Tuesday May 16 2017
The Chaser and The Checkout’s Craig Reucassel joins Mediaweek’s James Manning and Kruti Joshi this week to talk about the media headlines doing the rounds and his new show War on Waste.
|ABC ME||0.6%||7mate||3.1%||GEM||2.1%||ELEVEN||2.8%||Food Net||0.8%|
|ABC||Seven Affiliates||Nine Affiliates||Ten Affiliates||SBS|
|ABC||12.8%||7||22.4%||9||16.8%||10 NNSW||3.7%||SBS One||3.5%|
|ABC ME||0.9%||7mate||4.8%||GEM||3.0%||ONE||2.6%||Food Net||0.6%|
|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
Seven and Nine have now each won a night of week 20 after The Voice helped Nine secure a Monday victory. Nine News and A Current Affair were also big contributors.
House Rules performed best for Seven after 7pm with the Monday episode cracking 900,000.
TEN’s best was Have You Been Paying Attention? which pulled a bigger crowd than MasterChef thanks in part to the attraction of having Mick Molloy trading gags with the rest of the all-star lineup.
Home and Away started its new week on 759,000 after the soap opera averaged 683,000 last week.
House Rules saw the WA twins Andrew and Jono return to their renovated property to inspect the reno. The Monday episode managed 901,000 after 874,000 a week ago.
Seven Year Switch was just over half a million after two episodes last week averaged 495,000.
Late night with Gordon Ramsay followed with Hotel Hell on 301,000 and then Kitchen Nightmares pulling 199,000.
A Current Affair started its week on 917,000 with a show that included an update on the housing crisis. Last week the program averaged 782,000.
The final episode of The Voice‘s blind audition round of episodes kept the series hovering over 1m, after 1.11m on Monday last week. The tunes included hits from Adele, ABBA and Cher with each coach’s team now complete. Next Sunday will see the coaches allowed to change their outfits at last.
Lip Sync Battle averaged 471,000 with one of the clashes featuring Ricky Martin taking on Kate Upton.
An encore screening of The Last Resort episode two did 107,000.
Footy Classified was on 154,000 across three markets with 110,000 watching in Melbourne.
The Project featured some big stars before 7pm last night with actors Jack Thompson and Rachel Griffiths promoting their new movie Don’t Tell. After 7pm the episode did 709,000.
MasterChef featured a long four-and-a-half-hour bake which saw three people trying to save their spots on the show. Pia Gava did some good work and presented a pretty good looking Rita cake which was made up of 12 separate recipes. However, it wasn’t good enough to save her and one of the early frontrunners has gone. The episode did 868,000 after 861,000 on Monday last week.
Have You Been Paying Attention? set a new audience high with 876,000 after 843,000 last week. Whenever Mick Molloy is on board it is a memorable evening and that was the case last night as he also helped fire up regulars Ed and Sam plus the episode’s other guests Kitty Flanagan and Urzila Carlson.
The return of Prison Break followed with 275,000. The series first aired in 2006 on Seven with a launch audience just under 2m.
The first of a two-episode Australian Story featuring Lion screenwriter Luke Davies did 658,000 after last week attracting 717,000.
Four Corners featured gun runners with 650,000 watching.
Media Watch reported on news wars in Brisbane and bid its farewell to Mark Colvin for its audience of 643,000.
Q&A then did 435,000, close to last week’s 433,000.
After three days of Eurovision action, Hair Care Secrets was the 7.30pm attraction with 138,000 on board.
Two episodes of 24 Hours In Emergency followed with an average audience of 168,000.
TPG Capital and Ontario Teachers’ Pension Plan have already proven agile in revising their initial Fairfax Media offer, but the tussle is just getting started, reports Street Talk in The AFR.
Shareholders are warming to the all-encompassing offer, revised to $2.76 billion, reflecting $1.20 a share. But several investors are saying a figure closer to $1.30 is more likely to win their support.
Street Talk understands the suitors have already made contact and had early dialogue with the Foreign Investment Review Board.
