• Underlying net profit after tax was $129.3m, down 7.9% YOY
Seven West Media has reported its full year trading figures:
The Seven Network has claimed a 13th consecutive year of ratings leadership, and a 40.3% share of commercial free-to-air viewing across the day – up a full percentage point on last year.
Seven was also number one in the key advertising demographic of people aged 25-54 across the day, and grew revenue share across the period.
Channel 7 and 7mate ended the year as the most-watched channel and multichannel respectively.
Seven’s Summer of Cricket broke records, growing commercial share in all key demographics throughout the day and in primetime. At year end, the current season’s AFL’s audiences were up 10% on last year.
Streaming platform 7plus is scaling both audience and revenue at a rapid rate, while 7NEWS.com.au has established itself as one of the most-viewed sites in the country just weeks after launch.
Seven Studios is capitalising on the global demand for content by licencing Seven’s shows, and signing production and co-production deals, with a wide range of international broadcasters and digital platforms including Netflix, Twitter and Facebook.
Seven West Media has delivered $38 million of net cost reductions in FY19, which reflected savings across all business units and was at the top end of cost-out guidance range of $30-40 million.
Seven West Media is forecasting FY20 EBIT of $190 to $200 million.
New Seven West Media managing director and chief executive James Warburton said: “FY19 was a tough year in the economy and advertising markets, which impacted Seven West Media’s performance.
“But we have incredibly strong assets, and our focus moving forward is to speed up the rate of transformation while exploring opportunities for growth in our core and adjacent markets.
“We will revitalise our entertainment programming, creating momentum to engage heartland Australia and enrich the demographic mix, ensuring we are the most relevant and exciting offer to advertisers.
“We will sharpen our focus on being a high-performance audience and sales led organisation, and we will redefine our working practices, becoming more efficient and effective and making savings which do not impact on ratings.
“We will be a hunter and explore M&A opportunities in both traditional media and non-traditional adjacencies that are positive for our shareholders.”
Last weekend News Corp Australia hosted a number of top-tier clients in the Darwin over the weekend, featuring a site visit at the infamous NT News.
Lou Barrett, managing director, national sales, and Heidi Sayers, national group client solutions director at News Corp Australia, hosted the three-day client experience in Darwin from 16-18 August.
Barrett said the purpose of the client experience was to strengthen relationships with key clients who worked with News Corp in FY19, investing in regional media.
“This trip was about gaining a sense of regional communities, showcasing the power of regional media, and influencing clients to invest in News Regional Media’s markets in FY20 and beyond.
“We also wanted to showcase the NT News as the primary educational component of the client experience.
“At News Corp our goal is to deliver results and creative solutions in terms of building client’s brands and growing their audiences. Regional media needs to be on that agenda in the future and the more the big end of town understands this, the more success they’ll realise as businesses.”
News Corp Australia’s involvement in the Boomtown initiative reinforces the USPs for the power and benefits of regional media, and a key driving force for this initiative.
“With 36% of the Australian population (8.8 million) living in regional towns, but only 10% of media spent there, the math doesn’t add up,” Barrett added. “We want agencies and brands to rethink regional media.”
The NT News site visit included a behind-the-scenes tour with editor Matt Williams just as the paper was reaching deadline – something many people don’t ever get a chance to see.
In terms of media engagement, the NT News is one of the most successful in the country. Seventy-five percent of Territorians read the NT News in paper or online, an audience of 413,000 per month, which can be translated into engagement opportunities for brands.
News Corp executives hosting the Darwin experience included Lou Barrett, Heidi Sayers, Nancy Veart, Kelly Healy, Kim Carollo and Royce Zygarlicki.
Clients on the trip came from Dentsu Aegis Network, OMD, Atomic 212, TUG, Qantas, Optus, Tab Corp, APT Travel Group, HelloWorld, Luxury Escapes, Hoot Holidays and TEQ.
Commenting on the trip, Sayers said: “It gave our valued clients and partners an experience to see first-hand the depth in the connection our trusted brands have with our regional communities.
“To be able to walk into the NT News newsroom on a Friday afternoon as the team worked on the cover story, and watching online as each story’s engagement rating was up on screen, they gained a new appreciation for our commitment to always delivering content in the context our audience wants. It also heightened the value this brings in engagement opportunities for brands.
