everyone. Our clients loved him and often asked for him to handle their projects. He had a gentle personality and a sincerity to match. But there was no mistaking the fierce ambition to succeed that burned within.

Mark left Input Media in late 2011 to work for Uefa as entertainment manager on Euro 2012, where he was responsible for all content and production on big screens within the competition venues in Poland and Ukraine. He returned to the UK as a freelance and continued to work with us frequently.

Everyone at Input Media and those who knew him at The FA, Uefa, HBS, Arsenal and Chelsea are saddened and shocked by his untimely death. He was a true friend to many and a great colleague to us all. We will miss him. ➤ Neil Oughton is managing director of Londonbased sports production company Input Media

Mark Lowson: missed by all who knew him 25 July 2014 | Broadcast | 19

Roundtable Demystifying AuDience DAtA

What big data means for tV How are broadcasters making use of new audience data to exploit opportunities and evolve their businesses? Broadcast assembled a roundtable of major players to debate the issues ROUNDTABLE THE PANEL Alex Farber Web editor, Broadcast (chair) Sanjeevan Bala head of data planning and acquisitions, C4 Bhavin Balvantrai head of research, omnicom (opera division) Matthew Hembrow Senior account director – media clients, Sap Rob Hobson Director of planning and insight, ItV Denise Parkinson Entertainment director, global and UK, the telegraph Andreas Pfingsten Media industry director, EMEa, Sap Margo Swadley head of audiences, bbC

‘Your analytics are only going to be as strong as the content you’re measuring’ Denise parkinson (pictured right) 20 | Broadcast | 25 July 2014

■ How have you gathered data over the past two years?

Sanjeevan Bala When Channel 4 started on this journey three years ago, we realised we needed a compelling consumer value exchange. So we created ‘The Viewer Promise’, an Alan Carr video that talks the audience through our two key principles. One is openness: we will tell our viewers what we’re doing with the data, how it’s used and how we get benefit from it. The second is controls: what the viewer can do in terms of deleting data and giving us permission to use it for third-party matching or to leverage commercial benefit.

Next, we did trials where we looked at the right point to ask for information, such as at registration. We trialled initiatives like giving viewers exclusive content and access to premieres before transmission, which drove quite significant registration. But the big shift was when we required a registration for any content older than 30 days. We now have about 11.5 million registered users – including more than half of all 16-24 year-olds in the UK. Rob Hobson ITV’s journey only started in earnest about 18 months ago, so we are a little bit late to the party, but we’re on a very similar path.

We identified the need to acquire firstparty data; that’s critical for us. Now we’re putting the systems in place to be able to interrogate that data.

Margo Swadley Voting on shows like Strictly Come Dancing has been one of the major ways the BBC has driven new registrations.

■ People are sharing more information about themselves online than ever before, but there are concerns about privacy and the ways in which companies are making use of this data.

How do you deal with this tension?

MS Audiences worry about

privacy, but they’re also willing to give data to get better information.

What will be interesting to see is how this tension plays out on social media. We want to use social media more as a source of audience insight and information – but I wonder whether people will continue to be quite as open and honest as they are now. At the moment, people say whatever is on their mind.

Andreas Pfingsten SAP is exploring the notion of a ‘fan community’ with French TV station Skyrock. It’s morphed from a music station into a social media community where people connect and converse. We’ve found that fan groups have much greater stickiness and you can listen in to what they’re saying. It could work for other publishers and broadcasters.

Denise Parkinson The Telegraph works with fanbases a lot. When we launched the film Fury, the press release about the star, Brad Pitt, went on social media and we got lots of incremental traffic to the site, which happens if you’re the only place for, or the original source of, that content. It all comes back to content being king.

Your analytics are only going to be as strong as the content you’re measuring.

■ Is there a danger of too much reliance on algorithms? How do you balance that with editorial judgement?

MS With us, there will always be an element of curation. Audiences want an expert opinion. The presenters are a major draw of the BBC’s Playlister app.

I can’t imagine going down a route of everything being done by algorithms.

DP Some marketers are walking away from CRM [customer relationship management] because it’s computers talking to computers. They’ve realised that they are not encompassing all the shades of the spectrum and the different customer groups, so they are putting in the human element. That’s where you start getting the real responses.

SB The data will tell us the ‘what’ of the consumer journey, such as how efficiently they are navigating through, but it doesn’t give us any

understanding of ‘why’. That’s when research colour – from panels, for example – becomes important.

AP Broadcasters want to create a very personal experience where customers feel at home, and they want to give this personal experience to millions of people. They need algorithms and mechanisms to simulate this personalisation, which, of course, cannot be really personal. But technology can do a lot, not only in terms of product recommendations but the entire experience, from the colours to the design.

We need to connect the front end – where the experience takes place – with all the data that broadcasters can accumulate on customers. That will help with this dilemma.

■ Do you think we’re going to see more shows like House Of Cards, where the commission draws heavily on research and algorithms?

MS The British creative process is different. The US has always been much more data-driven.

RH I wouldn’t rule out data being used in commissioning decisions in several years time. But Margo is right, the UK is different. It’ll be a sad day when we are basing commissioning decisions purely on hard data with algorithms and no human input.

SB You’re never going to get breakthrough hits based on historical data.

You’ll end up with homogenised, mediocre content. You still need that creative spark. I’m not convinced we’ll go that way. There may be opportunities around how we might schedule differently. That seems to be an area where we might be able to use data.

MS A different example of how we use data is Sherlock. We played on the chatter that had come out of social media, alluding to all the different hypotheses about how he survived the fall at the end of series two. That wasn’t to do with commissioning – it was already commissioned. It was to do with content, and having fun with it.

■ Are customers demanding more personalised services?

SB It may be due to the rise of the likes of Netflix and Lovefilm, but there’s ➤ www.broadcastnow.co.uk

photography by TheoDore wood

In association with

Debating the data: the roundtable panel

L-r: Denise Parkinson, Sanjeevan Bala, Andreas Pfingsten

Margo Swadley

Rob Hobson

L-r; Bhavin Balvantrai, Matthew Hembrow

➤ www.broadcastnow.co.uk

25 July 2014 | Broadcast | 21

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Demystifying Audience Data an almost inherent expectation that, once a customer has signed in, it should all be personalised. There’s an expec­tation that the landing page should be more relevant.

In some of the experiential trials we did for the relaunch of 4oD, we saw consumers expecting this personalisation, and when it wasn’t happening, we saw some friction. If customer expectations are not being delivered, it’s easy for them to go off somewhere else and look at an aggregated service.

DP Personalisation comes in if the consumer feels this content has been curated for them.

MS Yes, we are seeing the role of channel brands become much more important, to give confidence or make viewers feel ‘this is for me’.

We have ambitions to create a more personalised service using data, and we hope to develop more personalisation via the TV set because that’s still the biggest market, consumptionwise. But we need to make sure that we do it well and it doesn’t become a ‘bad’ experience because it’s not personal enough. n As increasingly personalised services are developed, what’s the impact on advertising strategies? Are they developing at the same rate?

Bhavin Balvantrai It’s tricky because when personalisation and privacy go wrong, it’s not broadcasters or publishers who take the flack, but the client. It’s the client’s logo and the client’s creative that you see. So this is really dangerous territory for brands to get involved in, and a lot of them are reticent to do so. When it goes wrong, it goes badly wrong.

However, as long as the tie-up between an advertiser and a broadcaster makes sense, and as long as the content that is served is relevant, it can be hugely effective. The more data advertisers have, the more relevant ads can be served. One client of ours that does it very well is Sainsbury’s.

