Friday April 28 2017
Mediaweek’s Kruti Joshi pays a visit to the News Corp offices to talk Vogue Living’s 50th anniversary with editor-in-chief Neale Whitaker. The pair also discuss the upcoming season of The Block, new Foxtel series Love It or Leave It, plus Whitaker’s busy schedule and lack of “me time”, as well as the early days of his career in the media. Whitaker talks about his former life as a publicist and how his former boss, British PR guru Lynne Franks, was the inspiration behind the character of Eddy in BBC’s Absolutely Fabulous.
Joining James Manning and James Daggar-Nickson on the show this weekend:
• Paul Anderson, CEO, Network Ten
Sky News Business Channel
Channel 602: Foxtel
|ABC ME||0.6%||7mate||2.6%||GEM||1.9%||ELEVEN||2.5%||Food Net||1.1%|
|ABC||Seven Affiliates||Nine Affiliates||Ten Affiliates||SBS|
|ABC||10.0%||7||20.0%||9||20.2%||10 NNSW||3.1%||SBS One||4.9%|
|ABC ME||0.6%||7mate||3.0%||GEM||3.0%||ONE||4.1%||Food Net||0.9%|
|THURSDAY METRO ALL TV|
Shares all people, 6pm-midnight, Overnight (Live and AsLive), Audience numbers FTA metro, Sub TV national
Source: OzTAM and Regional TAM 2017. The Data may not be reproduced, published or communicated (electronically or in hard copy) without the prior written consent of OzTAM
16-39 Top 5
18-49 Top 5
25-54 Top 5
Nine has won the first five nights of the new survey week. The latest victory comes with the combo of NRL live and the AFL Footy Show, which managed to crack 200,000 in Melbourne for a second consecutive week.
Big audiences were very hard to come by elsewhere with disappointing numbers for Seven’s clip special Wedding Surprises and TEN’s MasterChef special.
SBS had its best Thursday share of the year – 6.1% – thanks to an audience over 300,000 for Great British Railway Journeys.
Home and Away ended its week on 745,000, which is a good Thursday number.
The premiere of Wedding Surprises: Caught On Camera disappointed in content and ratings with 439,000 with clips that looked somehow familiar.
Seven then screened the 2014 movie Guardians Of The Galaxy to 455,000.
A Current Affair kept the audience over 800,000 for the Thursday episode.
Live NRL then screened in Sydney (215,000) and Brisbane (242,000).
Other markets saw an hour of RBT with 353,000 viewers.
The AFL Footy Show did 208,000 in Melbourne while the Logie-winning NRL Footy Show screened after the match to 89,000 in Sydney.
The Project 7pm managed 538,000.
A MasterChef special followed – Ordinary People. Extraordinary Food – with 453,000 watching.
A new episode of Law & Order: SVU then did 384,000 followed by a repeat on 236,000.
At 8pm The Checkout did 517,000.
Seven Types Of Ambiguity dipped again – down from 424,000 a week ago to 397,000 last night. Last week’s episode did pick up an extra 84,000 viewers in metro Consolidated 7 data.
Great British Railway Journeys saw host Michael Portillo hopping off trains between Welwyn Garden City and Peterborough with 309,000 watching. Both of Portillo’s shows were the channel’s top two last week and it could be the case again this week.
At 8.30pm the premiere of Medici: Masters Of Florence did 240,000.
Elsewhere on the channel the final of another competition week on The Chefs’ Line did 61,000 at 6pm.
After a day facing questions from analysts and media about the future of the business, Ten Network chief executive told Mediaweek’s James Manning on Sky News Business yesterday that it had been a tough day. Anderson presented the first half results earlier in the day that showed an overall loss of $232m after the value of the TV licence was revalued. The TV EBITDA loss was $2.4m after an EBITDA profit of $10m a year earlier.
“The headlines that we are most pleased about from our results though are that we have actually grown revenue and revenue share over the past six months.
“We have worked really hard at turning our programming around and we have grown revenue share over 22 of the past 24 months.
“But we get the we have a debt facility that is due at the end of this year and we feel we have been very upfront about our plans to refinance that.”
