Wednesday July 26 2017
|ABC ME||0.5%||7mate||3.4%||GEM||3.3%||ELEVEN||2.6%||Food Net||0.6%|
|ABC||Seven Affiliates||Nine Affiliates||Ten Affiliates||SBS|
|ABC||9.8%||7||15.0%||9||32.2%||10 NNSW||1.7%||SBS One||3.9%|
|ABC ME||0.6%||7mate||6.2%||GEM||5.5%||ONE||3.2%||Food Net||0.6%|
|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
Seven shattered the wrong records again last night, or rather Nine did it for them.
Home and Away managed over 700,000 again at 7pm.
Next best after that though in primetime was Mighty Cruise Ships with 369,000.
Ramsay’s Hotel Hell did 227,000 and then Yummy Mummies lifted that small crowd to 281,000.
Tracy Grimshaw was back at her A Current Affair desk after a break. Among the stories for a second successive audience above 1m was a preview of the Ninja Warrior grand final.
Ninja Warrior seems to have disappointed some with no winner managing to finish the course. The program should have made more of the best of last night’s contestants, Fred Dorrington, and perhaps it wouldn’t have felt like such a letdown. But who’s trying to improve a format that pulls these numbers?
For the program makers, and the audience who tune in next time, having no competitor even get halfway through the course is good news. The final episode delivered big time, helped by just about nothing new to watch on other channels. It’s no surprise that the biggest audiences up against the Ninja Warrior final were watching the ABC, which continued with its regular programming.
The metro audience for the start of the final night was 2.03m. Later in the episode the Ninja Warrior audience climbed to 2.14m. The national average (metro + regional) for the final stage was 3.08m, with the start of the episode on 2.92m.
After the first few attempts at the grand final course, you started to realise it would take a very special performance to make it to the end.
The show has been a stunning success from start to finish and there were promos during last night’s final for entries for the next season.
Nine finished primetime with the Bond movie Skyfall with 253,000 in Sydney and Brisbane. Other markets saw the Tom Cruise movie Edge Of Tomorrow.
The Project was easily TEN’s best with 540,000 watching at 7pm, which featured an interview with MasterChef winner Diana Chan.
TEN’s Eyewitness News First At Five on 441,000 outrated everything else in primetime.
TEN chose not to move Shark Tank earlier last night, taking it out of the schedule altogether.
An All Star Family Feud repeat between Bachelors and Bachelorettes did 210,000 at 7.30pm.
The channel too set a new record for a low Tuesday share.
The Cameron Crowe movie Aloha didn’t contribute much with 145,000 watching.
7.30 had the biggest audience of anyone against the final of Ninja Warrior with 570,000.
Ask The Doctor at 8pm did 445,000.
The second episode of Joanna Lumley’s India visited some wonderful parts of the country and it too was over 500,000 after launching last week with 564,000.
Hamish Macdonald was in Manchester for Foreign Correspondent with 306,000 watching.
Share climbed higher to above 4%.
Queen Victoria’s Slum did 245,000 at 7.30pm.
Another Insight repeat was just over 200,000.
The UK parent company of The Guardian and Observer cut its losses by more than a third to £45m in the last financial year and more than quadrupled its number of paying members, as it seeks to break even within two years.
Guardian Media Group said total revenues increased by 2.4% to £214.5m in the year to April 2, thanks to the popularity of its membership scheme, one-off contributions and growth in international operations.
Paid-for membership, a core part of the Guardian’s plans to counteract the steep falls in print ad revenue affecting all newspaper publishers and slow digital ad growth, rose from 50,000 to more than 230,000 in the year to April 2.
The number of readers paying for print and digital subscriptions stayed stable at about 185,000 and there have been more than 190,000 one-off contributions. A cover price increase of 20p last April also helped buoy revenues.
Losses from running the business, excluding exceptional items such as severance pay and depreciation, were £44.7m. This is down from £68.7m the previous year.
“Despite the challenging market conditions faced by all news organisations around the world, our three-year strategy is well on track to achieve its financial goals and to secure the future of the Guardian,” said CEO David Pemsel. “We are reducing our costs, growing new reader revenue streams, and building our businesses in the US and Australia.”
[Read the full report]
NEC chief executive Hugh Marks told staff that in this new group role, Madden will align the work of the promotions, social and marketing teams as Nine continues to drive integrated activity across all these departments for both television and digital.
“Due to the breadth of the role Karen will report to Nine’s director of television Michael Healy as well as working closely with Alex Parsons and his team on the expanding digital side of our business,” said Marks.
Madden was previously general manager trade marketing and media services at News Corp Australia and has also held senior marketing positions at Woolworths, Goodman Fielder and Coles.