What’s Cooking? on Channel 4 is a brilliant bit of content that is hugely effective for the client, and it’s been commissioned for a second series. It’s an AFP TV show that has successfully stretched to become an online portal. n Is targeted pre-roll part of this evolution?

SB There’s a greater demand for highly targeted, more niche, specialised interest-based or intent-based targeting. But the more targeted you go, the lower the volumes, so it’s a balance. www.broadcastnow.co.uk

L-r: Rob Hobson, Alex Farber, Bhavin Balvantrai, Matthew Hembrow

‘Until we get more rich audience data, we’re going to struggle to grow the market beyond what it is now’ Bhavin Balvantrai

n Do advertisers rely on broadcasters and publishers for information on the consumers they are targeting?

BB We don’t just buy time or a spot for advertisers; we buy an audience. It’s vital for us to know what audience we’re getting. Until we get more rich audience data, we’re going to struggle to grow the market beyond what it is now. n Is it tricky to marry all the different data sources? Is progress being made?

RH We’ve got different metrics for online and TV, which is causing a lot of confusion. On top of that, different broadcasters have different metrics. We’re talking apples and pears. If Barb consolidated these metrics, it would really help the whole industry.

BB Yes. We need a common currency between TV and online.

MS I sit on the Barb board and that is definitely the goal. Measuring the whole audience and experience will make a massive difference. Ultimately, we’d also like to know who watched the programme in whatever format, and then what they did online. That is harder, but it’s the next big thing that needs to happen. n Where is the broadcast industry in terms of data strategy? How do you see it developing over the next 12 to 18 months?

DP The Telegraph’s data is all displayed in real time and it’s determining what’s going to happen in print the next day because we know which stories are getting traction. Using the information we get from social media

is our big emphasis. Twitter is our newsstand now. We’re in a great place in terms of gathering data and we’re working on the execution all the time.

It’s a growth process.

BB Technology companies like Netflix will always be better at data than broadcasters but ad agencies’ partnerships with broadcasters will always be stronger. As long as broadcasters can come to us with insights and solutions from data we can take to clients and talk about – be that advertising solutions or pieces of research – then they’ll always gain traction with us.

RH ‘Big data’ has potentially been a bit over-hyped over the past couple of years. For ITV, it’s about keeping a watching brief and having the underlying capabilities in place.

SB Media is behind retail and other industries in data. Companies in these sectors are using data more widely across their organisations. We’re at the start of the journey, but the pace is definitely accelerating. Going forward, an organisation’s agility of response will become more important.

MS Our goal is to tell the story from the data now, in real time. The next challenge is to tell it from multiple sources. But let’s be clear, we are talking here about direct data.

The TV industry does an enormous amount of data analysis every day, and always has done. To say that this is the first time we’re going to do anything with audience data is crazy.

Direct data is a new element and it’s really captured imaginations, so I think we will get there quickly and be in a more advanced place than other industries.

25 July 2014 | Broadcast | 23

Behind the Scenes BLINGING UP BABY

How we delivered C5’s baby A killer title landed us the commission, but then came the hard part: helping potential contributors get over their fears about being ‘stitched up’ on TV, says Ian Lamarra BLINGING UP BABY

Production company Alaska Commissioner Ben Frow Length 1 x 60 minutes TX 9pm, Monday 28 July, Channel 5 Producer/director Melissa Mayne Executive producers Chris Fouracre; Ian Lamarra Post In-house at Alaska Summary Documentary on parents who give up everything to ‘bling’ up their kids and the specialist shops that provide what they want: from Ferrari pedal cars to DKNY nappies.

Ian Lamarra Tricks of the trade ■ When budgeting, work

out how long you think you can afford to spend casting, then double it.

■ Get your casting team out of the office and on the road as soon as possible.

■ Make sure your casting team are across the entire shoot. If they gain the confidence of a contributor and then disappear from the production, you run the risk of the contributor disappearing too.

■ Aftercare is so important. Make sure you keep in contact before and after TX.

24 | Broadcast | 25 July 2014

Ian Lamarra Creative director and co-founder, Alaska

A

s Ben Frow said in a recent Broadcast article (‘How to come up with a killer title, Broadcast 20.06.14), Blinging Up Baby was indeed commissioned on the title.

It was one of those ’80s movie-style moments you rarely get as a producer, when you hear the mythical “I’ll take it” right there in the pitch.

It was the antidote to previous experiences of spending months or years rewriting the same document to make it noisier/less noisy/faster/ harder/smarter/dumber/caffeine free/now with added caramel.

I walked out of Channel 5, down Lower Thames Street feeling like a cross between Gordon Gekko and Alec Baldwin’s character from Glengarry Glen Ross (this is the reason there’s a pub across the road from Channel 5, I reckon). Then it hit me.

How do we make this?

Assembling the cast This type of programme begins with characters. Identifying a ‘world’ is the easy part of the creative process for popular documentaries and, luckily, that bit is my job.

Finding, talking to and gaining trust from fascinating characters within that world is the hard bit.

I think we in Britain are starting to learn from the US that casting is a skillset all of its own, and that good casters can make the difference between gaining a commission and not.

It’s no longer good enough to throw the task to the general development team or a producer on downtime.

But just as we started the casting process, Channel 4’s Benefits Street hit the front pages, with some of its contributors claiming everything from being duped to being misrepresented.

Suddenly, more and more casters were coming back to tell us that no one was up for even talking to a TV person, saying they didn’t want to be “stitched up [their words] like those on Benefits Street”.

A big part of Alaska’s ethos is not to exploit anyone vulnerable or have a biased or ‘judging’ voice on popular

‘It’s no longer good enough to throw the task of casting to the general development team or a producer on downtime’ docs. And I honestly really liked the attitude of some of the people we approached; sort of “this is how I choose to bring up my kids, what’s it to anyone else?”. They are warm, kind, proud and honest people, and I think that’s what makes it a brilliant world and a great subject.

The casting team soldiered on. Our producer/director Melissa Mayne spent her entire time travelling to meet and stay with those who showed interest in being in the doc. She built bonds and removed the perception of ‘bad TV people’ in the process.

Mel is superb at this and thanks to her personal touch, it wasn’t long before we had our contributors.

Looking after your cast is the responsibility of every single company dealing with contributors. It’s easy to sell an idea with a shocking, mustsee concept or character, and to use all the charm in the world to talk them into doing it. But when all is shut and cut, freelancers have moved on and the programme finally airs, it’s vital to be there for your contributors, so they feel they can pick up the phone or chat something through.

The key thing about finding the right characters is that they are compelling and endlessly watchable.

You can see your hour and you know what the stories are. Suddenly the hour seems too short – the exact opposite of the worry coming out of the pitch.

Mel immersed herself in the world of her film and along with exec producer Chris Fouracre, she created a multi-layered story, driven by people’s experiences, full of characters you want to spend more time with after the credits roll.

Over the course of filming, Mel, the cameraman Dayve Hillman and the families developed a close bond; one child even referred to Dayve as “Dad” at one stage. I wasn’t sure whether to commend their relationship building or launch an internal investigation.

Plate-spinning exercise Making a show entirely about kids is hard; and it was harder still following a recent toughening up of the laws on filming children – not least as we were making a show based on the reliability and availability of real families and filming across the length and breadth of Britain. For Mel and her team, it was logistical plate-spinning.