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Fairfax Media’s second largest shareholder has called on the publisher’s board of directors to reject TPG Capital and Ontario Teachers’ Pension Plan’s new, all-cash $2.76 billion offer for company, reports The AFR’s Max Mason.
Reece Birtles, chief investment officer at Legg Mason Martin Currie Australia, which owns 6.1% of Fairfax, questioned the size of the new bid, which is pitched at $1.20 a share.
Fairfax Media investor and Thorney Investment Group chief executive Alex Waislitz said the new offer was improved, but it still might not get a deal done.
“While the revised offer is clearly superior in that it is an offer for the entire company, TPG may need to offer more than $1.20 if it is to win the support of all shareholders.”
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Max Mason also reports:
With its latest bid for Fairfax Media, the TPG consortium has answered the wave of shareholder concern about being left with Fairfax’s challenged assets while TPG “cherry-picks” the crown jewels.
Streaming service Stan would be the easiest business to sell, but is also the one TPG might have the most desire to keep – analysts reckon the business could be worth more than $600 million in the next two to three years and could generate substantial profits in the 2019 financial year.
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Mitchell Bingemann and Darren Davidson in The Australian:
Billionaire fast food king and Fairfax Media director Jack Cowin has said negotiations with TPG Capital will shift to getting the “right price” as the private equity firm yesterday sweetened its offer for the 176-year-old publisher to $2.76 billion.
“The other offer was structurally non-aligned with reality with what could and couldn’t be done. So now it’s about focusing on the right price,” Cowin told The Australian. “The offer is under consideration and now it’s time for the board to look it through.”
Cowin is one of Fairfax’s largest individual shareholders with three million shares in the company that would be valued at $3.6m on TPG’s latest offer.
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The Australian’s Margin Call column reports on a conversation between TPG private equity prince Joel Thickins and Domain boss Antony Catalano that sealed Fairfax’s future:
Whether the revised $2.76 billion all-cash bid is enough – and considering the media company’s tepid defence it’s hard to see why it won’t be – those closely involved in the deal think private equity giant TPG, Ontario Teachers’ Pension Plan and their still unmasked third partner will soon own Fairfax Media.
The Greg Hywood era would appear to be close to an end.
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As many as 70 staff photographers from across News Corp mastheads have been told their positions are redundant as Rupert Murdoch’s Australian newspapers adopt an outsourcing model, reports The Guardian’s Amanda Meade.
Last week managers started meeting individual photographers for a “skills assessment” for forced redundancies.
The old model of staff photographers is being retired for a “hybrid model, consisting of a core team of photographic specialists, complemented by freelance and agency talent”, the company said.
Sources told Guardian Australia that out of 20 photographers at Queensland Newspapers, only five will remain. 13 were forced to take redundancy and two took voluntary redundancy.
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The Turnbull government will hold firm against splitting up its media law changes after One Nation, Labor and the Greens indicated they could oppose changes including the “two out of three” rule, reports The Australian’s Primrose Riordan.
Communications Minister Mitch Fifield said the government’s media reform package “needs to go ahead as a whole”.
“I’m working to secure the package as a whole and it’s going forward as a whole,” Senator Fifield told Sky News.
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The four-part drama will feature Australian actress making waves internationally Phoebe Tonkin (The Vampire Diaries, The Originals, H2O Just Add Water), AACTA and Logie award-winner Joel Jackson (Peter Allen: Not the Boy Next Door, Deadline Gallipoli) award-winning actor Ewen Leslie (Rake, Janet King, the upcoming second season of Top of the Lake), acclaimed actress Leeanna Walsman (Seven Types of Ambiguity, Cleverman, Looking for Alibrandi) and award-winner Jacqueline McKenzie (The 4400, The Water Diviner). Other members of the cast include Hazem Shammas (Underbelly), Nicole Chamoun (Kick), Robert Rabiah (Tomorrow When the War Began).