As to comments from Anderson yesterday that Ten needs a different way of operating to survive, he commented: “We have always done things differently at Ten and probably always cheaper than other networks. Transformation is probably a word that is over-used, but what we are working through is a genuine different way of looking at our business to analyse if we could do it better. Costs need to be reigned in to match the advertising environment. Every broadcaster in the world is trying to reduce their cost per hour any way they can.
“Every part of the business is being reviewed. There has been lots of speculation around our news. We have been forthright with the staff, [telling] them it is part of the content that is being reviewed. We have made no decisions on that yet.”
Anderson told Mediaweek that the current media laws limit the opportunities for future opportunities with the broadcaster. “All of the media operators in Australia have said the laws were introduced before the internet and are now redundant in that they don’t apply to everyone. Businesses these days need to be able to configure themselves in the best way possible to make a return for the shareholders.”
As to whether Ten Network needs a white knight, a new significant investor, Anderson said: “We don’t need a white knight. What we need is an operating model that is profitable so that we can stand on our own two feet. That is our #1 priority and our plan.”
See the full interview with Paul Anderson repeated on Mediaweek TV on Sky News Business on Sunday on Foxtel’s channel 602.
Alphabet, the parent company of Google, on Thursday blew past analyst expectations with its first quarter earnings and revenue as ads surged on mobile and YouTube, reports The Hollywood Reporter.
Alphabet said it earned $7.73 per share, well up on an expected per-share profit of $7.39, and crushed the bottom line with overall revenues of $24.75 billion, against a Wall Street expectation of $24.22 billion.
Net income was $5.43 billion, against a year-earlier $4.21 billion. Google advertising revenues were $21.4 billion, compared to a year-earlier $18 billion.(All amounts US$)
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Comcast Corp’s quarterly profit topped estimates on strong growth in cable and internet subscribers and hits such as Fifty Shades Darker and Get Out boosted movie revenue, the No. 1 US cable operator said on Thursday.
Shares rose as much as 4% to a record high in early trading and were last at US$39.91, up 3% from Wednesday’s close.
Comcast’s cable television business is under pressure as younger viewers shun cable bundles in favour of cheaper streaming options such as Netflix.
The company has been investing in customer service and is offering the X1 set-top platform for a variety of content. Last year, Comcast made Netflix available through X1 and announced a similar deal with Alphabet Inc’s YouTube in February.
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Reiken will be responsible for designing and mobilising the strategic plan for the commercialisation of Nova Entertainment’s digital audiences, brands and environments and maximise yield through product innovation and partnerships, to deliver revenue and category growth.
Peter Charlton, Nova Entertainment’s group commercial officer, said, “Kane has an outstanding track record and the ideal experience to help us in our ambition to deliver our clients market-leading digital advertising content solutions that engage with our rapidly growing digital audience. His passion for commercialising cross-platform campaigns and creating relevant and engaging digital advertising products makes him an ideal addition to our sales leadership team as we continue to create digitally led branded content.”
With over 15 years’ experience working with international digital and broadcast media corporations, Reiken has led mobile, video and social campaigns alongside digital projects, product innovation and sponsorship for clients including Disney, Netflix, Carlsberg, Pepsico, McDonald’s and Unilever.
Reiken joins Nova Entertainment from MailOnline where, over a two-year period, he was mobile product and innovation specialist in the UK and most recently head of product in Australia. Previously Reiken spent almost five years with OMD UK in various social media and mobile roles including two years as mobile associate director.
Reiken will report directly to Peter Charlton and will lead the digital team alongside Kate Day, national commercial strategy director, Nathan McCahon, head of digital strategy and Corinna Maloney, head of digital campaigns.
OMD has announced the expansion of its Melbourne management team with Antonia Glezakos (pictured) stepping into the newly created general manager role. Glezakos has been promoted from her role as business director after eight years at OMD, having worked across both the Melbourne and Sydney offices.
OMD Melbourne has experienced significant growth in the last 12 months to become the largest Melbourne media agency with over 170 staff. With OMD’s major wins, including Coles Group and Target and the retention of Village Roadshow, the newly created position will strengthen the leadership team.