“Over the course of the weekend our team had several conversations with clients that we believe will lead to exciting new regional media and marketing opportunities in the future.”
John Vellis, general manager of media and sponsorship at Tabcorp said: “Being my first trip to Darwin, I was really impressed with the reach and influence the News Corp brands have on the community, and especially how engaged they are with the NT News brand in the Territory. The passion and drive of the entire News Corp team to deliver what brands require in regional Australia is really impressive.”
Vellis loved the News Regional Media Kit, which provided insight into the markets. Guests also received a bespoke NT News frontpage wrap delivered to their hotel room, with stories and images of their unique experience.
The Northern Territory client experience builds on the success of the 2018 trip to Byron Bay, where clients were immersed in the Northern NSW region and connected with the Northern Star and Byron Shire News.
Top Photo: News Regional Media clients at NT News – Lou Barrett at front second from right
Australians have a growing taste for sports and video entertainment content sending the Subscription Video on Demand (SVOD) services market to new heights, reaching 12.3 million total subscriptions at the end of June 2019, according to new research from Australian emerging technology analyst firm, Telsyte.
A solid year-on-year increase of 29% has driven subscriptions up from 9.5 million in June 2018. Today more than half (55%) of Australian households subscribe to SVOD services.
Households continue to show a demand for multiple services – 43% have more than one SVOD service, up from 30% in 2018. This has steadily been increasing as consumers turn to multiple providers that are battling it out for content rights.
The Telsyte Australian Entertainment Subscription Study 2019 found Netflix is the market leader with around 4.9 million subscriptions and Stan passed the 1.7 million mark at the end of June 2019, remaining the second largest single service provider.
The sports SVOD category saw continued strong demand, driven by adoption of Kayo Sport, Optus Sport and AFL, FFA, Netball and NRL Live passes via Telstra.
Telsyte estimates the total “sports” SVOD category (excluding Foxtel Now as it provides a mix of sports and other entertainment content) had around 4.4 million subscriptions at the end of June 2019, up from 3.6 million in June 18, driven by new services and telecom services bundles.
The report found the total Pay TV market maintained just over 3 million subscriptions at the end of June 2019, including cable, satellite and IPTV Fetch TV. Foxtel’s Pay TV segment has been under continued pressure due to increasing adoption of SVOD, including its own base shifting to Foxtel Now and Kayo Sport. Fetch TV remained the growth engine for the Pay TV market.
New content to maintain growth
Telsyte’s latest consumer survey shows those willing to pay for video subscription services have an average monthly budget of around $30 to cover all their video entertainment needs. The same survey also shows 1 in 3 Australians have no set limit to the number of paid video subscription services they would simultaneously subscribe.
“Subscriptions will be a critical way entertainment and technology brands connect with and monetise their customers,” Telsyte managing director, Foad Fadaghi, said.
SVOD services have been proven to be highly sticky in Australia and Telsyte’s latest consumer survey shows nearly half of existing SVOD users believe there will always be enough new content to keep them interested and will not cancel their service, regardless of how many hit TV shows the service has to offer.
Total SVOD subscriptions could reach more than 21 million by the end of June 2023 to meet Australians’ appetite for content. Telsyte believes the demand of existing and new SVOD services will be driven by key content rights during the next 12 to 24 months as more studios and content producers prepare to launch direct services.
Telsyte research shows 1 in 4 Australians (and 37% of existing SVOD users) are interested in subscribing to a potential new a powerful entrant in Disney.
Telsyte research shows there is an opportunity to cross bundle different type of subscription services such as SVOD and streaming music services. Only 1 in 3 Australians subscribe to both SVOD and music streaming services.
Among those who do not subscribe to both services, around 1 in 6 would be interested in subscribing to bundled services if it will cost them less to subscribe to the services separately. This might be an opportunity for global players such as Google, Amazon and Apple.
Streaming music continues to grow
As with TV, the streaming music subscriptions market continued to grow steadily driven by service bundles, regular promotions and rapid adoption of smart speakers. Telsyte estimates Australians have taken up more than 12 million streaming music subscriptions at the end of June 2019, with 42% being paid subscriptions.
The top 3 streaming music service providers in Australia remained Spotify, Google (including Google Play Music, YouTube Music and YouTube Premium) and Apple.
