Thursday July 27 2017
Joining James Manning and James Daggar-Nickson on the show today:
• Matt Scriven, Director of Sales, Nine Melbourne
• Hamish Turner, Program Director, Nine
Sky News Business Channel
Channel 602: Foxtel
|ABC ME||0.5%||7mate||2.9%||GEM||2.6%||ELEVEN||2.6%||Food Net||1.0%|
|ABC||Seven Affiliates||Nine Affiliates||Ten Affiliates||SBS|
|ABC||10.9%||7||21.0%||9||15.0%||10 NNSW||3.5%||SBS One||5.1%|
|ABC ME||0.7%||7mate||3.3%||GEM||3.5%||ONE||3.2%||Food Net||0.9%|
|WEDNESDAY 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
Seven was back on the winner’s list last night with its tried-and-tested midweek schedule narrowly ahead of TEN and then Nine.
There weren’t any spectacular stars, just a good solid performance starting with The Chase building an audience for Seven News and then Home and Away.
The ob docs The Force and Border Security were both just over 700,000.
Two episodes of Criminal Minds then did 489,000 and 368,000.
After the gloss of the past few weeks, Nine slipped back to 16.8% with its lowest midweek share since mid-May.
The schedule is relying on Britain’s Got Talent with another live final last night delivering 561,000 which saw the program in third spot for much of its slot. The BGT Best And Worst special followed with 307,000.
The return of The Bachelor was the highlight of the night with 846,000 watching the season launch. That is down a little on the 2016 launch audience of 882,000. Many of the contestants threw strategy and the idea of playing a long game out the window as they almost literally threw themselves at Bachelor Matty J. The Bachelor was #1 program of the night across the capital cities in 25 to 54s and under 55s.
Later in the night Offspring was on 559,000 after 637,000 last week.
Episodes of QI from the last season hosted by Stephen Fry are filling the 8pm slot with 462,000 watching last night.
Shaun Micallef’s Mad As Hell then lifted the audience to 640,000 after 723,000 last week.
Week two of Utopia was down to 647,000 after its launch a week ago on 846,000.
The second week of Growing Up Gracefully then did 325,000 after its launch on 449,000.
Railway history at 7.30pm with Neil Oliver hosting Scotland’s Rail Disaster on 195,000.
The Qantas doco Secrets Of The Long Haul Flight did better though, lifting the SBS audience to 258,000.
The AFR’s Street Talk reports Oaktree Capital Management, which was a key part of a sweeping recapitalisation of Nine Entertainment to keep it out of administration in 2012, has approached David Gyngell about its bid for struggling free-to-air broadcaster Network Ten.
Sources said Gyngell has no interest in taking on the chief executive role at a media company again, but is open to getting involved should the right investment opportunity come across the table.
Street Talk also reports US studio CBS and New York hedge fund Anchorage Capital Group, which had been talking to Moelis about recapitalising Ten prior to its being put into administration, are among the nine parties to sign non-disclosure agreements and get their hands on Ten’s information memorandum.
[Read the original]
The joint venture comes after Jason Ayoubi joined the Division Agency as a partner and director, reuniting with Scott Robertson. In tandem, they were the driving force behind Future Music Festival and Summadayze.
TEG CEO Geoff Jones said the link will build a powerful combination of Division Agency’s genre knowledge with TEG’s strength as a promoter and marketer.
“This alliance makes sense from so many angles and the winners will be EDM fans and artists,” said Jones.
“TEG has a diverse and dynamic roster of artists who we promote and we have great respect for Jason and Scott’s achievements and ambitions. There are exciting times ahead.”
Division Agency launched two new boutique festivals (Knee Deep In Sydney and Days Like This Festival) at Royal Randwick at the start of the year in partnership with Paul Strange Presents.
The popularity of Ed Sheeran, elevated by the launch of his latest album, “Divide”, and his headline Glastonbury spot, helped drive total UK music sales 11.2% higher to £564m in the first half of 2017, reports The Guardian.
