Tuesday July 25 2017
|ABC ME||0.5%||7mate||2.6%||GEM||1.8%||ELEVEN||2.0%||Food Net||0.9%|
|ABC||Seven Affiliates||Nine Affiliates||Ten Affiliates||SBS|
|ABC||12.0%||7||18.3%||9||23.2%||10 NNSW||5.1%||SBS One||3.2%|
|ABC ME||0.7%||7mate||3.4%||GEM||2.8%||ONE||2.3%||Food Net||0.8%|
|MONDAY 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
It was always going to be a tough night for Seven with the penultimate night of the hottest TV show of the year and the final of the other commercial channels’ biggest TV property. Seven recorded its lowest Monday primary share of the year (since week two in January) with 16.0%.
Seven retreated with another Bourne movie and 90 minutes of Highway Patrol.
Home and Away managed to hold above 700,000 after a week 29 average of 720,000, which was its best weekly average in a month.
The Highway Patrol mini-marathon seemed to feature one new episode and two repeats with the classic ob doc averaging over 500,000 for each episode.
The Bourne Supremacy then screened with 359,000 watching.
Leila McKinnon was again fronting A Current Affair, which started with an Aldi feature and made viewers wait for its coverage of Aussie bogans in Bali. The Monday episode did 1.06m after a week 29 average of 833,000.
The final semi of Australian Ninja Warrior remained a timeslot winner with over 1.5m viewers despite the grand final of MasterChef also on offer. The contestants found it difficult to complete the course and there were again some magnificent fails. It was about 50 minutes into the show before someone made it to the end. The Monday audience of 1.53m was down only a fraction on Monday of last week, which did 1.54m. The timeslot was a win for Endemol Shine Australia, which produces both Ninja and MasterChef.
With Mighty Cruise Ship and Shark Tank up against the grand final tonight at 7.30pm, who knows how high Ninja Warrior could go?
Later in the night Here Come The Habibs! did 682,000 after 679,000 a week ago.
Footy Classified started close to 10pm in AFL markets with a network audience of 193,000 and 143,000 in Melbourne.
The Project included a MasterChef grand final preview with Gary Mehigan and the third-placed Karlie. The Monday episode started the show’s week on 623,000 after a week 29 average of 537,000.
The MasterChef grand final seemed like a fitting challenge with finalists who certainly could have been called the best two cooks in the competition. After Diana took an early lead in the first round, during which Ben nearly sliced off a finger, it looked like it would have been hard for him to catch up. He did manage to gain some ground, but it was Matt Preston who had the deciding vote in the end and his nine out of 10 for Diana was enough to give her a one-point win. The highlight of the show though was the arrival of the families before the final challenge.
The Winner Announced portion of the final did 1.30m after rating 1.88m last year on a Ninja-free night. The grand final episode started the evening with 1.12m after 1.71m last year.
Have You Been Paying Attention? subsequently started close to 10pm with Hughesy on the panel for the audience of 583,000.
Australian Story lifted above 600,000 after 567,000 last week.
Four Corners and then Media Watch were both on 570,000.
Q&A featured secondary school students with 368,000 watching. That is one of the show’s smallest audiences this year after 434,000 last week.
A post-TDF slump (some of those regulars needed a good sleep) and competition elsewhere saw the channel record is second-lowest share of the year on any night and its lowest since January. Big events impact this channel too – its lowest share was 2.7%, which was recorded the night of the Australian Open Men’s Final in January.
Last night Michael Mosley’s Meet The Humans did best with 145,000.
SBS News at 6.30pm was the next best with 130,000 followed by 24 Hours In Emergency at 8.30pm on 124,000.
Mutiny has been moved to 9.30pm with 69,000 last night.
Singapore film producer and distributor mm2 Asia announced on Monday that its bid for a 50% share of the Golden Village cinema chain in Singapore has fallen over after the owner of the other half-share in the business denied approval.
On June 13 mm2 Asia signed a sale and purchase agreement with Village Cinemas Australia to buy its 50% stake in Dartina Development, which owns Golden Village cinemas.