Usage of streaming music has just taken over radio time with the average subscriber listening 7.5 hours a week, compared to 7.3 hours for radio. Telsyte forecasts there will be 16.2 million streaming music subscriptions by the end of June 2023.
The availability of very large mobile data caps has been influencing consumer behaviour around radio consumption, facilitating more streaming in car.
Gaming a key subscription market
Telsyte anticipates the gaming market to become the other major entertainment subscription segment alongside streaming video and music subscription services as consumers are becoming more comfortable with the subscription model.
Telsyte research shows Australians have already taken up more than 4 million games related subscriptions at the end of June 2019, consisting of computer and console games subscriptions (such as EA Access and Xbox Game Pass), massively multiplayer online game (MMOG) subscriptions (such as World of Warcraft) and console subscriptions (e.g. PlayStation Plus, Xbox Live Gold).
Telsyte estimates the number of games subscriptions could close to quadruple to more than 16 million by the end of June 2023 with better access to fast internet connectivity, the arrival of next generation game consoles and new services such as Apple Arcade and Google Stadia that appeal to a broader audience with the ability to play on different devices.
Telsyte research shows around 12.7 million Australians play digital games across devices and more than 8 million play on smartphones alone.
The same research shows 42% of Australians that play games are interested in game subscription services and 1 in 4 are interested in cloud gaming services.
Telsyte expects there will be more than 15 million 5G handsets in use by the end of June 2023, forming the foundation for cloud gaming services adoption.
Disney will begin its international release of Disney+ on November 12th the same day that it launches in the US, beginning with Canada and the Netherlands, it will be followed a week later by Australia and New Zealand on November 19.
Disney has also announced that it had reached global agreements with Apple, Google, Microsoft, Roku, and Sony to distribute the Disney+ app across mobile and TV devices platforms.
Disney+ will be priced at $8.99 in Australia per month or $89.99 per year and $9.99 in New Zealand per month or $99.99 per year, and include content from Disney, Pixar, Marvel, Star Wars, National Geographic and other Mouse House brands.
Customers will be able to subscribe to Disney+ directly or via in-app purchase on the following platforms with some variations depending on the region:
• Apple: iPhone, iPad, iPod touch, Apple TV
• Google: Android phones, Android TV devices, Google Chromecast
• Microsoft Xbox One: PlayStation 4 and all of Sony’s Android-based TVs
• Roku streaming players and Roku TV models.
Quentin Tarantino’s latest entry into the cinema zeitgeist Once Upon a Time in Hollywood has been a success with critics and now it has backed it up with audiences both internationally and in Australia, opening at the top of the Australian box office in its first week of release.
By Trent Thomas
Dropping out of first place is The Lion King, with the Disney release now fifth on the all-time Australian box office with $58.37m, moving past Titanic and Star Wars: The Last Jedi. Next on the list is Avengers: Infifty War with $62.01m.
Once Upon a Time in Hollywood is not the only new entry to the top five this week as it’s joined by A Dog’s Journey, with the films taking the place of Danger: The Battle of Long Tan ( two weeks $1.57m) and Late Night (two weeks $1.59m), which both dropped out in their second weeks of release.
Overall the Australian box office faired slightly better than last week with a 5% increase making a total of $14m.
An ode to the final moments of the golden age of Hollywood with a series of stories that include a re-imagining of the Manson Family murders was a hit in its first week of release making an average of $10,692 (highest in Australia) on 624 screens (also the most in Australia).
Continuing to roll on after five weeks a 47% decline in last weekend’s total still sees it break the $2m threshold which it has done every week of release on its way to its record-breaking total. This week it made a healthy average of $5,382 on 411 screens.
The ninth entry to the Fast & Furious franchise has brought its overall total to $15.52m after averaging the second-highest average in Australia this weekend with $5,814 on 297 screens.
The Australian release has now spent two weeks in the top five after a 40% decline on last weekend, making an average of $2,683 on 251 screens.
Based on the 2012 novel of the same name by William Bruce Cameron, and the sequel to the 2017 film, A Dog’s Purpose has debuted in the top five after averaging $2,577 on 245 screens.