Revenue from streaming and downloads of films, TV and music, and sales of CDs, DVDs, Blu-ray, video games and vinyl records surged 6.4% in the first half to £2.98b, up £180m and double the 3% growth rate in the same period last year.
The video sector, which includes sales of DVDs as well as paid-for film and TV downloads and streams from the likes of Netflix, Amazon, iTunes and Sky Store, increased by 1.2% year on year to £978m.
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A chart of the top 20 bestselling entertainment products sees the Ed Sheeran album the only music product in the top five and one of only three in the top 20.
The chart is dominated by 14 movie releases with the remaining three spots taken by video games.
ITV is poised to hit Virgin Media with a hefty bill for carrying its main channel backed with a tacit threat of a blackout if it refuses to pay up, reports the UK Telegraph.
ITV will rely on new laws that come into force next week and scrap a copyright exemption that allows Virgin Media to carry its main public service channel for free without fear of legal action.
Sir Peter Bazalgette, ITV’s chairman, said that the broadcaster wanted to be compensated for its investment in programming as it reported a sharp drop in advertising sales.
The broadcaster is awaiting the arrival of easyJet’s Carolyn McCall as chief executive in January.
Most of the fall in pre-tax profits to £259m was accounted for by an 8p decline in advertising sales, which ITV blamed on uncertainties related to Brexit and the general election, insisting that television remains a “robust” market despite some spending and viewing shifting online.
It meant ITV’s overall first-half revenues were down 3p at £1.46b, as struggles in the advertising market were partly offset by increased program sales.
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The Australian reports it has has featured strongly across news, sport, features and indigenous affairs as finalists for the prestigious NRMA Kennedy Awards for Excellence in Journalism were revealed last night in Sydney.
Seven entries from The Australian were among finalists.
Among them, the team at The Deal, the paper’s monthly business magazine, was shortlisted for a special issue: The New Agenda: celebrating indigenous success.
Co-editors Helen Trinca and Clara Priani; art director Shireen Nolan, chief subeditor Deirdre Livolsi and picture editor Christine Westwood produced a comprehensive look at indigenous startups and businesses to mark the 50th anniversary of the 1967 referendum to remove discriminatory measures from the Constitution.
Sam Buckingham-Jones was nominated as a finalist for 2017 Young Journalist of the Year.
[Read the original]
Fairfax Media reports journalists from the Sydney Morning Herald and other Fairfax Media newspapers have been named as finalists in the prestigious Kennedy Awards for excellence in NSW journalism.
SMH state political editor Sean Nicholls has been recognised for Outstanding Political Reporting, while Mario Christodoulou and Patrick Begley are finalists for Outstanding Investigative Reporting, and veteran reporter Kate McClymont is a finalist for Outstanding Court Reporting.
Three pieces in Good Weekend – by Michael Evans, Stephanie Wood and Matt O’Sullivan – have been named as finalists in the Outstanding Features Writing category, while Jacqueline Maley has been nominated once again as a finalist for Outstanding Columnist.
[Read the original]
The foundation’s annual Mid-Year Award Celebration recognises the best young journalists, freelancers, and projects advancing innovation in journalism. This year, the Walkleys added awards for industrial relations journalists, and for arts journalists and critics.
Walkley Young Australian Journalist Of The Year
Paul Farrell, Guardian Australia – The Nauru Files
The Walkley Advisory Board, represented by Kate McClymont, Claire Harvey, Jonny Richards and Angelos Frangopoulos, said of the overall winner:
“Paul Farrell’s remarkable release of the Nauru Files produced shockwaves that are still reverberating in Australia and around the world. It is the essence of great journalism. We were also impressed by the innovative presentation of the leaked reports. A very deserving winner.”