Aimee Buchanan, OMD chief executive, said: “Antonia is a proven performer and adds great depth to our Melbourne management team. The growth of the management structure is a reflection of the success of our Melbourne team and testament to our ongoing focus on ensuring our clients receive the best in market service and delivery”.
Glezakos will report to Margie Reid, OMD managing director Melbourne. The promotion is effective immediately.
If you have been paying attention to the entertainment news headlines lately, you may know that Hollywood’s writers are on the verge of going on strike, reports Fairfax Media’s Michael Idato.
This is roughly what you’re looking at: less of shows like The Walking Dead, Game of Thrones and Feud, and more of The Bachelor, The Bachelorette, The Biggest Bachelorette and Survivor: Bachelor Island.
On one side is the Writer’s Guild of America, the union representing approximately 12,000 writers; on the other is the Alliance of Motion Pictures and Television Producers (AMPTP), which represents production companies, television networks and studios.
What they’re negotiating is a new three-year agreement. The current one expires on May 1, which is when things get particularly hairy, assuming no common ground has been found by then.
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The next series of The Block has started filming this week and one of the hopefuls is a familiar face, reports News Corp’s Luke Dennehy.
In what looks like a trend for 2017, the reality series has enlisted Aussie model Elyse Knowles as a celebrity contender, Confidential understands.
It comes less than a week after Channel 10 revealed it was turning to pop star Sophie Monk as the next Bachelorette.
The network hopes the selection of Knowles and her partner Josh Barker will be a boost for ratings in the heated reality TV market.
Model Knowles has steadily built her fame on Instagram, documenting her modelling jobs around Australia.
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In the GfK radio ratings results released yesterday, smoothfm ranks #1 FM station in Sydney and Melbourne.
Blondie has a new studio album, “Pollinator”, due for release on Friday May 5.
Radio has always been critical to the band’s success with their timeless rock classics always finding a home on classic hits and rock formats. Debbie Harry was once employed by the BBC working in the radio production department in New York.
Georgie Page, smoothfm program director, said: “We’re so lucky to have such a range of incredible artists keen to host shows on smoothfm. Our listeners love hearing about their lives and the stories behind their success. Debbie and Chris from Blondie are such an iconic duo in music and their incredible chemistry and sense of humour will make for some great radio shows.”
Harry and Stein can be heard on smoothfm in Sydney and Melbourne and on smoothfm DAB+ from Saturday April 29 to Saturday May 20.
• Coles, Harvey Norman, Devondale, Mondelez International, Cobram Estate, IKEA join the new season
Network Ten has announced the sponsors for MasterChef Australia 2017, which premieres Monday May 1 at 7.30pm on TEN.
The ninth season is backed by some of the biggest companies in Australia, including returning principal partner Coles, plus Harvey Norman, Devondale, Mondelez International, Cobram Estate and IKEA.
Other partners include Swisse Wellness, Qantas, Diageo, SPC, Mazda and Reckitt Benckiser.
Network Ten executive general manager, revenue and client partnerships, Rod Prosser, said: “MasterChef Australia continues to be one of the most engaging, aspirational and brand-safe television series in the country, which is why advertisers flock to it year after year. Once again we have a fantastic suite of sponsors who will integrate their products into a show which is now seen in over 150 countries.
“I’m looking forward to watching another year of ordinary people cooking the most extraordinary food and seeing our partners’ brands come to life in a must-watch show that’s a true multiscreen hit.”
Title: Vogue Living
Edition: May/June 2017, 50th anniversary issue
Price: $9.99 for the on-stand issue and $12.99 for the boxed edition
Pages: 242 pages
Coverlines that work: There’s only one on the cover – “50 Fabulous Years!”
Editor-in-chief: Neale Whitaker
Mediaweek was able to get its hands on the boxed edition of the 50th anniversary issue of Vogue Living, which comes with a print of the art featured on the cover from Dinosaur Design. Ripping through the plastic and opening the box to reveal the magazine definitely gives the feeling of the issue as a keepsake edition – it’s almost like unwrapping a gift.