Marks added: “Her strong brand marketing skills bring a new dynamic to NEC and will ensure that our approach is both holistic and cohesive across all parts of the business.
“Under the new structure, Alex Parsons’ title will now be focused to his core role of chief digital officer. Under Alex’s leadership Nine’s digital business continues to be a growth engine and I’m excited to see our digital properties such as 9Now, nine.com.au and 9Honey continuing to kick goals.
“9Now has just ranked first across all commercial broadcast players in the Australian market in June, with 9Honey also having grown its unique audience by 20% in June alone. Huge results for our business. The growth of our digital platforms, as well as our first party data offering, are critical components of our business strategy going forward.”
ITV Studios Australia has appointed Beth Hart (pictured) head of content. Hart joins ITV Studios from FremantleMedia Australia where she was creative director. She will be responsible for all ITV Studios commissioned shows. Hart starts her new role September 1, 2017.
Hart’s UK executive producer credits include The X Factor, Hell’s Kitchen, The Apprentice, Love Island and five seasons of I’m a Celebrity, Get Me Out of Here!
In Australia, she has overseen The Great Australian Bake Off, The Farmer Wants a Wife, Dancing with the Stars, Celebrity Apprentice and Grand Designs among others.
David Mott, CEO and managing director ITV Studios Australia, said he was delighted Hart is joining ITV Studios.
“Beth’s experience is second to none having worked on some of the biggest entertainment formats both here in Australia and abroad. ITV Studios Australia now has the largest diverse slate of new and returning series across all broadcasters, ranging from big entertainment formats such as The Voice, I’m A Celebrity, Get Me Out Of Here!, Hell’s Kitchen through to the hugely successful The Chase Australia, the recently announced CRAM, Shaun Micallef’s Mad as Hell and Keeping Australia Safe with exciting new commissioned formats yet to be announced.”
ITV Studio’s current head of content Ben Ulm will move to the newly created role of head of factual and reality.
David Mott said, “With ITV Studios’ growing portfolio of programming within these genres with programs such as Keeping Australia Safe and the recently announced joint venture with The Garden out of the UK (creators of Keeping Australia Alive and 24 Hours in A&E), Ben’s experience ensures creative rigour around this vitally important area of our business. Ben will also continue to play a pivotal role in the Australian version of I’m a Celebrity, Get Me Out of Here!”
It is an age-old renovation dilemma: how to give a period home a modern makeover without losing its heritage appeal, reports Domain’s Allison Worrall.
This is the major challenge facing the contestants on the new season of The Block, set in Melbourne’s bayside suburb of Elsternwick.
The renovation series has returned to houses this year, a welcome change from apartments for the show’s host Scott Cam.
Asked whether any of the couples had surprised him, Cam said an inexperienced pair had proven to be the competition’s dark horses.
“We have some reno rookies who have never renovated before, and I thought were going to be in all sorts,” he said. “They actually did it tough at the beginning and then they improved along the way and ended up delivering a really fantastic house.”
Cam said all of the couples delivered a nice home. “But some did it the hard way, and some did it the easy way and some did it the very hard way.”
[Read the original]
Seal’s latest UK talent show Pitch Battle has failed in its first season, reports TV Tonight.
So does that mean Australia could be doomed to another year of preaching from the pulpit of Seal on The Voice? Nine execs are well aware of the reaction to the singer’s lengthy, sometimes arrogant, sermons this year, which contrasted to the warm reception for Boy George and Kelly Rowland.
Imposing him on us again would be cray, cray, Crazy.
[Read the original]
Celebrity shows are often criticised for B, C and D-list players, but this cast is a great mix. We have villains (former pollie David Oldfield and deluded Real Housewife Pettifleur Berenger), competitive athletes (Candice Warner and Jess Fox), actors (Debra Lawrance and Lincoln Lewis), radio’s Sam Frost and an import, Geordie Shore star Gaz Beadle.
The Chase’s Issa Schultz is a standout, utterly intimidated by Marco, and their bond will be one to watch if Schultz survives in the kitchen.
After 15 minutes of awkward introductions it’s challenge time – cooking three courses for 60 guests. Bear in mind that some of these guys can’t boil an egg.
Hell’s Kitchen might lose some viewers to ratings powerhouse The Block, but for those with reno-fatigue, this new series offers a welcome alternative.
[Read the original]
Viewers have been left nonplussed and bewildered after the Australian Ninja Warrior grand final finished… without naming anyone Australian Ninja Warrior, reports News Corp’s Amelia Saw.
In a spectacular anticlimax for the top-rating show, no contestant was able to finish the course.
“Well, we warned the second part of this course was going to be tough but it was brutal, taking out our ninjas in the first few obstacles and leaving Mount Midoriyama untouched,” said host Rebecca Maddern.