At one point, she called the office from The Hungry Horse Hotel in Middlesborough saying she’d “either be in Ayr, Liverpool or Portsmouth” the next day. I remember wondering how she did it. (While pondering: who calls a hotel The Hungry Horse?)

It became clear that there was an appetite for Blinging Up Baby internationally when the press announcement attracted buyers from all over the world. Zodiak is distributing the doc (it did brilliantly with Firecracker’s My Big Fat Gypsy Wedding) and we’re confident that the finished film will do well and could travel as a format, which Zodiak has experience with through Gypsy Weddings.

It was our first film for Channel 5 and a great experience. And I think the film itself will surprise a lot of people with its heart and warmth. www.broadcastnow.co.uk

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

Proud mum: Sophie May with daughters Princess Bliss and Precious Belle

BLINGING UP BABY KEEPING IT IN THE FAMILY Chris Fouracre Executive producer

Top down: Scarlett posing for the glitz pageant’s ‘outfit of choice’ round; Sami and daughter Halliemai; Marie Fullerton and Ruby at her high street baby’s boutique; left: Scarlett in her ‘beauty round’ outfit

www.broadcastnow.co.uk

One of our ambitions as a production company has been to become entirely selfsufficient. Blinging Up Baby was the first show in which everything from camera hire to tech review was done in-house.

When we moved into our new offices last November, the first thing we built was four edit suites, an audio suite, a voiceover booth and a kit room. I hate hiring, so if we can afford to buy then we buy.

It’s not just about the ability to draw down money from the budget, but about being in total control of every element – and, crucially, being able to put more money on screen if needed.

If we want an extra day in the edit, we can have it; if the voiceover is an hour longer, we can absorb it. My accountant doesn’t always agree, but we think it’s really important that all our shows look excellent.

Also when commissioners come to see cuts, they are in our office, our creative space, with the whole team and it feels much more personal.

For Blinging Up Baby, we filmed on our own C300s, with a full complement of our own lenses, and offlined in-house in Avid Media Composer 8. We then onlined and graded in Avid Symphony, with graphics done in Adobe After Effects. Audio post was done in Avid Pro Tools in our audio suite and the voiceover was recorded in a booth we had just built. Final tech check was done on a new Vidcheck system.

Having all the kit we need in-house allows us to make programmes with good budgets even better, and to make other series on relatively small budgets work.

It’s crucial in the mid- and long-term, and once one gets over the inevitable teething problems with new tech, there’s something really satisfying about a programme leaving the building that’s 100% Alaska.

25 July 2014 | Broadcast | 25

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26 | Broadcast | 25 July 2014

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The successful candidate will have several years proven experience at the leading edge of Television OB Sound Engineering. You will have in depth knowledge of Telex/Riedel communication systems and be fully conversant with Calrec/Lawo digital audio mixers. The ability to take a brief from a client and translate it into the seamless delivery of their product, in a calm and methodical manner is an essential attribute. You will require the ability to learn new technologies and apply them in a practical way to a pre-ordained timescale.

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25 July 2014 | Broadcast | 27

Ratings Mon 14 Jul – Sun 20 Jul

Real life matches the soaps BBC News At Ten was the highest-placed non-soap, as ITV’s Long Lost Family made a strong return

BY Stephen Price

Like adoring parents cooing away at their chubby-cheeked infant, the regular schedule played peek-a-boo with viewers this week as it briefly popped out, in a relatively sportfree way, between one massive event and another. Before the Commonwealth Games gets going, it was a week of twoparters, a cooking finale, repeats and saber-waving films.

The best non-soap programme of the week was BBC News At Ten on Thursday (5.4 million/29%) in one of the most traumatic news cycles in recent times.

At 9pm on Monday, ITV’s returning hit Long Lost Family achieved 4.7 million/22% (290,000 +1); in line with 2013’s summer average.

Opposite, the second part of BBC1’s John Bishop’s Australia dropped a million on last week’s launch to deliver 3.2 million/15%.

On Tuesday, Holby City’s 3.9 million/21% at 8pm outperformed ITV’s Love Your Garden, which managed 2.2 million/12% (200,000 +1) opposite. At 9pm, the first of BBC1’s Nick & Margaret: Too Many Immigrants? achieved 3.5 million/17% – easily too much for ITV’s repeat of 56 Up, which mustered a mere 1.7 million/8% (221,000 +1).

The first episode of BBC1’s Talk To The Animals at 8pm on Wednesday managed just 2.3 million/13%, losing out to ITV’s All Star Mr & Mrs on 3.3 million/18% (200,000 +1). At 9pm, Nick & Margaret slipped to 2.7 million/13% on BBC1, just ahead of ITV’s Testing Britain’s 28 | Broadcast | 25 July 2014

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

Title

Day

Start

Viewers (m) (all homes)

Share %

Broadcaster/ Producer*

Coronation Street Coronation Street Coronation Street EastEnders Coronation Street Emmerdale Coronation Street Emmerdale EastEnders BBC News At Ten Emmerdale EastEnders BBC News At Ten Long Lost Family Emmerdale Emmerdale Emmerdale Celebrity MasterChef Antiques Roadshow Countryfile BBC News EastEnders Celebrity MasterChef BBC News BBC News At Ten Seven Wonders Of The Commonwealth BBC News At Six BBC News At Ten BBC News At Ten BBC News At Six Holby City BBC News At Six BBC News At Six BBC News BBC News At Six Live At Edinburgh Castle All Star Mr & Mrs The One Show Nick & Margaret: Too Many Immigrants?

The One Show ITV News & Weather John Bishop’s Australia Rise Of The Planet Of The Apes BBC News Tipping Point: Lucky Stars Countrywise The One Show The Cruise Ship F1: The German Grand Prix – Highlights The Village That’s Falling Into The Sea

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

19.30 20.30 19.30 20.00 19.30 19.00 20.30 19.00 20.00 22.00 19.00 19.30 22.00 21.00 19.00 20.00 19.00 20.30 20.10 19.20 19.00 19.30 21.00 22.10 22.00 21.10 18.00 22.00 22.00 18.00 20.00 18.00 18.00 22.40 18.00 20.30 20.00 19.00 21.00 19.00 18.30 21.00 21.00 18.40 19.30 20.00 19.00 20.00 19.00 19.30

7.24 7.22 6.65 6.64 6.09 5.89 5.79 5.50 5.39 5.35 5.23 5.11 5.11 4.95 4.86 4.82 4.78 4.76 4.66 4.63 4.54 4.50 4.49 4.43 4.18 4.15 4.14 4.12 4.12 4.08 3.92 3.91 3.91 3.72 3.67 3.64 3.56 3.53 3.45 3.25 3.22 3.22 3.21 3.16 3.12 3.03 3.01 2.99 2.92 2.91

37.42 34.46 36.56 32.25 35.18 33.04 30.83 32.64 30.77 29.31 30.70 30.03 28.78 22.84 29.25 27.66 29.72 25.40 22.06 23.25 25.67 25.02 23.13 23.82 24.12 19.80 29.77 23.51 22.65 26.91 21.46 27.32 28.03 21.91 26.86 19.77 19.50 19.84 17.32 20.17 19.78 14.87 17.46 21.63 18.74 14.73 17.18 17.06 14.85 16.82

ITV ITV ITV BBC1 ITV ITV ITV ITV BBC1 BBC1 ITV BBC1 BBC1 ITV/Wall To Wall ITV ITV ITV BBC1/Shine TV BBC1 BBC1 BBC1 BBC1 BBC1/Shine TV BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 ITV/CPL Productions BBC1 BBC1/Silver River BBC1 ITV/ITN BBC1/Lola Entertainment C4 BBC1 ITV/RDF TV ITV BBC1 ITV/Pulse BBC2 BBC1

Figures include HD and +1 where applicable

Long Lost Family

Nick & Margaret: Too Many Immigrants? www.broadcastnow.co.uk

All BARB ratings supplied by: Attentional

Source: BARB

51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100

Title

Day

Start

Viewers (m) (all homes)

Share %

Broadcaster/ Producer*

How Safe Is Your House?