The agreement was conditional on Village Cinemas Australia securing the approval of Golden Screen, which owns the other 50% share in Dartina, by July 21.
That approval was denied and mm2 Asia said it is discussing options with Village Cinemas Australia.
Queensland could be in the box seat to attract more blockbuster superhero movies, reports News Corp’s Amy Price.
During San Diego Comic-Con at the weekend, Marvel Studios president Kevin Feige described the Gold Coast set of Thor: Ragnarok as “by far the happiest, most pleasant, most effective set that I’ve ever been on”.
He added: “And I don’t know if that’s [director] Taika [Waititi], I don’t know if there’s something in the water there in Australia, if that’s the crews, but that’s a fact.”
The comments came as star Chris Hemsworth revealed he had pitched shooting on the Gold Coast three years ago following the filming of Pirates of the Caribbean: Dead Men Tell No Tales.
[Read the original]
Alphabet Inc has reported a 27.7% drop in quarterly profit as the company recorded a previously announced charge related to a record US$2.7 billion fine imposed on its Google unit by the EU, reports Reuters.
EU antitrust regulators last month hit Google with a record €2.4b ($2.7b) fine for favouring its own shopping service, taking a tough line in the first of three probes of its dominance in searches and smartphone operating systems.
On a consolidated basis, revenue rose about 21% to $26.01b in second quarter ended June 30, beating the analysts’ average estimate of $25.65b, according to Thomson Reuters I/B/E/S.
Revenue was boosted by robust demand for advertising on mobile and the company’s popular video service YouTube.
Google’s ad revenue, which accounts for a lion’s share of its business, rose 18.4% to $22.67b.
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In a scene reminiscent of Reservoir Dogs – or perhaps another production close to his heart, Underbelly – Sydney identity John Ibrahim got the boys together last night to celebrate the release of the nightclub tsar’s autobiography, reports News Corp’s Kris Crane.
On the eve of the launch of Last King of the X, Ibrahim gathered up some of his close mates for a drink at Palmer & Co, before moving on to dinner at Mr Wong.
Among the guests at the blokey get-together were Channel Nine presenter and radio host Ben Fordham and Ibrahim’s good friend, radio shock jock, Kyle Sandilands, who features heavily in the book. Ibrahim and Sandilands arrived in a car with Shine Endemol boss Mark Fennessy.
Ibrahim also shared a private laugh with former TV boss Des Monaghan, who was among the inner circle, as was book publisher – and former Daily Telegraph journo – Angus Fontaine.
Others also on the guest list for the celebratory dinner included Fordham’s brother and agent Nick and KISS FM producer Bruno Bouchet.
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ITV Studios Global Entertainment (ITVS GE) has announced Kuato Studios is developing a storytelling game app based on the adventure TV show Thunderbirds Are Go, which is produced by ITV Studios and Pukeko Pictures in association with Weta Workshop. Set to release in early 2018, the app will be available on iOS and Android and will be available in Australia and New Zealand.
The deal for the Thunderbirds Are Go storytelling game app follows on from the recent success of Parker’s Driving Challenge, an app developed by Play With Games, which achieved Top 10 status on iOS in over 114 countries and had over two million downloads in the first few weeks.
Thunderbirds Are Go has aired in over 40 markets, across all continents. The global licensing program for the show already has over 85 licensees covering all key categories.
Breaking Bad and Better Call Saul creator Vince Gilligan yesterday spoke at Series Mania Industry Day in Melbourne and addressed differences between the Writers’ Room in the US compared to Australia, reports TV Tonight.
Gilligan said a small group of writers plotted every episode intensely before a writer subsequently penned the script itself.
“It’s a sequestered jury that never ends. We’re sitting around all day talking ad nauseam, talking about minute detail,” he explained.
“The breaking of the episodes is the hardest part and takes the most elbow grease. It probably takes on average three weeks to break each episode. Sometimes we’ve gone as many as five or six weeks.
“That’s why it’s such a blessing to have more pre-production time.”
