Wednesday April 19 2017
|ABC ME||0.7%||7mate||2.7%||GEM||4.1%||ELEVEN||2.9%||Food Net||0.6%|
|ABC||Seven Affiliates||Nine Affiliates||Ten Affiliates||SBS|
|ABC||9.1%||7||26.7%||9||12.8%||10 NNSW||2.5%||SBS One||4.9%|
|ABC ME||0.6%||7mate||5.2%||GEM||5.6%||ONE||3.5%||Food Net||0.8%|
|TUESDAY METRO ALL TV|
Shares all people, 6pm-midnight, Overnight (Live and AsLive), Audience numbers FTA metro, Sub TV national
Source: OzTAM and Regional TAM 2016. 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 is on track for a good win in the second week of the Easter break. The first of the My Kitchen Rules finals and another elimination pulled another big audience last night of just over 1.3m. However, a second-night audience for Seven Year Switch was again just over 600,000. Seven launched the 29th season (and they say five of Doctor Blake is enough!) of The Amazing Race with 171,000 watching after 10pm.
Two episodes of The Big Bang Theory started with 713,000 and then dropped to just under 600,000.
The Brits on Travel Guides visited England’s Lake District with 257,000 watching before a second episode dipped to 164,000.
The Project 7pm didn’t quite crack half a million.
Not far behind it was a new episode of NCIS on 457,000 followed by NCIS: Los Angeles on 380,000.
Michael Mosley’s Secrets Of Your Food did 405,000 while Todd Sampson failed to crack 300,000 for Life On The Line.
Great Continental Railway Journeys squeezed into the top 20 with 381,000.
The second part an Insight special on sports stars reviewing life away from the limelight did 310,000.
News Corp Australia has appointed The Works as its new creative agency for direct marketing to support a nationwide brand campaign across metropolitan and regional newspapers.
The Sydney-based agency will take responsibility for retention, acquisition and digital activities as chief marketing officer Tony Phillips takes the publisher’s marketing strategy to market.
Phillips, who joined News Corp in June last year, is working on a new brand campaign to roll out in fiscal 2018.
“The Works has demonstrated the strategic and creative ideas we are looking for as we focus on growing subscriptions for our brands,” Phillips said.
The Works is a multi-awarding winning creative house that has done much work with Optus over many campaigns.
The Turnbull government’s move to can the 457 visa program is making Australian technology businesses nervous with the startup community in particular worried by the prospect of an acute staff shortage, report The Australian’s Supratim Adhikari and David Swan.
While the 457 program is used across all industries, it’s particularly important for the technology industry.
Atlassian co-founder and co-CEO Mike Cannon-Brookes, whose tech company is worth more than Qantas, told The Australian 457s were “essential” for Australia, and that any move to make bridging the talent gap more difficult would be bad for the country.
“We’ve got about 1,000 people in Sydney, and about 25% of the Australian staff are on 457s, maybe a bit over that,” he said in an interview.
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Netflix Inc.’s US and international subscriber growth slowed in the first quarter, coming in below expectations, though profit grew as content costs were lower than anticipated, reports The Wall Street Journal.
The Los Gatos, California, company reported 98.75 million total subscribers, up from 81.5m a year ago.
Analysts polled by Thomson Reuters expected 98.9m subscribers overall. The company said in a shareholder letter that it is on track to surpass 100m subscribers this week.
The company added 3.53m international subscribers in the quarter, missing its guidance of 3.7m.
In the year-ago quarter, it added 4.51m international customers. Its US subscriber growth slowed, as it added 1.42m customers, falling short of its target of 1.5m. It added 2.23m US customers in the prior-year period.
Netflix ended the first quarter with 50.85m US customers and 47.9m international customers.
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Publicis Media Exchange (PMX) Managing Director Sarah Keith has announced the appointment of Tina Gavros to the newly created role of Commercial Director.
PMX is the investment arm of Publicis Media. In the new role, Gavros will work closely with PMX’s media partners to drive and maximise new opportunities for clients.
Gavros joins PMX from 17 years at Starcom, where she was most recently Sydney Trading Director.
This is the third key hire for PMX – Gavros joins Jodi Fraser who heads up Publicis Screen and Simon Carley who joins PMX from Ebiquity to drive business analytics.
Sarah Keith said: “Having worked with media owners, I have seen firsthand how Tina operates and I admire and respect her approach. Her experience will be invaluable as we grow the investment practice that supports the Publicis Media brands.”
Commenting on her appointment, Tina Gavros said: “After working with Starcom for 17 years this is an exciting new challenge for me and an opportunity to bring my experience in investment to the group. PMX plays a pivotal role in not only maximising efficiencies for clients but offering new opportunities as media owners drive innovation across their brands.”
The new appointments are effective immediately.
Meanwhile, Starcom Australia CEO Toby Barbour has announced Sue-Ellen Osborn (pictured) will step into Gavros’ former role as Starcom as Sydney Trading Director.