“50 Fabulous Years” reads the sole coverline. The biggest selling point about the warm-coloured cover art is that it’s tactile. Feelings about the overall cover were split in the Mediaweek office.
One has to flip through 23 pages of ads before reaching the content pages. Even the ad spreads remind the readers that it’s the 50th anniversary of the magazine. The 242-page magazine has about 84 pages of advertising in it.
There are four features in the magazine that allude to the title’s 50th birthday: Window Dressing, Australia Now, 50 Greatest Rooms and 50 Things That Rocked Our World. The first of the four features looks at the designs that have dominated each decade since Vogue Living’s launch in 1967.
The 50 Greatest Rooms features the best rooms covered by the title in its lifetime.
In Australia Now, Vogue Living brings together creative minds that it predicts will play an instrumental role in the design and interior landscape in the future.
However, the feature that caught Mediaweek’s attention is the 50 Things That Rocked Our World. Whitaker, said the word “thing” has been used very consciously. This is because the story literally lists 50 things that have had an influence on the world of design. These include things like David Bowie’s Ziggy Stardust persona, the Sydney Opera House, Apple’s iMac G3 released in 1998 and the Jaguar E-Type Series 3. It’s a fun dive into the trends that have come and gone, and at times resurged like Ziggy Stardust’s influence on the world. This pictorial listical gives a fascinating look inside how the most bizarre of things influence interior spaces. Also, who doesn’t love a good list?
The issue on the whole is a pleasant flip through with a lot of ad pages about things that an everyday worker can only dream of owning. But Vogue Living has never sold itself as a “accessible” magazine like Homes+ and some other titles in market. For the 50 years of its existence it has always been a premium title.
Digital: Vogue Living is on Facebook, Twitter and Instagram under the username @vogueliving. The magazine can also be found on Tumblr on voguelivingmagazine.tumblr.com, and Pinterest on pinterest.com/vogueliving. The magazine has the biggest following on Facebook, where it has more than 1.9 million likes. The magazine’s website is www.vogueliving.com.au.
The New Zealand Film and Literature Classification Office created a new classification for people aged under 18 watching the Netflix series 13 Reasons Why – they need to watch with a parent or guardian. The censor created the new RP18 classification saying the globally distributed show, about a teen explaining the reason why she committed suicide, did not follow guidelines for responsible depictions of suicide. New Zealand has the highest teen suicide rates among the 35 countries in the OECD, and the censor said that was part of the reason for the classification. It is not clear though whether the classification will have any impact on under 18-year-olds seeking out a parent or guardian to watch the Netflix show with them.
The Commerce Commission was set to announce its delayed final decision on the NZME-Fairfax merger next Tuesday. But media organisations will have to wait an extra day to receive a decision from the commission.
The commission was expected to report on its decision on Tuesday May 2, but today it announced the decision will be delivered Wednesday May 3.
Media industry observers are stumped whether the several delays will lead to the regulator overturning its draft decision made in November, when it made harsh criticism about the merger reducing the number of voices in the media. The combined media company would have a virtual monopoly in newspapers, and dominate online news through the nzherald.co.nz and Stuff.
Meanwhile, Sky TV and Vodafone have appealed a ComCom decision on February 22 that rejected a merger of the telco and pay TV company, due to its impact on the wholesale programming market. The terms for the Voda-Sky appeal and the date for the hearing have not been specified.
Global Web index unveiled research showing New Zealand internet users are among the most enthusiastic users of ad blocking software. According to GWI, 44% are blocking ads on their main computer, putting them 25% ahead of the global average, making New Zealand second in the world behind Poland. The New Zealand uptake for ad blockers on mobiles is low, but GWI forecasts significant changes are likely soon.
Tensions are growing between state-owned broadcasters Television New Zealand and Radio New Zealand. TVNZ declined to pick up an acclaimed historical video series made by RNZ called the 9th Floor which interviews all living former NZ prime ministers and has been offered free to other media and used widely by the private sector media. Rejection of the offer, even for TVNZ On Demand, illustrates ill feelings, RNZ sources say. The government has implemented an eight-year funding freeze on RNZ and giving away content free to all comers. Meanwhile, the government has entrenched TVNZ in its commercial focus. The tensions are more apparent now in the run-up to a general election in September, with TVNZ planning big staff cuts including journalists. The National government is said to be considering the merger of the disparate state broadcasters, an approach that many believe would boost TVNZ and hurt RNZ.
