Wednesday April 26 2017
TV Week 17: Tuesday
My Kitchen Rules secures biggest 7.30pm audience after massive Seven News crowd
Nine’s The Voice pulls biggest Sydney/Melbourne audience
Anzac Day Essendon v Collingwood over 1.1m metro for Seven and Fox Footy
|ABC ME||0.5%||7mate||2.6%||GEM||3.2%||ELEVEN||2.6%||Food Net||0.8%|
|ABC||Seven Affiliates||Nine Affiliates||Ten Affiliates||SBS|
|ABC||7.8%||7||24.1%||9||19.9%||10 NNSW||3.2%||SBS One||4.4%|
|ABC ME||0.7%||7mate||3.6%||GEM||4.8%||ONE||3.4%||Food Net||0.9%|
|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 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 secured its third consecutive primary channel win in week 17, the first week back in survey after the Easter break.
Nine has also won two of those three nights in combined channel share too. Seven had the biggest combined channel share on Monday night with the AFL broadcast nationally on 7mate, which pushed up the channel’s share to 8.8%.
With the Seven and Nine primary channels accounting for close to 48% of the audience last night, it put extra pressure on the other channels.
The afternoon Anzac Day football clash between Essendon and Collingwood delivered for Seven with 802,000 watching on the primary channel in Melbourne, Adelaide and Perth – 549,000 of them in Melbourne. There were an extra 80,000 watching on 7mate in Sydney and Brisbane. Factor in the 317,000 watching the Seven coverage on Fox Footy in metro markets and the total metro football crowd climbs to 1.2m.
That football crowd helped push the Seven News first 30 minutes to 1.47m with 1.27m staying after 6.30pm.
Home and Away then did 790,000.
The final Tuesday episode of My Kitchen Rules did 1.21m as Amy and Tyson narrowly won through to the grand final. Both teams displayed their kitchen talents with all judges delivering either an eight or a nine out of 10. Amy and Tyson’s menu of squab, duck and then jelly with sorbet saw them finish just two points ahead of David and Betty.
Seven’s Seven Year Switch then did 551,000, which trailed House of Bond by 100,000.
Nine News managed to win at 6pm in Sydney and Brisbane with help from Nine’s NRL afternoon match coverage in those markets.
A Current Affair covered Anzac Day as well as the NSW police force and an identity mix-up for its timeslot-winning audience of 872,000.
The second episode of The Voice attracted 1.18m after launching on Monday night also with 1.18m.
House Of Bond turned out to be a very enjoyable look at the rise and fall of the controversial businessman with its mix of drama and documentary. The miniseries launched on Monday with 613,000 and wrapped last night on 657,000.
The Project made it just over 600,000 at 7pm where the guests included a Bondi lifeguard, singer Amy Shark and defence industry minister Christopher Pyne talking about Anzac Day.
A special one-hour episode of Bondi Rescue followed with 553,000, which sees the show edging back to the ratings it used to get in this Tuesday timeslot.
NCIS then did 447,000 followed by NCIS: Los Angeles on 345,000.
The channel’s second-biggest audience yesterday was for the combined morning coverage of Anzac Day marches around Australian capitals with 507,000 watching.
After 8pm Todd Sampson was floating in the Kangaroo Valley attached to some balloons, which didn’t seem all that amazing. His life was on the line though as the program promised with 292,000 watching what was the final episode.
Michael Mosley’s Secrets Of Your Food then did 439,000 followed by Foreign Correspondent on 319,000.
Another big audience for a repeat of Great Continental Rail Journeys with 380,000 watching.
Insight was then next best at 8.30pm with 262,000.
The federal government is closely examining the extension of its proposed ban on gambling advertisements during live sporting events, as Communications Minister Mitch Fifield prepares to take his final policy on the ads to cabinet, reports The Australian’s Nick Tabakoff.
A number of plans remain in play with the government proposal, including a “siren to siren” ban on betting ads — from the opening to the closing bell of matches — as revealed by The Australian last week.