Osborn moves across to Starcom from Zenith where she was Group Business Director.
Osborn has more than 15 years’ experience in the media industry, and began her career in TV sales and worked at Initiative before joining Zenith in 2003. She has held various roles at Zenith in account management and was also Melbourne Investment Director and Group Investment Director for the agency.
In her new role at Starcom, Osborn will be responsible for leading the agency’s investment product and team and media relations, working closely with PMX. She will also sit on the Sydney leadership team.
“We have a fantastic depth of talent at Publicis Media and these appointments reflect our desire to optimise talent and experience across the group. Sue-Ellen’s experience as both a Group Business Director and Investment Director perfectly complements our clients’ needs,” Barbour said.
Sue-Ellen Osborn said: “I’m really excited to take on this important role at Starcom leading the agency’s trading and investment team. The media sector is increasingly complex to navigate and we aim to ensure clients receive the best advice and media channel choices to drive effective business outcomes.”
Osborn’s appointment is effective from May 1.
Aussie soap Neighbours has reportedly clinched a new United Kingdom broadcasting deal, temporarily securing its shaky future, reports Fairfax Media’s Rob Moran.
The rumoured deal, forged between production company FremantleMedia and the show’s British network Channel 5, will see the long-running series air in the UK for another four years.
While FremantleMedia declined to confirm or comment on the reported deal, the news will be welcome relief to the show’s bosses, who recently noted the importance of “overseas interest” to its future security.
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Talitha Cummins returned to TV on Studio 10 today, after settling her lawsuit for unfair dismissal against former employers at Seven earlier this month, reports News Corp’s Holly Byrnes.
The former Weekend Sunrise newsreader challenged Channel 7 after she claims it ended her regular gig with them while on maternity leave, just nine weeks after the birth of her first child.
Executive producer Rob McKnight welcomed Cummins to the show, revealing: “Talitha and Sarah [Harris] are old mates and we all think she’s great talent. She’s a perfect fit for Studio 10 as she’s not afraid to open up about her personal life and has strong opinions on hot topics.”
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In an Australian first, NITV is launching Little J & Big Cuz, a contemporary children’s animation series offering a proud and positive view of Aboriginal Australia and the opportunities for learning within it, to young indigenous kids as they prepare for school.
Featuring the voices of some of the country’s most prominent indigenous talent, Miranda Tapsell, (Little J) Deborah Mailman (Big Cuz), Aaron Fa’Aoso (Old Dog) and Ningali Lawford-Wolf (Nanna), Little J & Big Cuz follows five-year-old Little J and his cousin, nine-year-old Big Cuz, as they explore themes of indigenous identity, connection to country, traditional knowledge and cultural practices.
NITV channel manager Tanya Orman said: “As Australia’s first animation series featuring indigenous children, Little J & Big Cuz lets indigenous kids see themselves on screen in a positive and fun way. The series is truly wonderful and features the best indigenous writers in the country, great directors and animators, and a truly amazing cast.”
Little J & Big Cuz is a Ned Lander Media and Old Dog Pictures production, commissioned by NITV and funded by The Australian Council for Educational Research (ACER) and Screen Australia, in association with Film Victoria, Screen Tasmania and The Australian Children’s Television Foundation.
Little J & Big Cuz screens weekly on NITV from Friday April 28 at 7:30pm, or on weekdays from Monday 1 May at 4pm.
News Corp’s Phil “Buzz” Rothfield writes today that League’s longest feud – between Rothfield and Gus Gould – is over. Writing in The Daily Telegraph, Buzz explains:
I texted Phil Gould on Easter Monday afternoon — the day after his team got clobbered by the Sharks.
“Hey Gus. Any chance we can catch up for an interview tomorrow please? Preferably face-to-face in the Shire or Penrith but can do phoner or email questions if that’s preferable. Thx Buzz.”
He replies an hour later: “I am at Penrith all day, every day this week. You are welcome to come for an interview any time at your convenience. Best wishes.”
[During the interview, Buzz asks]
Buzz: I did 50 predictions at the start of the year. One was that you’d inevitably shut down your Twitter account.
Gus: Well, you got something right. When I did the Nine deal recently, it was pointed out that a lot of the journalists were writing columns off what I was saying on social media. Well, I thought I’d just close it down. I enjoyed talking to the fans but mainstream media started picking it up for stories.
Photo: Brett Costello/News Corp Australia
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New Zealand Rugby (NZR) and the Auckland Blues have given Sonny Bill Williams permission to have advertising from sponsors Bank of New Zealand (BNZ) and Investec removed from his Super Rugby training and playing kits on religious grounds, reports Reuters.
The All Blacks centre, who converted to Islam in 2008, put tape over the “Bank of New Zealand” logos on the collar of his shirt when he made his return after seven months out injured in a Super Rugby match in Dunedin on Saturday.