ITV News & Weather Golf: The Open Championship Catchphrase The One Show The One Show Harbour Lives ITV News & Weather A Question Of Sport: Super Saturday ITV News & Weather ITV News & Weather Nick & Margaret: Too Many Immigrants?

The National Lottery: Break The Safe Pointless Testing Britain’s Worst Drivers: Crash…

The Chase BBC News At One BBC News At One BBC News At One Pointless The Fifteen Billion Pound Railway Doc Martin ITV News & Weather The Chase Love Your Garden University Challenge Royal Marines Commando School Dragons’ Den BBC News At One Pointless F1: German Grand Prix – Qualifying H’lights The Chase Talk To The Animals You’ve Been Framed!

Pointless The Chase Foyle’s War Pointless Tonight: Assisted Dying – For And Against The Chase Panorama: Isis – Terror In Iraq ITV News At Ten & Weather The Mill BBC News At One The Great Big Romanian Invasion Britain’s Poshest Nannies ITV News & Weather 56 Up ITV News & Weather ITV News At Ten & Weather

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

19.30 18.30 12.10 19.00 19.00 19.00 20.30 18.45 19.00 18.30 18.30 21.00 19.40 17.15 21.00 17.00 13.00 13.00 13.00 17.15 21.00 21.00 18.30 17.00 20.00 20.00 21.00 20.30 13.00 17.15 17.25 17.00 20.00 19.00 17.15 17.00 20.00 17.15 19.30 17.00 20.30 22.00 20.00 13.00 22.40 21.00 22.00 21.00 18.45 22.00

2.91 2.87 2.85 2.82 2.75 2.74 2.72 2.72 2.71 2.69 2.68 2.67 2.64 2.63 2.63 2.62 2.53 2.52 2.52 2.49 2.48 2.45 2.44 2.44 2.44 2.42 2.42 2.40 2.36 2.35 2.34 2.32 2.31 2.25 2.21 2.19 2.18 2.17 2.17 2.16 2.13 2.11 2.06 2.01 1.98 1.98 1.96 1.95 1.93 1.90

15.04 18.63 25.94 14.75 16.55 17.03 15.33 16.52 17.44 18.29 18.44 13.35 15.72 20.98 13.12 21.90 36.30 41.61 39.47 21.61 12.38 13.07 16.77 22.07 13.32 11.74 11.15 11.25 35.32 21.13 17.81 21.82 12.63 14.59 18.95 19.55 10.32 20.07 12.73 20.85 10.18 11.92 9.80 34.65 16.37 10.19 10.00 9.78 12.92 11.08

BBC1/Lion TV ITV/ITN BBC1 ITV BBC1 BBC1 ITV ITV/ITN BBC1 ITV/ITN ITV/ITN BBC1/Silver River BBC1 BBC1/Remarkable Television ITV/North One ITV BBC1 BBC1 BBC1 BBC1/Remarkable Television BBC2/Windfall Films ITV/Buffalo Pictures ITV/ITN ITV ITV/Spun Gold TV BBC2 C4/Twofour BBC2 BBC1 BBC1/Remarkable Television BBC1 ITV BBC1/Boundless ITV BBC1/Remarkable Television ITV ITV/Eleventh Hour Films BBC1/Remarkable Television ITV ITV BBC1 ITV/ITN C4/Darlow Smithson BBC1 BBC1 ITV/Mentorn Media ITV/ITN ITV ITV/ITN ITV/ITN

*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.

The Fifteen Billion Pound Railway www.broadcastnow.co.uk

Talk To The Animals

Worst Drivers (2.4 million/12%; 210,000 +1). This, in turn, was only a squeak ahead of BBC2’s The Fifteen Billion Pound Railway, which began impressively with 2.5 million/12%.

With ITV’s Emmerdale on 4.7 million/27% (148,000 +1) at 8pm on Thursday, the second episode of BBC1’s Talk To The Animals fell to 1.9 million/10% for an hour, also behind ITV’s Harbour Lives at 8.30pm (2.6 million/15%; 98,000 +1). At 9pm, BBC1’s Celebrity MasterChef’s 4.5 million/23% defeated ITV’s one-off ob-doc Britain’s Poshest Nannies with 1.8 million/9% (200,000 +1).

‘On Saturday, ITV ran up the white flag in a galaxy near you with Star Wars: Episode I’ Friday’s final of BBC1’s Celebrity MasterChef achieved 4.8 million/ 25% from 8.30pm for 90 minutes, matching last year’s September final (5.5 million/24%) in share. It was behind ITV’s Coronation Street’s 5.6 million/30% (184,000 +1) but easily ahead of 9pm’s Doc Martin repeat (2.3 million/12%; 172,000 +1).

On Saturday, ITV ran up the white flag in a galaxy near you, with Star Wars: Episode I – The Phantom Menace (1.3 million/ 7%; 111,000 +1) at 8.30pm unable to cling on to its best of the night: Tipping Point’s 2.9 million/17% (226,000 +1) at 7.30pm. From 8.30pm, BBC1’s Live At Edinburgh Castle achieved 3.6 million/20%, just ahead of Channel 4’s movie Rise Of The Planet Of The Apes with 2.8 million/15% (450,000 +1) from 9pm.

ITV’s repeat of Catchphrase on Sunday averaged 2.7 million/ 14% (170,000 +1) at 7pm, behind BBC1’s Countryfile on 4.6 million/23%. Antiques Roadshow (4.7 million/22%) at 8pm and Seven Wonders Of The Commonwealth (4.2 million/ 20%) at 9pm were easily too much for ITV’s repeat of Foyle’s War (2 million/9%; 207,000 +1) from 8pm, which was just ahead of C4’s return of The Mill: 1.7 million/8% (336,000 +1) at 8pm, in line with the latter episodes of series one last summer.

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

Ratings Mon 14 Jul – Sun 20 Jul Channel Overview

Marines win ground for C4

BY Stephen Price

Channel 4’s Utopia was certainly noticed by the critics. The Daily Mail – appalled, natch – described it as ‘beneath contempt’, while The Guardian trilled about how ‘fabulous’ it was. Imagine if that had been the other way around; now that would have encouraged a confederacy of conspiracies. The numbers, though, were more uniform and, so far, less than last time. Meanwhile, the Marines went to school and loads followed them.

On Monday at 9pm, Channel 4 launched Royal Marines Commando School to a very healthy 2.1 million/10% (314,000 +1), ahead of Channel 5’s Benefits Britain: Life On The Dole (1.3 million/6%; 227,000 +1) and BBC2’s The Secret Life Of Your Clothes’ 1.3 million/6%.

Following at 10pm was conspiracy drama Utopia, which returned for its second series to 500,000/3% (63,000 +1), its lowest ever until Tuesday’s 400,000/3% (66,000 +1). On both days, Utopia lost to C5’s Big Brother’s Armageddon week: 1.6 million/9% (90,000 +1) on Monday; 1.2 million/8% (88,000 +1) on Tuesday.