Industrial Relations Reporting Award
Ben Schneiders, Royce Millar and Nick Toscano, The Age
Women’s Leadership in Media Award
Catherine Fox, ABC Online, The Australian and New South Publishing
Freelance Journalist of the Year
Jo Chandler, The Monthly and Background Briefing, ABC Radio National
Arts Journalism Award
John Shand, Johnshand.com.au and The Sydney Morning Herald
Walkley-Pascall Award for Arts Criticism
Kate Hennessy, The Guardian
Tom Minear, Herald Sun
Longform Feature or Special
Carl Smith, The Science Show, ABC Radio National ABC
The light-hearted classic roadside billboard campaign touches on various historical themes, rivalries, and traditional exports of some of Australia’s most iconic regional cities and towns including Wagga Wagga, Ballarat, Bendigo and Wodonga.
The campaign includes executions such as “Proudly serving Albury; our favourite of the twin cities (don’t tell Wodonga)” on the NSW side of the Murray with a billboard on the other side claiming Wodonga as their favourite.
While in the national capital, a billboard says: “Canberra: You love roundabouts (we love a round of fresh beer)”.
Kinderling Kids Radio has partnered with ASX-listed G8 Education to roll out its newest program Play & Learn to early education centres across Australia, in a move that could see the broadcaster double its market share.
A first within Australia’s DAB radio space, the initiative will see the SCA-backed station run a program specifically dedicated to auditory learning activities for a 10-week trial period in 24 centres across Victoria, South Australia and New South Wales.
With the Play & Learn program designed to enhance children’s cognitive and emotional development through a mix of guided auditory exercises, results of the pilot could see the program introduced into all 450 G8 early education centres operating nationally.
Having won Best Digital Radio Format at the ACRAs last year and averaging a weekly listenership of 200,000, Kinderling’s average weekly audience would double from this uptake.
Joan Warner, chief executive of Commercial Radio Australia, is an advocate of how Play & Learn is innovating digital radio:
“Kinderling is a wonderful example of how more diversity and choice can be offered using DAB+ broadcast technology and a leader in innovation within Australia’s digital radio space. We commend the development of this outstanding approach to the provision of engaging and educational audio for young Australians, showcasing what is possible with digital radio.”
Cooper will lead ARN’s National Strategy Team and be responsible for further driving ARN strategy and insights with the broader commercial teams. He will head strategic responses to briefs to create market-leading client solutions.
Cooper has held senior roles in media, communications and strategy in Sydney, London and New York and most recently held the role of Executive Strategy Director for Cummins & Partners.
Of his appointment, Cooper said: “I’m delighted to be joining ARN at such an exciting time for the business and broader industry. I look forward to working with the leadership team across the business to further drive the strategic proposition for ARN.”
Emma-Jayne Owens, Chief Commercial Officer, ARN, said: “Gareth is a great appointment for ARN. With such an extensive background in strategic planning across media and creative agencies, he’s perfectly suited to help grow ARN’s strategic insight capability delivering best-in-market solutions for our clients.”
Gareth joins ARN on Monday July 31.
The new app, called “Robb Reader”, houses the Robb Report digital magazine and uses the power of OpenDNA’s AI and machine learning technology to deliver content tailored to the specific interests of each individual reader.
Robb Reader is the third app launched by the publication in Australia this year.
Foxtel’s Main Event channel has re-signed its UFC agreement to continue to air live and encore broadcasts of UFC pay-per-view events. The agreement marks a continuation of Foxtel’s 10-year relationship with UFC bringing Australians PPV fights and additional UFC programming on its Main Event channel.
The deal kicks off with the UFC 214 fight between UFC light heavyweight champion Daniel Cormier and former title holder Jon Jones on Sunday July 30 from 12pm (AEST) live and encored throughout the day on Foxtel’s Main Event.
On Sunday, September 10 from 12 pm live on Foxtel’s Main Event, UFC will host its first-ever event in Edmonton, Alberta, Canada with UFC 215, live from Rogers Place. The event is headlined by UFC flyweight champion Demetrious Johnson, who will look to make UFC history by defending title for the 11th time. UFC 215 will also include a women’s bantamweight showdown between Amanda Nunes and Valentina Shevchenko.