But The Australian understands Fifield is now considering a further option: a betting ad ban from five minutes before the game begins to five minutes after it ends.
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Senate powerbroker Nick Xenophon believes the federal government should abolish broadcast licence fees altogether for free-to-air television and implement a “turnover tax” to make sure US-based technology giants Facebook and Google, who suck up a huge proportion of Australia’s advertising market, pay their fair share, reports The AFR’s Max Mason.
Senator Xenophon said the government would need to deal with broadcast licence fees for free-to-air if it was to restrict wagering ads. He said pay television would need a break too, but hasn’t fully considered rumoured anti-siphoning cuts.
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Network Ten is looking to renegotiate its onerous US content deals with 21st Century Fox and CBS as it moves to shore up its finances ahead of a looming $200 million loan deadline in December, reports The AFR’s Max Mason.
Ten spends in excess of $100m per year on the two output deals with the US cable giants, and both are long-term contracts.
Ten will report its half-year results and has forecast an earnings loss before interest, tax, depreciation and amortisation of up to $5m, following a downgrade in February. It expects a $20m to $30m EBITDA loss for the full year.
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Former Fox News US anchor Bill O’Reilly has returned to the media as a commentator on his own website.
He is promising to deliver news and commentary daily on the site and is offering subscription packages starting at US$4.95 a month for premium access.
The paywall will commence on his website starting Monday May 1 with O’Reilly promising to publish daily at 7pm eastern.
O’Reilly posted yesterday:
I am sad that I’m not on television any more. I was very surprised how it all turned out. I can’t say a lot, because there’s much stuff going on right now.
But I can tell you that I’m very confident the truth will come out, and when it does, I don’t know if you’re going to be surprised – but I think you’re going to be shaken, as I am. There’s a lot of stuff involved here.
Now, I can’t say any more because I just don’t want to influence the flow of the information. I don’t want the media to take what I say and misconstrue it. However, you, as a loyal O’Reilly listener, have a right to know, I think, down the lane what exactly happened. And we are working in that direction, okay?
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Wikimedia Foundation executive director Katherine Maher says the current era of fake news and encroachments on freedom of expression make Wikipedia more important than ever, as she gears up for her first trip to Australia for Melbourne Knowledge Week, reports The Australian’s David Swan.
Maher, who took the top role in June 2016, told The Australian the internet was a very different place now from when Wikipedia started 15 years ago.
“The internet is more commercial, information is more consolidated and it’s also a lot more fragmented,” she said. “People are increasingly unsure about what they can trust and what they know on the internet.”
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Adshel has announced the creation of a partnerships team to create deeper engagement and help bridge the gap between media, creative and client. This team is to be headed by Melanie Lindquist in the newly created head of partnerships role.
Adshel says Lindquist’s extensive experience in strategy, integration and campaign development will bring critical understanding of client needs and key marketing challenges. Reporting to Adshel’s head of marketing, Charlotte Valente, Lindquist commenced the new role this week.
Lindquist is formerly Avalde Digital’s head of digital and marketing where she was responsible for client acquisition, retention and management of the account service delivery team. She has also formerly worked with Nine Network and Southern Cross Austereo.
Jane Bowman, an Adshel senior sales executive, has been appointed as Adshel’s first partnerships manager across automotive, retail and finance categories.
Starcom Australia CEO Toby Barbour has announced the promotion of Martin Hadley to the newly created role of Sydney general manager.
Hadley has been with Starcom Sydney for three years and is currently client services director.
In his new role, Hadley will be responsible for leading Starcom Sydney’s clients, staff and operations and reports to Barbour.
Hadley has more than 20 years’ experience in media agencies and prior to joining Starcom he was general manager of PHD, a company he helped launch in 2009. Hadley began his career at Euro RSCG, and has held senior roles at Initiative and MindShare in Australia, Japan, Taiwan and South East Asia working with clients including Unilever, MasterCard, HSBC, eBay, PayPal, Diageo, Johnson and Johnson, Nestle, Ford, Commonwealth Bank, Cisco, Microsoft, Pfizer and HP. At Starcom he works with clients including Visa, Subaru, Metcash, Airbnb and Brown-Forman.