On Thursday, episode three of BBC2’s The Honourable Woman held steady with 1.5 million/8% at 9pm, ahead of C4’s Embarrassing Bodies (1.1 million/6%; 225,000 +1) and C5’s Caught On Camera (1.2 million/ 6%; 81,000 +1).

Source: BARB

WEEK 29 Average hours per viewer Daytime Share (%) Peaktime Share (%) w/c 14.07.14 Peaktime Share (%) w/c 15.07.13 Year to date Average hours per viewer Audience share (%) Audience share (%) 2013

BBC1 4.71 20.15 21.07 20.57 BBC1 5.66 21.93 21.18

BBC2 1.42 6.61 7.16 7.74 BBC2 1.63 6.32 5.78

ITV1 3.05 12.31 17.28 18.88 ITV1 4.06 15.72 16.10

C4 1.32 4.74 7.03 5.78 C4 1.46 5.66 5.76

Start

Viewers (m) (all homes)

30 | Broadcast | 25 July 2014

Total 22.75 100.00 100.00 100.00 Total 25.81 100.00 100.00

Top 30 bbc2, channel 4 and channel 5 Title

Day

Share %

Broadcaster

1

Rise Of The Planet Of The Apes

Sat

21.00

3.21

17.46

C4

2

F1: The German Grand Prix – Highlights

Sun

19.00

2.92

14.85

BBC2

3

The Fifteen Billion Pound Railway

Wed

21.00

2.48

12.38

BBC2

4

University Challenge

Mon

20.00

2.42

11.74

BBC2

5

Royal Marines Commando School

Mon

21.00

2.42

11.15

C4

6

Dragons’ Den

Sun

20.30

2.40

11.25

BBC2

7

The Mill

Sun

20.00

2.06

9.80

C4

8

Coast

Tue

21.00

1.77

8.87

BBC2

9

Child Genius

Sun

21.00

1.71

8.05

C4

10

One Born Every Minute

Wed

21.00

1.66

8.29

C4

11

Undercover Boss

Tue

21.00

1.65

8.30

C4

12

Horizon: What’s Wrong With Our Weather?

Thu

20.00

1.62

9.19

BBC2

13

Big Brother: Armageddon – Day 1

Mon

22.00

1.61

9.85

C5

14

8 Out Of 10 Cats Does Countdown

Fri

21.00

1.55

8.24

C4

15

Benefits Britain: Life On The Dole

Mon

21.00

1.54

7.13

C5

16

George Clarke’s Amazing Spaces

Thu

20.00

1.52

8.62

C4

17

Big Brother: Armageddon – Day 4

Thu

22.00

1.50

8.99

C5

18

Dad’s Army

Sat

20.30

1.50

8.49

BBC2 C5

19

Big Brother

Sun

21.00

1.49

7.04

20

The Honourable Woman

Thu

21.00

1.48

7.62

BBC2

21

Hive Alive

Tue

20.00

1.47

8.02

BBC2

22

CSI: Crime Scene Investigation

Tue

21.00

1.46

7.35

C5

23

Food & Drink

Mon

20.30

1.41

6.72

BBC2

24

Kirstie’s Fill Your House For Free

Tue

20.00

1.40

7.67

C4

25

Operation Cloud Lab: Secrets Of The Skies

Wed

20.00

1.37

7.49

BBC2

26

Big Brother: Armageddon – Day 3

Wed

22.00

1.34

8.46

C5

27

The Secret Life Of Your Clothes

Mon

21.00

1.34

6.19

BBC2

28

Embarrassing Bodies

Thu

21.00

1.32

6.82

C4

29

Mock The Week

Thu

22.00

1.30

7.11

BBC2

30

Big Brother: Armageddon – Day 2

Tue

22.00

1.29

8.11

C5

Figures include HD and +1 where applicable

Multichannel 42.89

Part one of Channel 4’s doc series Child Genius (Sunday, 9pm) hit slot average

Others 11.24 52.02 42.89 42.09 Others 11.98 46.42 47.12

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

daytime share (%) w/c 14.07.14

peaktime share (%) w/c 14.07.14

1.7m

C5 1.01 4.18 4.58 4.93 C5 1.02 3.95 4.07

BBC1 21.07

ITV 17.28

C5 4.58 C4 7.03

BBC2 7.16

Multichannel 52.02

1.8m BBC2’s Coast returned with 800,000 fewer overnight viewers than the first part of 2013’s series

BBC1 20.15

ITV 12.31

C5 4.18

BBC2 6.61

C4 4.74

www.broadcastnow.co.uk

All BARB ratings supplied by: Attentional

Genre Overview

Source: BARB

Top 10 children’s programmes Title

1 2 3 4 5 6 7 8 9 10

Horrible Histories Topsy And Tim Newsround Topsy And Tim Topsy And Tim Everything’s Rosie Hank Zipzer Newsround Topsy And Tim The Story Of Tracy Beaker

Top 10 Factual programmes

Day

Start

Viewers (Age 4-15)

Share (%)

Channel

Mon Mon Mon Tue Wed Mon Mon Wed Fri Wed

16.30 17.20 16.20 17.20 17.20 17.30 17.00 16.20 17.20 18.25

198,600 193,000 186,000 180,400 165,600 163,600 160,500 156,000 153,300 151,300

17.33 14.55 18.43 14.26 13.34 12.93 12.66 17.91 14.63 11.90

CBBC CBeebies CBBC CBeebies CBeebies CBeebies CBBC CBBC CBeebies CBBC

The Mill

Title

Holby City Doc Martin Foyle’s War The Mill New Tricks The Honourable Woman Murdered By My Boyfriend CSI: Crime Scene Investigation The 100 Midsomer Murders

UP Tipping Point: Lucky Stars gains 260,000

Long Lost Family Celebrity MasterChef Antiques Roadshow Countryfile Celebrity MasterChef Seven Wonders Of The… The One Show The One Show John Bishop’s Australia Countrywise

Title

Dad’s Army Family Guy Family Guy How I Met Your Mother The Simpsons Sarah Millican Television Prog’ The Simpsons The Simpsons Friday Night Dinner The Simpsons

Start

Viewers (millions)

Share (%)

Channel

Mon Fri Sun Sun Thu Sun Mon Tue Mon Mon

21.00 20.30 20.10 19.20 21.00 21.10 19.00 19.00 21.00 20.00

4.95 4.76 4.66 4.63 4.49 4.15 3.53 3.25 3.22 3.03

22.84 25.40 22.06 23.25 23.13 19.80 19.84 20.17 14.87 14.73

ITV BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 ITV

Top 10 Entertainment programmes

Day

Start

Viewers (millions)

Share (%)

Channel

Tue Fri Sun Sun Fri Thu Sun Tue Mon Tue

20.00 21.00 20.00 20.00 22.40 21.00 22.35 21.00 21.00 20.00

3.92 2.45 2.18 2.06 1.90 1.48 1.47 1.46 1.21 1.07

21.46 13.07 10.32 9.80 16.03 7.62 12.49 7.35 5.58 5.58

BBC1 ITV ITV C4 BBC1 BBC2 BBC1 C5 E4 ITV3

DOWN John Bishop’s Australia loses 1m

UP Countryfile adds 13,000

Title

1 2 3 4 5 6 7 8 9 10

All Star Mr & Mrs Tipping Point: Lucky Stars Catchphrase Question Of Sport: Super Saturday National Lottery: Break The Safe Pointless The Chase Pointless The Chase University Challenge