In addition to the five-hour UFC Fight Night events including the Post Fight Show on Main Event, Fox Sports continues to broadcast a range of weekly UFC programming such as UFC Countdown pre-shows, The Ultimate Fighter, weigh-ins and more.
Off the back of its biggest three weeks of the year, and its best for some time, the Nine Network on Wednesday previewed the new series of The Block and announced client partnerships for season 13.
To become known as The Block: The Street, the series set in Elsternwick opened up the recently completed properties in Melbourne for a VIP preview event.
MC at the event was The Block’s Scott Cam, who was joined in a short official ceremony by co-creator and executive producer Julian Cress.
Cam spoke about the massive transformation that has taken just 12 weeks to complete with the site a vacant block not long ago. The site has been transformed with five completed homes now dominating the quiet Elsternwick Street.
“I cut my teeth on working on old houses like this – timber frame, weatherboard home,” remembered Cam, proud that the show had been able to breathe new life into properties which were going to be demolished if The Block had not bought the properties and relocated them. “We have been able to restore the properties back to their former glory and these houses will have another life with new families being raised in them. The contestants this series have done an outstanding job and the houses look as though they belong here.
“I don’t say this every year, but this is now officially my favourite Block.”
Julian Cress remembered how he came across the land – just the day after the auction of the properties on The Block in 2016. After driving to the site, he called Nine’s Michael Healy immediately and pitched the idea for bringing old properties onto the site.
“This was a proper block of land – 3,000 square metres. I pitched the idea, adding all I need is $10m dollars. Michael Healy said yes and here we are.”
(To hear the detailed story about this season of The Block and Julian Cress’s own renovation story, don’t miss Mediaweek’s new The Block podcast, online later today.)
Julian Cress and Scott Cam were joined at the series preview by Michael Healy and other Nine execs including Adrian Swift, Hamish Turner, Simon Baird, Justin Sturzaker and Melbourne sales chief Matt Scriven
All The Block’s 2017 contestants were on hand to show off their properties, not showing too many scars from their 12 weeks’ work. They were joined by Cam’s co-host Shelley Craft plus judges Neale Whitaker and Darren Palmer.
The season launch coincides with Nine’s announcement of the client partners for The Block season 13.
“The Block is the country’s leading example of a content brand that is truly ubiquitous, touching Australians on every screen. It is without doubt the strongest franchise that delivers time and time again for the audience and seamlessly integrates brands across every platform,” said Lizzie Young, Nine’s group content strategy director.
Client partnership highlights include:
• Mitre 10, The Block’s longest-serving partner, will again be returning, for its 10th season
• McCafé, is returning with a pop-up café on the construction site
• Stayz returns and will be rewarding the competitors with the winning room each week with luxury weekly Stayz Getaways
• Fairfax’s Domain returns as a major partner
• New partners this year include Youfoodz, Centrum, Volkswagen is supplying the competitors with Volkswagen Tiguans and RACV, HBF Home Insurance and Revolution Roofing have taken key local sponsorships in their respective markets.
The Block also has a number of major suppliers involved in the new season, including Bluescope Steel, Sheridan, Reece, Kennards, Freedom Furniture, Freedom Kitchens, Carpet Court, Beacon Lighting, Beaumont Tiles, Forty Winks, Steel Blue Boots, Daikin, iSelect and Apple.
Photo: The Block’s foreman Dan with McCafe coffee, Nine’s Michael Healy with The Block host Scott Cam
Nine Entertainment Co has detailed how the biggest entertainment hit of 2017 has performed. NEC has also confirmed a second season and updated prize money details in this release:
Australian Ninja Warrior has cemented its place as the biggest hit show of 2017, with The Final Stage of the competition drawing an average national TV audience of 3.087 million.