• Nine wins with The Block on top as five lucky agents chosen
• Karl’s This Time Next Year drops below 600,000 for episode 2
• Survivor surfer crashes out, literally, in biggest series episode
Monday Week 34 2019
• Seven News 1,065,000/1,032,000
• Nine News 888,000/961,000
• A Current Affair 913,000
• ABC News 668,000
• 7.30 571,000
• The Project 281,000/477,000
• 10 News First 396,000
• The Drum 173,000
• SBS World News 159,000
• Sunrise 283,000
• Today 201,000
It was bitterly cold and blowing a gale on Sydney’s Pittwater as the sun set last night as some of the Home And Away cast and crew continued filming the soap opera that is so much a part of the life of many viewers in Australia, the UK and elsewhere. The soap averaged 617,000 last week and has started week 34 with 672,000.
Australia’s Got Talent gets all sorts competitors. Last night on the first semi final viewers got to see different forms of dance to a dog act and a comedian. The episode did 641,000 after 865,000 on Sunday night this week and 686,000 on Monday last week.
An episode of The Rookie was on 427,000 followed by 318,000 watching S.W.A.T.
Nine’s Steve Marshall was able to report on what A Current Affair was labelling the feel-good story of the year as the show rallied to help out single mum Stephanie Stevens after BankWest repossessed her home and auctioned it off. After an average of 711,000 last week, the episode did 913,000 last night which must be close to the year’s best.
On the The Block, Scott Cam told the Blockheads the show was doing it a little differently this year in that the producers have chosen five agents to sell the homes. A competition followed with the winner getting first choice of the five agents. Monday last week was on 845,000 and last night the episode did 893,000 to easily win the timeslot.
The second episode of This Time Next Year followed with 595,000 watching after 677,000 last week.
Footy Classified was on 157,000 with 108,000 in Melbourne.
Big night for comedy on The Project, sort of. Special guests were Hughesy and Mrs Hughesy, Holly Ife, who have produced another kid’s book. Then Steve Price got to do his best with the three best gags from the Edinburgh Fringe. The 7pm audience was 477,000 after a week 33 average of 450,000.
A memorable episode of Australian Survivor followed with big wave surfer Ross exiting the show after breaking an ankle during the immunity challenge. He becomes one of the few contestants to ever leave the show with out being booted out by his fellow competitors. It was a pity there was no vote, because the scheming going on prior to what would have been tribal council meant it would have been a very interesting poll. The Monday episode was on 741,000 after 711,000 a week ago.
Have You Been Paying Attention? then did 736,000 for another week over 700,000 after 735,000 seven days ago.
Australian Story was on 538,000 followed by Four Corners on 653,000.
Media Watch was also over 600,000 with a look at Alan Jones and his recent controversial comments about Jacinda Arden. When you hear the detail of his attack you wonder why he hasn’t been disciplined, yet, in any way.
Q&A then did 327,000.
The first of the two-part Royals At War did 180,000.
|ABC KIDS/ ABC COMEDY||2.4%||7TWO||2.7%||GO!||2.8%||10 Bold||3.5%||VICELAND||0.9%|
|ABC ME||0.5%||7mate||3.1%||GEM||2.8%||10 Peach||2.1%||Food Net||0.9%|
|7Food||0.5%||SBS World Movies||0.7%|
|ABC||Seven Affiliates||Nine Affiliates||10 Affiliates||SBS|
|ABC KIDS/ ABC COMEDY||2.2%||7TWO||4.0%||GO!||4.0%||WIN Bold||3.6%||VICELAND||0.9%|
|ABC ME||0.9%||7mate||4.1%||GEM||4.8%||WIN Peach||1.7%||Food Net||1.0%|
|ABC NEWS||0.8%||7flix (Excl. Tas/WA)||2.8%||9Life||1.3%||Sky News on WIN||1.7%||NITV||0.1%|
|7food (QLD only)||0.3%|
Shares all people, 6pm-midnight, Overnight (Live and AsLive), Audience numbers FTA metro, Sub TV national
Source: OzTAM and Regional TAM 2018. The Data may not be reproduced, published or communicated (electronically or in hard copy) without the prior written consent of OzTAM
New Zealand publisher NZME is believed to be reviving its efforts to embark on a merger of its assets with those of Nine Entertainment across the Tasman, reports The Australian’s Bridget Carter.
It comes after earlier efforts to strike a deal were blocked last year by the New Zealand Commerce Commission.