Hadley’s appointment is effective immediately and a new client services director will be announced shortly.
Alan Bond‘s family is furious with Channel Nine’s House of Bond, labelling the miniseries “shameful” and “inaccurate”, reports Fairfax Media’s Broede Carmody .
Bond’s family fired off a strongly worded statement on Monday night, just minutes after Nine’s television drama made its debut.
In the statement, Bond’s family accuses Channel Nine of transforming him into a “sensationalised villain”.
“The writers and producers made no attempt to contact the Bond family to ensure the portrayal of Alan Bond was accurate and appropriate,” the family said.
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They may be professional rivals but the judges on MasterChef Australia have some friendly advice for their TV counterparts — Pete Evans and Manu Feildel — about just why the ratings may have simmered for this year’s My Kitchen Rules, reports News Corp’s Colin Vickery.
“For one year [MasterChef] was bonkers,” Matt Preston says. “There was no audition tour. We weren’t involved in picking the contestants. There was no top 50.” The result? “We came in with a group of contestants picked by other people.”
That is exactly what happens every year on My Kitchen Rules, with Evans and Feildel having no say on who competes — and the MasterChef judges reckon that is a big mistake.
“We’re friends with Pete and Manu and the truth is, would I go and do that show? No,” Calombaris says.
“We don’t let contestants bicker among each other on MasterChef Australia. There is none of that. We know that if they are supportive of each other the food will be good.”
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Cricket Australia is facing a major revenue crisis after global investment bank UBS urged broadcast partner Nine to axe cricket coverage because the network is losing up to $40 million every year televising the sport, report Fairfax Media’s Lucy Battersby and Mark Hawthorne.
Adding to Cricket Australia’s problems is that Ten is unlikely to bid competitively for the rights like it did in 2013 – when it offered $550m – given its current financial position. The only remaining options are Seven, which already spends a fortune on live sports, or a publicly owned broadcaster like SBS or the ABC.
Ben Amarfio, CA’s executive general manager for broadcasting, digital media and commercial, said “very positive discussions” with Nine about the next cycle of media rights had begun.
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• The Fate Of The Furious speeds past $22m
The end of the Easter school holiday break in some markets is upon us with weekend takings for the top 20 movies dipping to the tune of 31% as ticket sales dropped from $19.94m to $13.75m.
There was just one new release in the top five while two others scampered into the top 10 further down the chart.
Just short of $5m for weekend #2 with the movie on 580 screens, down 117. Screen average was $8,554 with its total gross so far $22.28m.
Total gross here will pass $45m this week after five weeks with the movie still on 381 screens on the weekend with a screen average of $5,609.
A relatively low fall-off with takings down 19% and the movie set to pass $20m ahead of its sixth week in release.
The buddy crime comedy starring Morgan Freeman, Michael Caine and Alan Arkin was let loose on 235 screens with a screen return of $5,380, which was close to what three of the top five movies earned.
The plastic pieces playing superheroes passed $10m on the weekend with the 293 screens showing the film averaging $3,163.
Weekend-on-weekend it was Smurfs: The Lost Village that again held up the best with gross down just 2% to $788,000 as the movie passes $5.56m on its fourth weekend of release.
Their Finest with Bill Nighy opened on 155 screens with $571,000.
The comedy Table 19 starring Anna Kendrick opened on 162 screens with $347,000.
• Putting women’s basketball in Australia back on the map
Fox Sports and Basketball Australia have confirmed a new three-year partnership which will put women’s basketball back on national television. The broadcaster released this statement summarising the deal:
Launching in time for the 2017-18 season, the arrangement will see a minimum of one game per week, plus every finals match, broadcast live on Fox Sports through to 2019-20.
The new-look competition will run from October to January culminating with a best of three semi and grand final series.
Fox Sports will work with Basketball Australia over the coming months to finalise the scheduling of the weekly broadcast.