The 31-year-old’s decision to cover up the logo was questioned by New Zealand Prime Minister Bill English on Monday.
“New Zealand Rugby and the Blues have accommodated Sonny Bill Williams’ request to have advertising from the BNZ and Investec removed from his Super Rugby playing jersey,” the NZR and Blues said in a joint statement.
Two-times World Cup winner Williams said he preferred not to wear logos from banks, alcohol brands and gambling sponsors on his team uniform.
“I want to be clear that this is nothing personal against the BNZ or Investec,” Williams added.
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Easter box office is one of the critical times of the year for cinema operators. Two public holidays bordering a weekend is one of only two guaranteed four-day holiday breaks every year.
Total box office for the top 20 movies just fell short of the magic $20m mark on the MPDAA data we have. However, it was up an impressive 35% on the previous weekend. For the four-day weekend, and not counting Easter Monday box office, that makes it the smallest Easter take in the past three years. In 2015 the four-day Easter total was $26.58m thanks to $14.62m from the opening weekend of Fast And Furious 7. A year later it was even better on $27.14m largely powered by Batman v Superman: Dawn Of Justice, which opened with $13.15m.
Although 2017 is down on those comparisons, the takings across the Thursday-Sunday weekend inclusive (which is the weekend take we usually report on) were up week-on-week 35%. Virtually all of that extra box office buzz was generated by the #1 movie with virtually every other major release down significantly on its previous weekend.
The Fate of the Furious took top spot over Easter with an impressive $532m internationally. That was enough to break the record for the largest single opening weekend of all time, beating Star Wars: The Force Awakens’ $529m, Jurassic World’s $526m and Furious 7’s $398m, according to Val Morgan Cinema.
In Australia, The Fate of the Furious, depending on the stats used, opened with $15m (when adding the Wednesday gross), delivering almost $500,000 more than Furious 7 to become the eighth-highest grossing Australian debut of all time. Fast 8 overtakes Deadpool on that list and, ironically, pushed Fast 7 out of that top 10.
If you don’t count the Wednesday, and use the strict four-day Thursday-Sunday gross, the movie opened with $10.07m, which won’t be enough to set any weekend records.
Fast 8 opened on 697 screens in Australia, which is the widest opening since Beauty And The Beast launched on 706 screens. Fast 8’s screen average of $14,452 is also the best since Beauty And The Beast’s $18,619.
Despite the Easter break coinciding with school holidays, Beauty And The Beast dropped 39% yet still managed just over $3m. The number of screens fell 139 to 449 as total box office passed $40m.
The fourth weekend of this animated school holiday special passed $16m this week. Takings were down 18% yet it held on 300 screens.
Also on just over 300 screens, down 53 this week, the third weekend was down 27% with the action movie for kids well placed to crack $10m or more by this time next week.
This was the star performer last week, with weekend-on-weekend data tracking a 79% rise. That turned into a 14% fall this week as it remains on just under 300 screens.
• PR managers, radio and TV presenters and among roles being dropped from skilled labour list
A number of jobs in the media sector have potentially been affected by the Turnbull government’s move to scrap the 457 visa. The visa allowed employers to bring in skilled workers from overseas to fill the gap in the national labour market.
Nearly 25 jobs in the media and associated industries are listed among the 200 occupations to be removed.
Two new visa programs will replace the 457 visa with a tightened definition of skilled workers and the requirements they must meet before coming to Australia. The first visa class will include a short-term two-year permit to work in the country with no scope for permanent residency.
Meanwhile, the second visa class is focused on filling a long-term skills gap. Workers coming to Australia under this visa will have a four-year limit and will require a higher standard of English than the two-year visa.
Both visas will require prior work experience of about two years and a criminal record check, which is currently not required.
The jobs from the media and associated industries to be chopped off the skilled labour list, effective 19 April 2017, include Actors, Dancers and Other Entertainers, Art Director (Film, Television or Stage), Artistic Director, Author, Broadcast Transmitter Operator, Cinema or Theatre Manager, Communications Operator, Composer, Director of Photography, Entertainer or Variety Artist, Film, Television, Radio and Stage Directors, Graphic Pre-press Trades Worker, Media Producer (excluding Video), Multimedia Designer, Music Director, Music Professionals, Public Relations Manager, Radio Journalist, Radio Presenter, Singer Television Equipment Operator and Television Presenter.
Workers currently in Australia on the 457 visa will not be affected by the changes.
Full list of occupations removed from skilled labour list here.
Mediaweek’s James Manning and Kruti Joshi cover the headlines in media this week in this pre-Easter edition of Seven Days. Discussion include the News Corp redundancies, radio presenters on break (except Fitzy and Wippa), how Natasha Exelby became the most-talked about topic in the sector, Peter Wiltshire‘s new ad rep business, Stan’s chicken shop activation and much more.
Listen online here.