When moderator Kelly Lefever explained Australian Writers’ Rooms are usually given just two days to plot an episode, Gilligan was shocked.
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Silicon Valley’s biggest tech startup-pitching contest is heading to Australia after US publisher TechCrunch agreed on a partnership with Australian-founded global women tech-founder program ELEVACAO foundation, to run a local version of its famous Startup Battlefield event, reports The AFR’s Paul Smith.
The Australian event will run on November 16 in Sydney at the Australian Technology Park and will see 15 early-stage startups compete for a $25,000 non-equity funding injection and an all-expenses paid trip to compete at TechCrunch’s flagship San Francisco Battlefield event in 2018.
[Read the original]
Apply to enter Startup Battlefield here.
The National Broadband Network (NBN) admits it has an image problem and is considering forcing telecommunication companies to guarantee a minimum level of service for customers as part of a review of its controversial pricing model to head off growing criticism about the project’s internet speeds, report The AFR’s Michael Smith and Tony Boyd.
NBN chief executive Bill Morrow said he was reviewing the pricing model for Australia’s $50 billion broadband network that could include measures to give disgruntled customers a better idea about the quality of the service they were paying for.
The NBN has been swamped with complaints from customers about speeds that they say are lower than what they used to get on ADSL.
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Optus chief executive Allen Lew has said a growing number of Australians could opt out of the kind of home broadband plans offered on the national broadband network in favour of mobile-based technology, unless they can see extra value in signing up, reports The AFR’s Paul Smith.
Telecommunications expert Paul Budde said he didn’t believe that mobile data allowances would ever become generous enough to properly compete with fixed connections, particularly in the era on Netflix and other prevalent streaming services.
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Opera director Barrie Kosky hasn’t lived in Australia since 2001 but continues to make his presence felt on our performing arts scene, with his production of Saul winning six prizes at the Helpmann Awards in Sydney, reports The Australian’s Matthew Westwood.
Mark Coles Smith was named best actor for his role in The Drover’s Wife at Sydney’s Belvoir theatre, and Kate Mulvany was named best actress for her stunning turn as Richard III for Bell Shakespeare.
Tours by rock legends Nick Cave and Patti Smith won awards for best contemporary concert, and Hobart’s MONA FOMA was named best contemporary music festival. Irreverent Broadway musical The Book of Mormon, by the creators of television’s South Park, won the best musical award.
[Read the original]
View list of all nominees and winners here.
Collingwood chief executive Gary Pert is the first of several senior staff members to leave after the club announced his departure yesterday, reports The Australian’s Greg Denham.
Magpies president Eddie McGuire said his board accepted Pert’s resignation last week after a 10-year career as CEO of Australia’s biggest sporting club.
Pert said the timing was right for him and the club to leave before results of a review and future blueprint were released, which is expected to recommend further internal changes.
Pert, 52, was responsible for a number of achievements during his decade in charge, including posting operating profits every year under his watch.
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The debut of Dunkirk has helped hold box office above $14m as we head into the coldest and longest month of the year without any holiday periods or long weekends. Even though the weekend featured one release over $6m, the weekend take was still down 20% on the previous weekend. All the action was again at the top – the top four movies accounted for $12m of the $14.13m weekend gross.
With school holidays well over, all releases had substantial dips. Indeed only one movie in the top 10 was down weekend-on-weekend by less than 50%. That was Baby Driver, but it was close, down 45%.
Dunkirk, the much-anticipated new cinematic event from director Christopher Nolan, landed on top of the Australian box office on its opening weekend, earning $6.0m across 292 theatres and on 535 screens including $180,000 on one IMAX screen and $234,000 from people lucky enough to see it on six 70mm screens. The screen average was a healthy $11,220.
A second weekend and the film remained on just over 400 screens with a screen average of $6,094 after close to $11,000 on its opening weekend. To-date the film has earned just over $8.5m.
The latest instalment of the Marvel superhero on screen has grossed close to $22.5m after three weekends. Earnings slowed 58% compared to its second weekend. The movie remains on 484 screens (down from 621 on weekend two) with a screen average just over $4,300.