The groundbreaking partnership will bring together representatives from across Fox Sports who will work with Basketball Australia to develop and implement a strategy to increase the visibility and sustainability of the WNBL.
This will involve developing commercial models and sponsorship packages, marketing and publicity support, along with helping the league build community initiatives and grow crowd attendance and club memberships.
Fox Sports CEO, Patrick Delany, said, “The WNBL is the longest-running elite female competition in the country. It features incredible athletes, who are strong and fierce competitors. For too long the league has been invisible with no broadcast partner.
“Today’s announcement will ensure that fans around the country will be able to watch these athletes live in action.
“This isn’t just another broadcast deal – it’s a partnership. We are invested in making a difference, and putting women’s basketball in Australia back on the map,” Delany said.
Head of the WNBL, Sally Phillips, said, “It’s a great day for the WNBL and we are thrilled to be entering into this partnership with Fox Sports. For someone who has been involved with the WNBL as a player and administrator over the past 27 years, this announcement is truly amazing. I love this game and I am so excited that our clubs and our athletes will be back in the spotlight receiving the recognition and respect they deserve.
“The WNBL is globally elite and a broadcast partnership provides us with a vital perception piece and communication platform for our sport that has been missing over the past two seasons. I’m so happy for our fans that have missed tuning in each week, we’re back!
“We are truly grateful for the huge leap of faith Fox Sports has taken in partnering with the WNBL for the next three years. The biggest names in Australian basketball are signing on to play in the upcoming season so fans will be exposed to what is recognised as some of the best women’s basketball in the world. There is no better time than now for corporate Australia to capitalise on the support being shown for women’s sport and take a leap like Fox Sports has and get behind the WNBL.”
• The Huffington Post is officially rebranding to “HuffPost” with a new logo and complete redesign of digital presence
The Huffington Post is now HuffPost.
The company has announced several major changes that bolster its brand for this next chapter: its first-ever site redesign, a new logo and an official name change to “HuffPost” on all platforms and across all social channels.
This is the publisher’s first significant reimagining of the branding and site in its 12-year history, marking significant changes under chief executive officer Jared Grusd and editor-in-chief Lydia Polgreen.
“HuffPost is the pioneer of online journalism and continues to lead the digital news landscape. Our changes today build upon our heritage of continuous innovation,” said Grusd. “Today, we make a decided leap into our future. The rebrand and relaunch of our products symbolise our commitment to continually evolve to help our audiences connect with a world that is changing rapidly around them.”
The new look has debuted this morning with a letter from Polgreen explaining the rebrand and her editorial vision for the company to HuffPost’s audience of nearly 200m UVs. “HuffPost’s aspiration is to be the premier news and storytelling platform in the world. We want to reach people in the best possible ways, and in all the formats they love,” she said. “HuffPost is a place where the real conversation about the most important stories of our time is happening. The new design reflects our bold promise to help readers know what’s real and what really matters.”
“We started with what we believe sets us apart – our editorial voice: down to earth, cutting through what doesn’t matter and getting to what’s real,” said Julia Beizer, HuffPost’s head of product. “These thoughts inspired the forward-slash shape that brackets our name on the top of our site and stands alone as our app and social logo. The shape symbolises the company’s movement forward into the future, and subtly pays homage to our heritage as the first scaled digital-only news brand by evoking the forward slash found in URLs.”
Redesign highlights include:
• A new logo that leans into the future with a bold, italic font and brighter version of HuffPost’s brand-defining green.
• New homepage layout showcasing the best of HuffPost across politics, entertainment, lifestyle, and voices.
• Bold, visceral “splash” image that tells and shows the most important story of the day.
• Rich visual storytelling “splash cards” woven through the app and web front pages and built to travel across social networks, spreading the brand voice onto every platform.
• Prominent video player highlighting original news-driven video.
• Innovative InContent Reveal ad experience providing advertisers with an impactful way to reach audiences.
This week all 17 of HuffPost’s international editions have the new logo and branding. The full redesign will roll out for each edition later this year.