The series will be filmed on location in Brisbane, directed by Glendyn Ivin (Seven Types of Ambiguity, The Beautiful Lie) and produced for SBS by award-winning production company Matchbox Pictures (The Family Law, Secret City, Seven Types of Ambiguity, Wanted, Barracuda).
Safe Harbour is executive produced by SBS’s Sue Masters (The Principal, Deep Water, The Family Law) and produced by Matchbox Pictures’ Stephen Corvini (Better Man, Hyde & Seek).
Safe Harbour is described as a bold psychological thriller set in Brisbane about a group of friends whose sailing holiday of a lifetime to Indonesia alters their lives forever after they cross paths with a fishing boat overloaded with asylum seekers en route to Australia.
The four-part series is a Matchbox Pictures production for SBS, and is produced with major production funding from Screen Australia in association with Screen Queensland with NBC Universal handling international sales.
Judges Matt Preston and Gary Mehigan have put out the call to host MasterChef in Queensland, reports News Corp’s Amy Price.
Now MasterChef has just wrapped filming the show’s ninth season, Queensland is the only state in Australia yet to host the top-rating Channel 10 cooking show.
“It’s about time Queensland brought us up to do some stuff up here,” Preston told The Courier-Mail during a trip to Brisbane yesterday.
“There’s so much great stuff going on, amazing produce … and we are very proud that (the show) is in 140 countries and people want to come to Australia because of this.”
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No prizes for guessing that Eurovision topped the Nielsen Social Content rankings for the week ending May 14. The Eurovision final ranked #1 followed by the two semifinals. The ABC’s Q&A continues to be a top five contender while the only commercial TV program to make the non-sport list was Seven’s House Rules with its Sunday night house reveal episode.
In the sport category AFL and NRL dominated. The top three spots were taken by matches broadcast on Seven and Fox Footy, while the remaining spots were taken by NRL matches covered by Fox League.
• Ridley Scott’s Alien: Covenant opens at #1 with $4m opening weekend
Two new releases topped the chart this weekend, just falling short of a combined $7m, close to half of the $14.36m earned by the top 20 movies.
Weekend box office was up 15% from the previous weekend with the top two movies both new releases distributed by Fox.
Michael Fassbender stars in Ridley Scott’s sci-fi horror film which tops the chart after opening on 310 screens with a screen average of $12,768. The movie is the sixth in the Alien franchise and is the second in the Alien prequel series.
It’s been a long break between movies for Goldie Hawn with her first role, alongside co-star Amy Schumer, since 2002. The action comedy targeted Mother’s Day for release with some success. Opening on 319 screens, the film managed a screen average of $9,086.
After two weeks at #1, the Marvel superhero movie slips to #3 on the box office chart with takings down 45% on its previous weekend. The film shed 224 screens on the weekend to 410, which delivered a screen average of $6,654. After three weekends the movie has earned a total of $26.98m which is the third-best performance this year after three weekends behind only Rogue One: A Star Wars Story and Beauty And The Beast.
Takings dropped just 15% for the film’s second weekend with 256 screens returning a screen average just over $4,000. The comedy drama guaranteed to make you cry should pass $3m this week.
The low budget horror movie dropped 49% from its opening weekend as it disappeared off 81 screens to 264. The screen average was $3,656 and it should pass $5m to-date this week.
Outside the top five: Beauty And The Beast continues to linger in the top 10, this week at #9, after eight weeks in cinemas. The movie has taken just over $47.5m in that time. It is now just $1m behind last year’s biggest earner, also from Walt Disney, Finding Dory, which did $48.5m.
Netflix has announced its first Australian original series Tidelands, a supernatural crime drama that will debut exclusively on Netflix around the globe. Production will start in Queensland in 2018.
The series is produced for Netflix by Brisbane-based Hoodlum Entertainment. Executive producers Tracey Robertson, Nathan Mayfield and Leigh McGrath produced the Australian series Secrets & Lies and its remake for the US. The 10-episode first season will be written by creator Stephen M. Irwin (Secrets & Lies). Episodes will run 50 minutes.