Roy Morgan Research reports that Netflix had broken the threshold of one million users in New Zealand and Lightbox had doubled its numbers since 2015.
In its latest research, one in 10 New Zealanders have two or more of the TV services in their home.
By the close of 2016, an estimated 1,066,000 New Zealanders aged over 14 had access to Netflix through a subscription in their homes, a 56% increase on the 684,000 at the close of 2015. During the same period, Lightbox grew from 285,000 to 630,000 users, though this was due to an extension in the deal where Lightbox is offered free with broadband deals from its owner, the telco, Spark.
According to Roy Morgan, of those Netflix and Lightbox users, 337,000 have both SVOD services, which is an increase from the 108,000 to both at the close of 2015.
New Zealand’s other two SVOD services, Neon and Quickflix, only reached 127,000 New Zealanders between them at the close of 2016, Roy Morgan reports.
Air New Zealand’s communications team has been named Communications Team of the Year at the Asia-Pacific Excellence Awards announced recently. The airline was a finalist in three categories, Campaign of the Year for its Better Way to Fly campaign encouraging Australians to travel Air New Zealand to North and South America, the Travel and Tourism award for the same campaign and Communications Team of the Year.
Last month the airline took the number one position in the Colmar Brunton Corporate Reputation Index for the third year in a row.
Rod Emmerson did his homework before he took up his job as cartoonist with the New Zealand Herald in 2003.
Kiwis and Australians can be like blood brothers, but he says the New Zealand population is more diverse and that means he has to keep a watch on his own preconceptions. He learned that early on with a controversial cartoon about Maoris and violence against children, during a legislative push against smacking.
It caused an uproar, to the point where it became a problem for the paper. But as it turned out the furore was resolved in his favour. An influential Maori elder stepped in and said Emmerson’s work may have prevented a child being assaulted and that it opened up a valuable debate.
Journos and media execs have been crisscrossing the Tasman for years. Kiwi cartoonists including The Sydney Morning Herald’s Alan Moir are household names. But Emmerson is a rare beast – an Aussie cartoonist who has moved here.
He had worked out of provincial Rockhampton drawing for APN daily papers in Queensland while selling images to non-competing titles in Australia, the US and Europe. He was poached by APN’s New Zealand Herald.
“Other cartoonists asked what I was doing when nothing happens in New Zealand. But they were wrong – it’s a very newsworthy country and it plugs into the rest of the world very well,” Emmerson told Mediaweek.
After 14 years at the country’s biggest paper, Emmerson has built a strong profile. Initially Kiwi cartoonists did not like the Australian taking the Herald role.
“I played that with a straight bat and let my work speak for itself. I did not get into fights and ignored the smartarse comments,” he says.
He says that New Zealand audience has a “dark and intellectual” humour that is different from Australians.
“You have to look to John Clarke – where it is about satire – humour’s ugly brother.
“It’s hard to feel homesick when you are only three hours’ flight way.”
In cartooning, he laments what he says is a trend in Australia to copy the US and become divided into left- and right-wing camps.
“That is what happened with Bill Leak,” he says.
Emmerson and Leak were friends. He admired his courage, though he said he would not have drawn some of the cartoons Leak did. He believed that Leak had made a mistake. “You follow the news and the story and you don’t become part of the story.
“That is probably the one place where Bill got it wrong. He was a very passionate guy. But I don’t think he should have become the story,” he says.
There is always the danger the publisher might want to do that, he said and a cartoonist had to be aware of that. “I think there is nothing in it for cartoonists,” he added.
“I like being a loose cannon accused of being both left-wing and right-wing.
“It keeps them guessing,” he says.
Image: Emmerson’s controversial cartoon of Australian rugby coach Michael Cheika from the front page of The New Zealand Herald on the day the Wallabies played the All Blacks last October