Weekend six and the movie is still earning close to $1m. The number of screens dropped just below 300 with screen average of $3,181. As predicted it has overtaken Wonder Woman with Despicable Me 3 on $31.23m compared to the female caped-crusader’s $30.78m. The only movies bigger than Despicable Me 3 since the summer have been Guardians Of The Galaxy Vol 2 and Beauty And The Beast.
Weekend five and takings were down 69% with the movie sitting on $12.62m to-date. This is only the fourth movie this year to find a place in the top five after earning under $500,000 over the four-day weekend. The others were My Cousin Rachel (opening weekend in June), King Arthur: Legend Of The Sword (weekend three also in June) and Jasper Jones (weekend two in March).
• 19 million Australians consume digital content daily
• Digital video consumption averages over 25 hours per month for adults
IAB Australia and Nielsen have today switched on Digital Content Ratings (DCR), providing publishers, agencies and marketers with daily digital audience data for the first time. The move comes after a lengthy period of negotiation between Australian digital publishers and will be at the forefront of a push to secure a larger portion of the advertising budgets of Australian advertisers.
The milestone places Australia once again at the forefront of global digital measurement.
Monique Perry, head of Nielsen’s media industry group, previewed the launch on Mediaweek TV on Sky News Business last week (watch below, or on Mediaweek’s website here).
Yesterday media were given a preview of how the new measurement system works. Today the advertising market will see a presentation explaining how it works and the benefits associated with it.
As Perry told Mediaweek, this is a world first in that, to-date, only the US and Thailand have launched daily digital measurement, and those markets have restricted measurement to video only initially.
Nielsen Digital Content Ratings provides the Australian media industry with a daily view of how many people consume content across all key digital devices and complements Nielsen’s existing Digital Ratings (Monthly) measurement solution.
DCR also complements Nielsen’s existing Digital Ad Ratings measurement solution, ensuring consistency between the measurement of digital content and advertising performance – daily.
The Bundanoon-based research guru John Grono attended the media launch yesterday and noted that what advertisers were keen on getting was information about the audience using digital, not just traffic reports. There isn’t a market sector Grono hasn’t consulted to including the IAB and he is a former longtime Nielsen research executive.
Also attending the briefing was IAB director of research Gai Le Roy who offered some insights into the data collected so far in testing. The first daily data, collected today, will be available Friday this week. From then on there will be daily reports available to data subscribers.
IAB CEO Vijay Solanki said, “The Australian digital industry – which now accounts for half of all advertising spend – has always been world leading in the area of digital measurement. DCR is a game changer for the industry because it is daily, people-based and independent. It’s good for publishers and gives more precision to advertisers. It also helps create more transparency and more confidence for digital.”
Nicole Sheffield, chairperson of IAB Australia and chief digital officer, News Corp Australia, said, “The daily trading metrics will enable publishers and agencies to pivot and take action during campaigns and respond to daily brief cycles. This brings digital in line with other media reporting daily ratings metrics. Importantly, DCR also measures ‘off-platform’ audiences, meaning for the first time as a publisher, I can attribute audiences consuming content off-platform to my overall unique audience number. No other media measurement system allows marketers to count people consuming content on third-party platforms, and also attribute people back to the content originator.”
Alex Parsons, Nine’s chief digital and marketing officer, said: “The move to daily ratings represents an important milestone and is a clear sign of the increasing maturity of the Australian digital space. With more demographic and visitation data, digital publishers will be more empowered than ever to better provide marketers and their agencies the data they require to make more informed choices about where they invest.”
Clive Dickens, chief digital officer, Seven West Media, added: “Digital Content Ratings responds to the constantly changing and increasingly complex online ecosystem. Daily data is a game changer, and we are very much looking forward to seeing the inclusion of Seven West Media’s video in the coming period to add further independent measurement of our digital assets.”
• Fetch offering subscribers UFC in 13-channel package for $6 monthly plus PPV fights at $50 per event
UFC, the mixed martial arts organisation, and Fetch TV have announced a new broadcast partnership.