DOWN The Honourable Woman sheds 60,000

UP Holby City wins 680,000

Day

Start

Viewers (millions)

Share (%)

Channel

Wed Sat Sun Sat Sat Mon Mon Wed Wed Mon

20.00 19.30 19.00 19.00 19.40 17.15 17.00 17.15 17.00 20.00

3.56 3.12 2.82 2.71 2.64 2.63 2.62 2.49 2.44 2.42

19.50 18.74 14.75 17.44 15.72 20.98 21.90 21.61 22.07 11.74

ITV ITV ITV BBC1 BBC1 BBC1 ITV BBC1 ITV BBC2

DOWN Question Of Sport: Super Saturday drops 450,000

UP Celebrity MasterChef up 800,000 on Friday

Top 10 Music & Arts programmes

Day

Start

Viewers (millions)

Share (%)

Channel

Sat Sun Sun Thu Mon Tue Thu Wed Fri Tue

20.30 22.25 22.00 20.30 18.00 22.00 18.00 18.00 22.00 18.00

1.50 1.28 1.22 1.14 1.13 1.10 0.92 0.92 0.90 0.88

8.49 7.83 6.35 6.39 7.47 6.38 6.76 6.45 5.05 6.34

BBC2 BBC3 BBC3 E4 C4 BBC2 C4 C4 C4 C4

next week Sport and Current Affairs www.broadcastnow.co.uk

Day

Live At Edinburgh Castle

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

1 2 3 4 5 6 7 8 9 10

All Star Mr & Mrs

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

Title

Title

1 2 3 4 5 6 7 8 9 10

Live At Edinburgh Castle The Joy Of The Guitar Riff Great Guitar Riffs At The BBC First Night Of The Proms Peter O’Toole: Talking Pictures T In The Park 2014: Highlights Nat King Cole: Afraid Of The Dark Sounds Of The Eighties Superstar DJs With Annie Mac The Joy Of The Guitar Riff

Day

Start

Viewers (millions)

Share (%)

Channel

Sat Fri Fri Fri Sat Fri Sat Fri Wed Sun

20.30 21.00 22.00 20.00 13.10 23.15 22.45 20.30 0.00 23.30

3.64 0.71 0.65 0.58 0.40 0.32 0.30 0.25 0.23 0.20

19.77 3.77 4.05 3.17 4.26 4.81 2.76 1.32 4.48 3.07

BBC1 BBC4 BBC4 BBC2 BBC2 BBC2 BBC4 BBC4 C4 BBC4

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

Ratings Mon 14 Jul – Sun 20 Jul Demographic Focus Channels

Source: BARB

Individuals Share (%)

Adults ABC1 Share (%)1

Adults ABC1 Profile (%)2

Adults 16-34 Share (%)1

BBC1

21.07

25.63

50.63

11.35

ITV

13.55

11.79

36.21

9.55

BBC2

6.28

8.04

53.33

3.40

C4

5.63

5.95

43.98

7.58

C5

4.71

4.25

37.53

5.34

ITV3

2.64

2.44

38.37

ITV2

2.52

2.01

33.20

E4

2.04

1.85

37.78

ITV4

1.76

1.98

46.82

Film 4

1.67

1.44

Adults 16-34 Profile (%)2

Male Share (%)1

Male Profile (%)2

Female Share (%)1

Female Profile (%)2

9.35

21.66

46.95

20.57

53.05

12.23

10.51

35.41

16.11

64.59

9.39

7.68

55.87

5.10

44.13

23.37

5.30

42.92

5.92

57.10

19.69

3.81

36.95

5.47

63.05

0.57

3.72

2.23

38.61

2.99

61.40

4.26

29.37

2.10

38.15

2.87

61.86

6.08

51.68

2.01

44.96

2.07

55.04

1.43

14.13

2.47

64.15

1.16

35.90

35.81

1.86

19.34

1.98

54.10

1.41

45.93

BBC3

1.49

1.32

36.90

4.08

47.43

1.60

48.79

1.41

51.23

Dave

1.46

1.44

41.10

2.65

31.40

1.93

60.16

1.07

39.82

More 4

1.23

1.27

42.87

1.18

16.55

1.21

44.69

1.26

55.32

5 USA

1.15

0.81

29.42

0.85

12.84

0.98

38.83

1.29

61.16

BBC4

0.94

1.29

57.19

0.49

9.10

1.13

54.77

0.78

45.25

Sky 1

0.90

0.91

41.93

2.10

40.48

0.96

48.54

0.86

51.50

Drama

0.80

0.84

43.81

0.39

8.59

0.72

41.02

0.86

58.93

Yesterday

0.70

0.65

38.63

0.26

6.46

0.91

59.29

0.53

40.74

5*

0.51

0.41

32.87

0.69

23.32

0.49

43.81

0.53

56.15

53%

Channel 4’s Royal Marines Commando School attracted more male viewers – up from the 39% slot average (Monday, 9pm).

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 on song with Glasgow

BY Stephen Price

Soon Glasgow will be awash with foreigners running and jumping, but before the Commonwealth Games arrives, the plight of other visitors got an airing.

BBC3’s musical drama Glasgow Girls achieved 620,000/4% on Tuesday at 10pm, ahead of C4’s Utopia’s 480,000/3%. Glasgow Girls’ five repeats added 625,000.

The second episode of E4’s new hit The 100 achieved 1.2 million/ 6% on Monday at 9pm – a fall of 580,000 and 3 share points on last week’s launch. Three repeats added another 370,000.

E4’s best homegrown show was Hollyoaks with 1 million/6% on Wednesday at 7pm. ITV3’s best was Midsomer Murders on Tuesday at 8pm (1.1 million/6%).

To give more shows a look-in, this table now shows a programme’s best single TX of the week rather than listing all its showings. For example, we list the highest-rated episode of BBC3’s Family Guy rather than all six episodes that would appear in the overall top 30.

32 | Broadcast | 25 July 2014

Source: BARB

digital homes

Top 30 multichannel programmes Title

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30

Family Guy The 100 How I Met Your Mother Midsomer Murders Foyle’s War Lewis Hollyoaks Goodbye How I Met Your…

The Only Way Is Essex Live German F1 Grand Prix The Big Bang Theory Miss Congeniality 2 TDF 2014 Highlights The Joy Of The Guitar Riff Monty Python Live (Mostly) Great Guitar Riffs…

Inspector Montalbano Glasgow Girls Evan Almighty The Proposal Dr No Goldeneye New Girl You’ve Been Framed!

Bridesmaids Avatar Shanghai Noon Paul O’Grady: For The Love…

A Touch Of Frost Chicago P.D.