“Absolutely sensational,” chimed in co-host Ben Fordham. “The crescendo to an extraordinary first series.”
Yet the non-result is unlikely to surprise fans of the international franchise, which has only seen seven people complete the course worldwide in 20 years.
Performance of the night went to Fred Dorrington, who made it the furthest on the course in the fastest time.
[Read the original]
While viewers love the Binge TV feasts from Netflix, Stan, SBS On Demand and iview, the jury is still out on whether it is a better model for broadcasters than weekly episodes, reports TV Tonight.
Speaking at Series Mania this week Foxtel’s Ross Crowley said while Netflix is committed to dropping all episodes at once, HBO had no plans to follow suit.
“HBO has no intention of dropping every episode at once,” he explained.
“They develop shows that are intended to be savoured, discussed before they drop the next one.
“Shows that re-dropped episodically are far more popular, far more engaged, and far-reaching, in terms of audience participation than shows that are dropped on binge.
“Bingers will start to burn out a lot faster than we think, and we are starting to see the echoes of that already. Shows that might sustain if they had more time to be considered are now passing through so quickly, like Sense8, that they don’t have time to breathe, time to get people talking about them, and they don’t get time to live.”
SBS Programmer Peter Andrews, who did the deal for Handmaid’s Tale binge at SBS On Demand, said the model should vary, depending on the content.
“It’s a case by case situation,” he suggested. “At your own risk, from a broadcaster’s point of view, you might decide to roll out a piece of content one way versus another way.”
[Read the original]
In Disenchantment, viewers will be whisked away to the crumbling medieval kingdom of Dreamland, where they will follow the misadventures of hard-drinking young princess Bean, her feisty elf companion Elfo, and her personal demon Luci. Along the way, the oddball trio will encounter ogres, sprites, harpies, imps, trolls, walruses, and lots of human fools.
“Ultimately,” says Matt Groening, “Disenchantment will be about life and death, love and sex, and how to keep laughing in a world full of suffering and idiots, despite what the elders and wizards and other jerks tell you.”
Animation is being done by Rough Draft Studios, the company that worked on Groening’s Futurama.
Disenchantment will premiere on Netflix 10 episodes at a time, starting in 2018, and is produced by The ULULU Company for Netflix, with Matt Groening and Josh Weinstein (The Simpsons, Futurama) serving as executive producers.
• Magazine sector reveals research into driving purchase intent
A new study finds the inclusion of print magazines in media mix drives purchase intent.
Analysis of the data concludes adding print magazines to any other media channel delivers stronger consumer brand affinity and purchase intent, greater than any other two main media channel combinations.
The Multiplier Effect, a study commissioned by magazine industry body Magazine Networks, has found combining advertising in print magazines with another main media channel has the power to help solve brand challenges such as building relationships with consumers and increasing purchase intent.
The ad effectiveness study, conducted by research firm Fiftyfive5, surveyed 3,000 consumers online, with the sample split across both magazine and non-magazine readers. The study measured both brand health and ad impact metrics across 24 brands spanning a range of categories including FMCG, automotive, retail, pharmaceutical and furniture/appliances.
The brands that included print magazines in their media mix saw a 22% uplift in brand trust, a 55% increase in brand favourability and a 29% lift in purchase intent.
In terms of the value of combining magazines with specific channels, the combination of print magazines with out-of-home was found to drive increases in brand interest and purchase intent with people 3.2 times more likely to identify the brand as one they wanted to find out more about and a 43% increase in their likelihood to purchase.
Adding magazines to radio helps establish a deeper brand connection with people 2.1 times more likely to see the brand as engaging and interesting.
The combination of print magazines and online advertising helps drive a deeper brand relationship and influences brand advocacy with people 2.6 times more likely to recommend the brand to others.
Adding print magazines to a TV advertising buy helps increase brand favourability with people 1.9 times more likely to consider a brand as one of their favourites.
Finally, combining magazines and newspapers sees people 9.2 times more likely to identify a brand as one they want to find out more about.
The findings build on the Magazine Network 2016 Passion Response Study which found magazines to deliver a level of brand trust unparalleled by other channels with 60% of women aged 18-to-35 saying magazines provide them with information they trust on trends, brands and products.
Mary Ann Azer, executive director of Magazine Networks, said: “The Multiplier Effect study confirms what the magazine industry has known for some time – the inclusion of print magazines in an advertising campaign has quantifiable and potent results. Advertisers should not underestimate the incremental impact of magazines as they add something different to each media channel. These results can help support better channel planning depending on campaign objectives. If they’re not already utilising magazines, advertisers would do well to reconsider the role in the overall marketing mix.”
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.