The partnership, which also allows Fetch to brand itself as the “Official Broadcaster of the UFC” in Australia, will launch in time for UFC 214: Cormier vs Jones 2 on Sunday July 30, available via the platform on pay-per-view.
Subscribers to Fetch will get live UFC event access and over 150 hours of UFC studio programming.
The sport remains on Fox Sports in Australia, which is also an “Official Broadcaster of the UFC”. Fox Sports maintains its content on its Fox Sports channels while PPV events continue to be available exclusively in licensed venues via Fox Sports and Foxtel will be continuing to offer UFC PPV events to residential customers too.
Joe Carr, UFC senior vice president, international and content, said: “We are excited to be in business with Fetch TV to grow our broadcast offering in Australia.
“Fetch’s sizeable subscriber base, along with its comprehensive network of ISP and retail partners, offers UFC a unique opportunity to extend our distribution footprint to reach new fans and continue the dramatic growth of UFC’s brand and the sport of MMA in Australia.”
Scott Lorson, CEO of Fetch TV, added: “We are extremely proud to welcome UFC to the Fetch family. Today’s announcement represents another major enhancement to our overall content offering, with more to come.
“Led by the phenomenal success of the UFC, the sport of MMA continues to grow in popularity and we are delighted to offer our subscribers an outstanding MMA offering in Australia, and to do so at unprecedented value.”
Under the deal, Fetch will offer subscribers access to numbered UFC pay-per-view events priced at $49.99 per event. UFC 214: Cormier vs Jones 2 on Sunday July 30 will feature three UFC championship title fights including the rematch between former Olympic wrestler Daniel Cormier and maligned MMA prodigy Jon “Bones” Jones, for the light heavyweight title.
UFC Fight Night events and preliminary bouts to numbered pay-per-view events will be offered via Fetch TV’s exclusive EDGEsport channel, supported by related magazine programming.
EDGEsport, which also includes the action sports Skate, Motocross, BMX, Ski and Snowboard, Rallycross and more, is available in the Fetch Vibe Pack of 13 channels for an affordable $6 per month.
• NBCU’s Sprout available in 58m homes in US, Treehouse in 6.2m homes in Canada
ABC Commercial has signed new broadcast agreements with Sprout, the US preschool destination within NBCUniversal Cable Entertainment’s Universal Kids network, and Corus Entertainment’s Canadian cable network Treehouse, for a range of new television content from The Wiggles.
The separate, multiyear licence agreements give each partner the broadcast rights to a collection of content from The Wiggles’ television catalogue, including both seasons of their hit TV series Ready, Steady, Wiggle! and the rights to the premiere of the group’s upcoming series Wiggle Wiggle Wiggle.
Sprout and Treehouse will also have exclusive rights to countless studio-recorded specials from The Wiggles’ extensive back-catalogue, including The Wiggles Meet the Orchestra, Taking Off!, Rock and Roll Preschool, Apples & Bananas and more, totalling over 60 hours of content across each network.
“Emma, Lachy, Simon and Anthony are all excited to bring The Wiggles music, stories and characters to a wider audience across North America,” said Paul Field, managing director of The Wiggles. “Our new agreements with Sprout and Treehouse ensure we are well positioned to continue entertaining preschoolers and their parents across North America for years to come.”
“ABC Commercial is excited to partner with Sprout and Corus Entertainment,” said Robert Patterson, director of ABC Commercial. “North American audiences have always been incredibly supportive of The Wiggles and it’s our pleasure to be bringing those fans more of the group’s acclaimed content.”
Since attaining the global licensing rights to The Wiggles’ complete catalogue of music and television in September last year, ABC Commercial has been actively negotiating with both local and international partners to deliver The Wiggles’ content across the world.
In addition to signing new broadcast agreements with Sprout and Corus Entertainment, ABC Commercial has also agreed to a new partnership with US-based Australian music distributor MGM to distribute The Wiggles’ music digitally and on CD throughout the US and Canada.
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.