It is understood that any efforts to embark on the move are preliminary and being driven by NZME which remains under pressure to boost its performance, with sources close to Nine saying that the Australian-listed broadcaster (NEC) was not involved in such a plan.
Nine has been working with advisory firm Jefferies to find solutions for the New Zealand platform that it inherited from its merger with Fairfax Media.
However, it is understood that sales plans had stalled when finding a buyer prepared to pay up for the media assets proved challenging.
They are the only non-core assets left to sell by Nine since last year’s Fairfax deal.
The knives are out for outdoor advertising bigwig oOh!media, reports The AFR’s Street Talk.
The company’s shares hit a fresh four year low on Monday morning dropping another 5.5 per cent after Friday’s 27.5 per cent fall.
Fundies and analysts reckon the near term issue is less about oOh!’s earnings outlook, which was downgraded late last week, and more about its balance sheet.
oOh! geared up to buy HT&E’s Adshel last year and analysts are wondering whether an equity top-up may be required in the near term to release some pressure and turn market sentiment towards the stock.
To help advertisers get their video stories in front of valuable audiences in the moments they’re most receptive, Twitter has announced the availability of a 6-second video bid unit to advertisers globally.
Advertisers will be charged only once their ad is viewed for 6 seconds, with pixels at 50% in view (6s/50%). This bid unit is globally available on Promoted Video, In-stream Video Sponsorships, and In-stream Video Ads for assets 15 seconds or less in length.
A recent Twitter-sponsored study by EyeSee determined short-form (under six seconds), sound-off videos with clear branding drive significantly better ad recall and message association on mobile than linear TVC style videos.
Koala Mattress, Anytime Fitness and Volkswagen are the latest brands to cut ties with Alan Jones‘ radio show after he suggested Prime Minister Scott Morrison should “shove a sock down” the throat of NZ Prime Minister Jacinda Ardern, reports AAP’s Alex Druce in an AAP report published in The AFR.
“Koala has cut ties with Alan Jones … We’re a significant buyer in the medium, and it’s something we should have done earlier,” the company posted on Twitter.
Anytime Fitness also withdrew its advertising spend from Macquarie Radio on Monday, joining the likes of ME Bank, Snooze, Bing Lee and Amart amid rising backlash over Jones’ remarks.
“The comments made last week by Alan Jones regarding Jacinda Ardern do not represent our view or values,” Anytime Fitness said in a Facebook post.
Radio host Jamie Angel would prefer not to be recognised by his face, reports News Corp’s Jonathon Moran.
That means there won’t be any billboards or expensive TV ads as Angel steps into his new role as host of the new look 2DayFM music only breakfast shift after taking over from Grant Denyer, Ed Kavalee and Ash London this week.
“It is not about me, it is about the music,” Angel told Confidential.
“Look at me, do you think I am actually going to appear on a billboard? It is just not that sort of show. Do people need to know my face? I am not in it to be famous, I actually just love what I do.”
Angel, 48, who describes himself as a “radio nerd”, was last on air in 2004 as part of the then 2DayFM breakfast team of Judith Lucy, Pete Helliar and Kaz Cooke.
Angel also dismissed industry murmurs suggesting his appointment is a temporary measure to buy the station time to work on another breakfast show.
“I am on for as long as they’ll have me,” he said.
“I’ll be here next year if they will have me. If the station really wanted to put in another breakfast show and have someone in between then I would be disappointed that I would leave Triple M for that. They could have gone to a lot of other people but I think they want something long term.”
Angel is married to fellow 2DayFM talent Ellie Angel-Mobbs, who takes over from him at 9am on air, while his adult son, Lachlan, works as an engineer at the station.
Winners have been announced across 11 national categories and eight state categories of the 2019 Art Music Awards at a gala function at the Great Hall of the University of Sydney on Monday 19 August.
This year’s Orchestral Work of the Year went to Carl Vine’s Implacable Gifts (Concerto for two pianos and orchestra) a sophisticated, strong work inspired by surrealist painting Arrival of Implacable Gifts by James Gleeson.
Mary Finsterer was recognised in the category of Instrumental Work of the Year for Ignis, a meticulously crafted duet for cello and the six-stringed viola d’amore.
Vocal/Choral Work of the Year was awarded to wordless opera The Howling Girls, composed by Damien Ricketson with direction from Adena Jacobs.