Day

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

Start

22.25 21.00 20.30 20.00 21.00 20.00 19.00 20.00 22.00 12.00 18.30 18.45 19.00 21.00 19.30 22.00 21.00 22.00 20.00 20.15 20.00 21.00 21.00 18.10 21.00 21.00 21.00 20.30 19.55 21.00

Viewers (millions)

Share (%)

Channel

1.28 1.21 1.14 1.07 1.00 0.99 0.95 0.83 0.82 0.82 0.73 0.72 0.72 0.71 0.70 0.65 0.63 0.62 0.60 0.58 0.56 0.56 0.56 0.55 0.54 0.54 0.53 0.53 0.51 0.51

7.83 5.58 6.39 5.58 5.42 5.18 5.64 4.74 4.72 9.20 4.51 4.41 4.11 3.77 3.36 4.05 3.41 3.92 2.85 2.98 3.10 3.37 2.81 3.91 3.15 3.69 2.83 2.47 2.42 2.56

BBC3 E4 E4 ITV3 ITV3 ITV3 E4 E4 ITV2 Sky Sp’ts F1 E4 ITV2 ITV4 BBC4 Gold BBC4 BBC4 BBC3 ITV2 BBC3 ITV4 ITV2 E4 ITV2 Film 4 Film 4 BBC3 ITV3 ITV3 5 USA

Figures include HD and +1 where applicable. Only the top-ranked episode of each show is included

Channels

Share (%)

BBC1 ITV BBC2 C4 C5 Total multichannel ITV3 ITV2 E4 ITV4 Film 4 BBC3 Dave More 4 BBC News CBeebies 5 USA Sky Sports 2

21.07 13.55 6.28 5.63 4.71 48.75 2.64 2.52 2.04 1.76 1.67 1.49 1.46 1.23 1.21 1.19 1.15 1.04

Figures include HD and +1 where applicable

1.2m Total audience, over five showings, for BBC3’s musical drama Glasgow Girls

www.broadcastnow.co.uk

All BARB ratings supplied by: Attentional

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

Title

Day

Start

Viewers (all homes)

Share %

Live German F1 Grand Prix Monty Python Live (Mostly): One Down…

Fawlty Towers 24: Live Another Day Live International Cricket The Simpsons German F1 GP Qualifying Storage Hunters Mock The Week 8 Out Of 10 Cats QI XL Would I Lie To You? Have I Got A Bit More News For You Death In Paradise Monty Python Live: Backstage Sharknado Jonathan Creek Lizard Lick Towing Sheriff Callie’s Wild West QI Sofia The First Megatruckers Tipping The Velvet Inquisition Henry Hugglemonster Jessie Modern Family Falling Skies Keeping Up Appearances Zapped Ghost Adventures Wheeler Dealers The Glades Futurama Sky News At Ten Last Of The Summer Wine An Idiot Abroad 2 Forensic Detectives Traffic Cops Top Gear Live Darts: World Matchplay Press Preview Rookie Blue Birds Of A Feather Friends Gold Rush UK Border Force Live Twenty20 Natwest Blast 2014 Great British Railway Journeys HMS Ark Royal

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

12.00 19.30 22.10 21.00 14.00 19.30 12.00 19.30 22.35 22.00 21.00 22.40 20.00 21.00 19.00 21.00 21.00 11.30 17.35 22.20 17.50 12.00 22.20 21.00 18.15 17.25 20.30 21.00 20.20 17.55 21.00 21.00 21.00 19.00 22.00 21.30 21.00 21.00 19.00 18.00 19.00 22.30 21.00 18.20 20.30 21.00 18.00 18.00 19.30 22.00

819,600 699,800 509,300 481,900 456,900 427,900 415,900 410,100 393,700 384,300 364,100 349,300 312,700 311,000 297,500 297,400 292,500 288,400 260,100 248,800 247,500 236,300 236,200 235,800 235,300 229,900 227,300 225,500 225,400 220,600 217,500 213,500 212,500 208,300 206,800 203,800 203,600 202,100 198,700 194,100 192,000 189,900 189,700 188,900 188,800 187,900 186,600 186,200 185,200 184,600

9.20 3.36 2.94 2.41 4.11 2.21 4.54 2.52 2.97 2.24 1.88 2.87 1.71 1.49 1.63 1.61 1.50 3.51 2.01 1.42 1.90 2.70 1.87 1.18 1.65 1.95 1.09 1.13 1.27 1.47 1.12 1.10 1.07 1.35 1.13 1.07 1.02 1.07 1.04 1.37 0.98 1.26 0.90 1.30 0.89 0.94 1.18 1.05 1.03 1.13

Figures include HD and +1 where applicable. Only the top-ranked episode of each show is included

Monty Python Live (Mostly): One Down, Five To Go www.broadcastnow.co.uk

24: Live Another Day

Broadcaster/ Producer* Sky Sports F1 Gold/Phil McIntyre Entertainment Gold Sky 1 Sky Sports 2 Sky 1 Sky Sports F1 Dave/T Group Dave/Angst Dave/Zeppotron Dave/Talkback Dave/Zeppotron Dave/Hat Trick Productions Alibi/Red Planet/Kudos Gold Pick Drama Dave Disney Junior Dave/Talkback Disney Junior Dave Drama Yesterday Disney Junior Disney Channel Sky 1 Fox Drama Disney Channel Really Quest Alibi Sky 1 Sky News Yesterday Sky 1/Risk Productions Quest Dave/Folio Dave Sky Sports 1 Sky News Universal Drama Comedy Central Discovery Pick Sky Sports 2 Yesterday Quest

To avoid nothing getting a look-in but Storage Hunters and sport, we now list just the top-rated edition of each show. For example, we feature only the best-performing episode of The Simpsons rather than the 14 episodes, including repeats, that would appear in the overall top 50.

110k Mike Judge’s HBO comedy Silicon Valley made a low-key debut over four showings

Pythons are a solid Gold hit

BY Stephen Price

It was as if Arlene Phillips had choreo­graphed it. On the dot at 7.30pm on Sunday evening, our local ice cream van announced its arrival by blaring the Monty Python theme Liberty Bell precisely as the comic legends appeared on the telly.

Gold’s Monty Python Live (Mostly): One Down, Five To Go overran but from 7.30pm to 10.10pm, it averaged 700,000/ 3%, making it Gold’s highestrated original commission ever.

Monty Python Live: Backstage averaged 298,000/2% from 7pm to 7.30pm.

Sky 1’s 24: Live Another Day concluded this week with 482,000/ 2%, the best non-sport or Python offering and its best overnight rating since 11 June’s 521,000/3%.

With a degree of inevitability, Dave’s best was Saturday’s 7.30pm edition of Storage Hunters (410,000/3%), followed by Mock The Week on Tuesday at 10.35pm (394,000/3%).

Sky News’ best-performing bulletin was Thursday at 10pm with 207,000/1%.

25 July 2014 | Broadcast | 33

Ratings Mon 7 Jul – Sun 13 Jul

All BARB ratings supplied by: Attentional

Consolidated Ratings

Safe landing for E4’s 100

BY Stephen Price

As a lad making my way in the world, I tried this radio serial thing called The Archers that everyone was going on about. Soon I realised I was only listening for the silky yet weary tones of Debbie Archer. My Archers days are long gone but this week we faced the final double dose of Debbie – or Tamsin Greig, if you must – as Episodes’ Beverley Lincoln shunned LA to (perhaps) concentrate on Mrs Goodman’s Friday Night Dinner. Elsewhere, BBC4 and Channel 4 shared Lance Armstrong’s fascinating yet depressing and unedifying story.

BBC2: Episodes The third series of BBC2’s Episodes ended on Wednesday 9 July at 10pm with a live rating of just 450,000/2%, having fetched up

Source: BARB

against ITV’s coverage of the Holland V Argentina World Cup Semi Final (10 million/48% from 8.30pm). However, almost 550,000 recorded and watched to deliver a final rating of 1 million/4%. This third series averaged 1.1 million/5%; series one on Mondays in January 2011 averaged 1.7 million/7%, while series two on Fridays in May 2012 also averaged 1.1 million/5%.

aired on Sunday 6 July to a live rating of 633,000/3%, finishing on 662,000/3%; two repeats added another 260,000.

The following day at 9pm, Channel 4’s film The Armstrong Lie achieved a live rating of 886,000/ 5%. After more than 265,000 recorded and watched, it ended on 1.2 million/6%. On 8 July, a 4Seven repeat added another 31,000.