Not only is Australian Ninja Warrior the biggest new show to launch since 2012, but last night’s grand final result brings the current consolidated national average TV audience for its three-week season to a massive 2.454 million per episode (5 City: 1.727 million / Regional: 726,000).
Australian Ninja Warrior has also outperformed the audience for the 2016 Olympic Games in Rio de Janeiro, with every episode rating higher than every session of the Games. Ninja’s 5 City metro consolidated average came in at 1.727 million, which is above the average 1.409 million viewers who tuned in for the Olympics last year (average combined audience of ‘In Rio Today’ on Seven, and primetime highlights on 7Mate and 7Two).
“The reception for Australian Ninja Warrior has been phenomenal, and the team at Endemol Shine Australia has to be commended on the brilliant show they have delivered,” said Michael Healy, Nine’s director of television.
“We are thrilled to see Australian audiences responding so strongly to a new format. The result is driven by appointment family viewing, and it demonstrates the power of free-to-air television to aggregate mass audiences.”
Since its debut on July 9, Australian Ninja Warrior has driven significant online traffic across Nine’s digital channels in short-form video views, news content across key properties such as the lifestyle site 9Honey, fitness site 9Coach and celebrity site 9The Fix.
Across social, Australian Ninja Warrior has led the online discussion, coming in as the number one All Series show on the Nielsen Social Content Ratings for eight of its nine episodes.
In video, Australian Ninja Warrior has driven continued strong growth in new sign-ups to the live streaming and on-demand platform 9Now, which this week is poised to pass the 4 million subscriber mark.
Australian Ninja Warrior has also driven significant video consumption across the nine.com.au websites and 9Now, with more than 700,000 minutes of Ninja short-form video and more than 17m long-form minutes consumed across 9Now and nine’s other digital properties, while news stories around the show also drove major upticks in traffic on the 9Honey lifestyle network.
“What has been fascinating to see is the Australian audience’s appetite for Australian Ninja Warrior’s content online,” said Helen McCabe, Nine’s head of lifestyle. “Across our digital lifestyle network we have seen different types of Ninja-related stories do well on different properties.
“For example, on 9Honey it has been the inspirational stories that have done well. On 9Coach, readers have wanted to know what level of physical training goes into being an Australian Ninja Warrior, while on 9TheFix the top stories have really been driven by readers wanting to know how celebrities like Justice Crew members Samson Smith and John Pearce did on the course.”
For Nine, the success of Australian Ninja Warrior has once again confirmed its commitment to growing audiences across the key demographics, both in television and online, this year.
“Australian Ninja Warrior is without a doubt the breakout hit of 2017,” said Michael Stephenson, Nine’s chief sales officer.
“Following on from the success of Married at First Sight in the first quarter and another strong season of The Voice in Q2, Ninja has set the stage for us to have a strong back half of the year, along with The Block and Family Food Fight. That will deliver what we promised, solid audience growth for 2017 in the three key demographics that matter: audiences 25-54, 16-39 and grocery buyer with child.”
Nine confirmed that the 2017 prize money of $100,000 would be rolled over for next year creating a $200,000 prize and will continue to increase, until a contestant conquers Mount Midoriyama.
“Australian Ninja Warrior will return for a second series in 2018 and we are excited to see not only all of our favourite Ninja contestants from series one return but a host of new Australian Ninjas inspired by the show,” said Healy.
“For the second series in 2018 we will roll over the prize money not won in series one, creating a prize of $200,000 if an Australian Ninja Warrior can conquer Mount Midoriyama.”
Nine and Endemol Shine have already opened up applications for 2018. Those seeking to conquer the world’s toughest obstacle course can enter at ninjawarriorcasting.com.au.
News Corp Australasia executive chairman Michael Miller spoke at the Melbourne Press Club earlier this week about the challenges facing the media sector.
Here are some of the highlights:
While we can justifiably blame technology, society’s changes, piracy, global players, government and legislation for our current dire state, we must assume some of the blame ourselves.