The Jazz Work of the Year was Trombone Song Cycle, a collection of obscure love songs composed by Joshua Kyle and arranged by Andrew Murray for the unusual combination of trombone quartet and voice.
The award for Excellence in Jazz went to composer and bass player Ross McHenry for the creation of major new works, international touring, residencies and commissions in 2018.
The Performance of the Year went to Speak Percussion and Jessica Aszodi for their performance of the genre-defying Atlas of the Sky by Australian composer Liza Lim.
Zephyr Quartet received the award for Excellence by an Organisation in recognition of their 2018 program which defied genre, style and expectation, as well as their fearless championing of Australian work over 20 years. The winner of the award for Excellence by an Individual was Lyn Williams for her significant contribution to the creation and performance of choral music in Australia. Over 30 years, Lyn has transformed the choral landscape in Australia through the establishment of world-renowned children’s choirs including Sydney Children’s Choir and Gondwana Voices.
West Australian Symphony Orchestra is the recipient of the award for Excellence in Music Education for their Crescendo program. Inspired by the Venezuelan El Sistema, the program delivers free, ongoing and regular music education programs to West Australian schools.
Illawarra-based Steel City Strings won the award for Excellence in a Regional Area for their performance activity in the last twelve months and continued commitment to new Australian music.
The award for Excellence in Experimental Music went to Bendigo International Festival of Exploratory Music for their ongoing event, described by the judges as ‘a courageous, stimulating and imaginative place for high quality experimental music in the Australian landscape’.
The newly-titled Richard Gill Award for Distinguished Services to Australian Music (as determined by the APRA Board of Writer and Publisher Directors) was presented to experimental jazz trio The Necks, the first band to receive this honour. With a career spanning three decades, the trio have carved out a unique space in the music scene, walking the line between avant-garde, improvisation and minimalism while still paying respect to jazz.
After last years’ popular Reunion Special (ABC’s most watched show for 2018) ABC has announced Adam Hills, Myf Warhurst and Alan Brough (pictured) have been lured back to ABC’s Melbourne Studio 31, for more Spicks and Specks.
Adam Hills said: “From the moment Alan, Myf and I were together in a room for last year’s Spicks and Specks Reunion Special, we had each other in fits of laughter. Any time I can spend with those two fools is time well spent, and if it takes four more specials to make that happen – so be it!
“The response to last year’s show was overwhelming, both in the studio when we filmed it, and at home when it went to air. Spicks and Specks has a special place in our hearts, and I’m genuinely excited to make a few more specials for the ABC.”
The quiz show will return in November as part of the ABC’s celebration of Ausmusic Month.
Then in 2020 a further three Spicks and Specks specials will air themed around music from three decades – the 1990s, 2000s and 2010s.
Kayo will be the only place to see all 92 matches of the FIBA Basketball World Cup tournament live and on demand, as a star-studded Australian team vies for an elusive first time World Cup medal.
Two of the biggest names in Aussie hoops were on hand yesterday to launch Kayo’s coverage of the 69-year-old tournament.
Phoenix Suns and Australian Boomers Centre, Aaron Baynes was joined by his World Cup teammate and Melbourne United Captain, Chris Goulding (pictured) at the event.
For fans that can’t watch the action live, Kayo will offer every game on demand, meaning that subscribers can catch up anywhere, anytime, on their TV or favourite device.
Kayo Minis, which offer a condensed highlights package for those who can’t catch the full game, will be available for select fixtures, including all of the Australian and USA games, plus the finals.
The FIBA Basketball World Cup 2019 will be the biggest edition of FIBA’s flagship event with a record 32 participating teams.
In its 18th edition, the FIBA Basketball World Cup will take place in China for the first time ever. The tournament will be played in 8 cities – Beijing, Foshan, Wuhan, Shenzhen, Dongguan, Nanjing, Shanghai and Guangzhou – across 5 provinces.
The Final of the FIBA Basketball World Cup 2019 will take place in Beijing on Sunday September 15 2019. The newly-crowned world champions will receive the new FIBA Basketball World Cup Trophy.
The tournament begins on Saturday, 31 August, with the Boomers’ campaign getting underway on Sunday, 1 September against Canada.
Fans can watch a series of documentaries and official films, which will be available on the platform from Monday, 26 August.