C4: Friday Night Dinner

E4: The 100

The fourth episode of the third series of Channel 4’s Friday Night Dinner on 11 July achieved 1.7 million/9%, the best of the run so far, after more than 560,000 recorded and watched.

The series so far is averaging 1.6 million/8%. The first series, beginning in February 2011, averaged 2 million/9%, while series two played to 1.2 million/5% on Sundays from October 2012.

On Monday 7 July, The 100, the US import from The CW, landed on E4 with a bang, enjoying a live rating of 1.9 million/9%. After more than 630,000 recorded and watched, the show finished on 2.5 million/10%, making it E4’s best title for nearly two years, after 15 November 2012’s The Big Bang Theory (3.3 million/12%).

The best ever remains The Inbetweeners on 18 October 2010 (4.2 million/18%).

Four repeats of The 100 added another 1.5 million. Episode two on 14 July achieved 2 million/8% after 788,000 recorded and watched.

BBC4: Lance Armstrong Story; C4: The Armstrong Lie BBC4’s Storyville film The Lance Armstrong Story – Stop At Nothing

Top 30 Consolidated Ratings: ranked by gain

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

2.5m Total figure for E4’s latest US import The 100, which added 800,000 via recording

UP Benefits Britain: Life On The Dole up 500,000 DOWN The Honourable Woman dips 700,000

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Title

Day

Start

Viewers (m) (all homes)

Share %

Gain (m)

Gain %

The Honourable Woman Casualty 24: Live Another Day Coronation Street The Only Way Is Essex CSI: Crime Scene Investigation Celebrity MasterChef The Big Bang Theory Coronation Street The Only Way Is Essex EastEnders Coronation Street Coronation Street Coronation Street The 100 Coronation Street EastEnders Celebrity MasterChef EastEnders Friday Night Dinner Benefits Britain: Life On The Dole Episodes 8 Out Of 10 Cats Does Countdown EastEnders Emmerdale New Girl Emmerdale Unforgettable Vikings One Born Every Minute

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

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

2.52 4.82 1.13 7.07 1.58 2.04 4.77 2.62 7.20 1.52 6.87 7.18 7.56 7.89 2.52 8.21 6.92 4.52 6.14 1.74 3.16 1.00 2.35 5.96 5.57 0.90 5.83 0.64 0.57 2.08

10.93 22.15 4.26 32.22 5.62 7.55 22.14 11.93 39.02 6.34 31.37 31.49 38.94 34.61 10.37 38.77 32.56 19.63 32.49 9.21 13.13 4.07 10.86 30.55 32.74 3.37 32.47 3.43 2.32 7.86

0.99 0.97 0.88 0.84 0.81 0.80 0.79 0.75 0.75 0.74 0.68 0.68 0.67 0.67 0.63 0.63 0.63 0.60 0.58 0.56 0.56 0.55 0.53 0.49 0.48 0.47 0.46 0.46 0.46 0.45

65.00 25.30 343.90 13.50 105.70 64.20 19.90 40.20 11.60 96.00 11.00 10.40 9.70 9.20 33.50 8.30 10.00 15.30 10.40 47.80 21.50 121.80 29.00 8.90 9.40 111.30 8.50 250.40 401.70 28.00

Broadcaster BBC2 BBC1 Sky 1 ITV ITV2 C5 BBC1 E4 ITV ITV2 BBC1 ITV ITV ITV E4 ITV BBC1 BBC1 BBC1 C4 C5 BBC2 C4 BBC1 ITV E4 ITV Sky Living History C4

Figures include HD and +1 where applicable

34 | Broadcast | 25 July 2014

www.broadcastnow.co.uk

The most anticipated entertainment market of the year.

4 days of screenings, networking and inspiring keynotes.

1,700 exhibiting companies showcasing their latest programmes.

4,600+ international buyers looking for fresh content.

13,500 participants on the road to success.

Endless opportunities.

13-16 October, 2014, Cannes – France MIPCOM_Broadcast_210x297.indd 1

mipcom.com 09/07/2014 14:21

Off Cuts

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

robin.parker@broadcastnow.co.uk

ALL A TWITTER I had been determined to outlive John Humphrys on @BBCr4Today, so I have failed. But you can’t turn down Newsnight Producers’ Forum: magic moments @EvanHD (Evan Davis) Incoming presenter, Newsnight

I tell you what would make these kids genius, if they turned round to their parents and said “just leave me alone you c***s” #ChildGenius

All the tricks of the trade Catchphrase host Stephen Mulhern was out to liven up the ITV Producers’ Forum at the BFI this week, opening proceedings by guessing the cards picked by three producers. Reports from the day suggest a range of responses to the early morning entertainment, with Big Talk chief executive Kenton Allen noting that Baby Cow boss Henry Normal managed to look “suitably bemused”.

Meanwhile, Zeppotron creative director Ben Caudell cleaned up in the Catchphrase round, and Mulhern ensured that even the Q&A was no dry affair by lobbing over-sized foam mics to producers with things on their mind. Though for Remedy’s Tom Blakeson, the forum’s best laughs came from director of programme strategy David Bergg’s presentation…

The ‘80s come roaring back Remake news of the week: absurd ’80s US show Manimal – you know, the crime-fighter with the handy ability to morph into animals – is coming back to the big screen courtesy of Will Ferrell and Adam McKay. “Like The Catcher In The Rye or The Sound And The Fury, Manimal has always been one of those elusive projects every producer dreams of taking to the silver screen,” McKay told Deadline. Any chance of Automan next?

@spencermillman (Spencer Millman) Producer, Man Down

My first thought when Stephen Rea sees those big revelations in a secret file in The Honourable Woman: “He’s eating Starmix!” @DrMatthewSweet (Matthew Sweet) Broadcaster

Currently watching ‘The Secret Life Of A Channel 4 Producer’ – it’s just a load of twentysomethings texting one another inane messages. @MJOwen174 (Matt Owen) Comedy writer

Our thanks to UKTV, which marked Gold’s live broadcast of the final Monty Python gig by sending Off Cuts a batch of chocolate parrots. Predictably, our hungry hacks ensured that in mere moments, the chocs were no more, ceased to be, their metabolic processes history, etc…

AND FINALLY ...

Poppy Jamie Entertainment reporter/presenter

Tell us one of your most hilarious faux pas Sitting down to interview Jude Law, I missed the seat, clipped the edge of the chair, catapulted forward and nose-dived into his lap. This left me lying on the floor, squirming with embarrassment.

One of life’s mortifying moments.

What TV channel would you most like to launch?

Turn TED.com into an actual TV channel so we could all have inspirational fixes while slobbing on the sofa.

Who would you least like to share a taxi with?

Katie Hopkins (pictured).

Who would you be on Stars In Their Eyes?

If I could sing… Debbie Harry.

What would you do with a million quid?

Buy a flat and make a TV show.

How do you get your own way?

Hardly ever happens so I’m still working this out. Buy cupcakes?

What keeps you awake at night?

Worrying about everything.

What law would you most like to break?

I would love to break America’s ‘visa’ law so all my friends could come and work in LA when I’m there.

“most of my documentary work is about capturing human emotion in the moment. no retakes, no second chances. With perfect ergonomics, killer sensor, and simple functionality, my amira gives me complete confidence and control.” cinematographer Johann Perry (My First International; Firecracker Films)

Truly cinemaTic www.arri.com/amira

36 | Broadcast | 25 July 2014

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