The fact is: less is being invested in Australian content across all mediums, and the challenge of producing great content is harder to meet; we are primarily domestically oriented, focused on our traditional competitive share rather than investing regionally for growth; while at the same time, reducing the marketing and promotion of our brands and our talent.
We have also given our unique journalism away for free – to both consumers and our new competitors.
It is a cruel irony that here we are, organisations who invest in journalism and support the creation of unique, local content for Australian audiences, in the fight of our lives against international players – who, despite their scale, lack our local commitment, influence and impact.
At News Corp, we have four clear priorities.
Our first step is to move from a diversified media company to a unified media company. We need greater internal cooperation to deliver better outcomes for our customers, our audiences, our staff, and our portfolio of businesses.
An example of the benefits of that cooperation is already seen between The Australian, the Wall St Journal and Sky News Business. Ticky Fullerton now sits alongside the WSJ team, ensuring we maximise our quality resources to deliver world-class content.
It is why we created Food Corp, a united network of our food titles such as delicious, Donna Hay and taste, to deliver multibrand solutions to advertisers. Or created whimn.com.au, a single destination for news, opinion and lifestyle advice and debate for a female audience.
We are taking the same network approach to property, sport and travel.
This internal collaboration creates a more attractive scale proposition for our commercial partners to effectively communicate their messages.
Our second priority is our unwavering commitment to create unique, high value, local journalism, journalism that holds governments to account, shines a light on public service incompetence and campaigns for better health and transport services for communities.
What we do is uniquely local, and is not readily replicated or replaced. We expose ministerial travel rorts and interrogate the issue of spiralling youth crime gangs on Melbourne streets.
When a siege hits this city, we are there, providing the essential information to a confused and frightened population, just as we were there 86 years ago for the Good Friday Appeal, raising much needed funds for the Royal Children’s Hospital.
We champion, we challenge and we care.
Providing local news and local voices essential for a vibrant media and an informed community, our commitment to journalism is also why we acquired and invested in Sky News – a team that provides must-watch analysis, news and commentary on local politics and is on the ground where Australians live, work and play. And it’s working.
Sky News Live is now the highest-ranking channel in our history. The weekday primetime audience Jan-Jan 2017 is 25% higher than the first half of 2016. Paul Murray Live is now the highest-rating Foxtel show in that timeslot and his weekly audience has grown 44% in the past 12 months.
Our third priority is growing consumer revenues, with a focus on subscriptions. We know that more people are paying for content than ever before. We know that our unique and trusted journalism is what our audiences want, and we know they are willing to pay for it.
We believe that quality, unique journalism and opinion should be paid for – we should never have given it away. Our numbers reflect that belief – The Australian’s consumer revenue from subscriptions is now greater than advertising revenue. Digital subscriptions are now greater than print subscriptions for that title.
Publishers in the US are experiencing a resurgence in newspaper audiences, thanks to the Trump Bump. People are putting their faith in the trusted brands that matter – brands with authority, expertise and credibility. Revenue for our journalism is key for growing our revenues.
Our fourth priority, and to better compete with the new media players, is operating smarter. We need to use the unique data that’s available to us. The data we have enables us to publish the relevant content that best meets our audience, and the individual’s interests. This leads to journalism we can monetise.
The shape and strength of the Australian media’s future rests in our hands. As an industry, we also need clear priorities as we enter the new era of media opportunity. We need a unity of purpose.
To me, there are five clear industry priorities. We need to:
• Cooperate as a unified media
• Support our own local industry
• Invest in more content and journalism
• Operate smarter by using data
• Speak with one voice about media reform
Read the full text of the speech here, or watch the video below.
Mediaweek’s James Manning and Kruti Joshi round up the week in media news. The discussion includes Game Of Thrones, Foxtel’s Picnic At Hanging Rock sale, SBS’s midyear showcase, the return of radio hosts after the winter ratings break, BBC’s 13th Time Lord + broadcaster salaries revealed, news readership, and more.