The drama follows a former criminal as she returns home to the small fishing village of Orphelin Bay. When the body of a local fisherman washes ashore, she must uncover the town’s secrets while investigating its strange inhabitants, a group of dangerous half-Sirens, half-humans called “Tidelanders.”
“We’re proud these strong Australian storytellers are bringing their vision to the first Australian Netflix original series,” said Erik Barmack, vice president of international original series at Netflix. “We can’t wait to bring the mystery of Tidelands to our members around the world.”
“We are excited to be partnering with Netflix on Tidelands – this story is one that has been itching to be told and we are thrilled to be making it on our home soil in Australia with fantastic creatives and highly skilled crews,” said Tracey Robertson, co-creator and co-executive producer of the show. “The primeval landscapes of Queensland are a perfect setting to tell the story of betrayal, small town secrets, ancient mythology and, when it comes to family, explore whether blood really is thicker than water.”
Tidelands is the latest of Netflix’s investments in Australian content including co-productions Glitch, Beat Bugs, Bottersnikes & Gumbles, Kazoops, Mako Mermaids: An H20 Adventure, White Rabbit Project and the upcoming Legend of Monkey.
Netflix also licenses Australian content like Miss Fisher’s Murder Mysteries and The Code for distribution to Netflix’s 100 million members around the world.
• Easter affects April ad spend, but market remains at record high FYTD
• Outdoor, radio and cinema climb, newspapers and magazines tumble
Australia’s media agency market is so far reporting a 6.8% decline in advertising expenditure in April 2017 to $501.9 million, mostly due to the Easter holiday period falling in the month and lower Government ad spend compared to last year’s pre-election highs, reports SMI.
Late digital bookings are expected to reduce the level of decline when added at the end of the month, but for now the interim digital result is showing a decline of 9.5%. For the calendar year-to-date period digital ad spend is now 1.9% ahead of the previous calendar year period.
So far this month outdoor media is reporting the best growth, with total agency bookings up 5.5% to a record April level of $63.0 million. Radio also grew by the same amount (+5.5%) to a record April result of $43.4 million. And the smallest media of cinema recorded the highest percentage growth for the month (+32.9%).
SMI Australia and New Zealand managing director Jane Schulze said it was inevitable the market would fall in April 2017 given there was no Easter period in April 2016.
“Timing issues are hugely significant when comparing like-for-like data, and the occurrence of Easter is always a key issue,’’ she said.
“However, SMI’s longer-term data shows the market remains very stable, with ad spend over the calendar year essentially flat, at -0.6%, and actually higher over the financial year-to-date period. Indeed, in that eight-month period the ad market is at a record high, up 0.4%.’’
Agency demand in April 2017 was also dented by a large decline in Government category ad spend from last year’s Federal Election-inspired highs with the total back 26.7% this month.
However, the largest dollar decline was actually recorded by the food/produce/dairy category, where ad spend fell $9.1 million from April 2016, with the media of TV, outdoor and digital most affected.
And for digital media, this month SMI launched four new food/produce/dairy sub categories to provide even more insight into the areas most reducing digital spend. Similarly, for the first time this month SMI’s in-home entertainment category has been split to show ad spend for home entertainment (film), home entertainment (TV), gaming, music and books.
Among the major product categories, the strongest demand in April came from the retail market where ad spend has already grown 25.3% to $45.8 million.
The largest category of automotive brand also maintained its strong growth with total bookings lifting 5.4% YOY.
Mediaweek’s James Manning and Andrew Mercado are joined by the one of the stars of Love Child – Mandy McElhinney. On the day of recording, Nine launched season four of the Playmaker Media drama.
James Manning and Andrew Mercado talk TV, including the 59th TV Week Logie Awards and the winners, the losers and the plain unlucky. They also talk TV ratings, programming moves, Ellen, Roseanne, Mercado living without Foxtel, Netflix and our regular update on Mercado’s new business venture – the NSW regional cinema South West Roxy.