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• “I am a true believer in the value of social networks when it comes to news distribution.”
By Kruti Joshi
Formerly from News Corp and Microsoft, Andrew Hunter became the first news partnership lead for Facebook Australia and New Zealand.
“The intersection of social networks and news is what attracted me to this role,” he told Mediaweek. This is a topic that Hunter has been intrigued by for some time. This is evident from his book, “All Your Friends Like This”, which he co-authored with the former ninemsn editor-in-chief Hal Crawford and Domagoj Filipovic, who was Viocorp’s chief technology officer. The second line on the cover of the book reads, “How social networks took over news.”
Asked about his stance on this statement now, Hunter answered, “That was a bit of provocative copywriting at the time. [Laughs] But absolutely not. In terms of distribution, it has been a decent sized change that the news industry has encountered – but it’s been a force for good. I am a true believer in the value of social networks, in particularly Facebook, when it comes to news distribution. It has done a lot more good than harm.”
• Generation E Media to become a one-stop media powerhouse for HT&E
At the 2018 annual general meeting for HT&E, chief executive Ciaran Davis outlined company plans to build a unique media business for today and tomorrow.
Below are some of the highlights from his shareholder presentation.
We are excited by a new business we will launch later this year, bringing together brands we already own to create a unique media business of the future.
Brands like The Roar, Techly, Lost At E Minor, The Edge, Unbound and others – all focused on the millennial market – will distribute content seamlessly across multiple channels like mobile, radio, virtual and augmented reality, social video, and events, to name just a few.
Generation E Media will become a one-stop media powerhouse, with our digital assets under one roof.
Remember, we already own these businesses that generate over $8m in revenues, but what we are doing is ensuring that we are delivering more and better aligned consumer experiences, helping us to further grow the reach of our brands, while introducing more opportunities for our advertising and commercial partners.
The first is in esports. For those of you who don’t know, this is people watching other people play video games. It is predicted to be in the top five most watched sports in the world in the next 10 years. It will be a code in the Asian Games in 2022 and potentially, the Olympic Games.
Some stats for you:
• Already, the global audience for esports is over 380 million people worldwide
• Global esports revenues will reach over $900m in 2018
• Twitch – owned by Amazon, and the digital broadcast channel of choice for esports – recently paid US$90m to stream the Overwatch series
• Entry into esports leagues in the US is going for over US20m
• In the first three months of 2018, $2 billion has already been invested
Last year, we announced our intention to launch an esports business in Australia, investing up to $10m over the next three years, with the intention of become the premier esports operator in the country.
To date, we have made good progress and are delivering on our plans:
• Signed an exclusive Hoyts partnership to build a dedicated, state of the art esports arena in Sydney – the first of its kind in this country – with future expansion opportunities
• Dell has come on board as Presenting Partner
• Logitech is the sponsor of our professional series and there are further sponsorships to be announced
• Twitch has signed up as the exclusive digital broadcaster and Channel 10 will run a live broadcast over seven weekends
• We announced six city-based clubs that will partake in our league – realising our ambition to make Gfinity Australia the first city-based franchise league for esports in the country
• We are building a highly engaged digital audience across social media and have already run a successful tournament with FIFA, the world body for soccer, in advance of the World Cup in Russia.
Revenue streams come from broadcasting rights, franchise owners, with in-stream advertising in demand as esports engages a younger, predominantly male audience – a demographic that advertisers and sporting bodies all over the world are desperate to attract.
And the best part: already, we have over $10m in commitments before the competition starts.
Davis also covered radio strategy including the plans to improve performance in Melbourne.
Our audiences are growing, with Survey 8 ratings results in 2017 being the highest network share figures ever achieved, and that momentum is continuing in 2018. KIIS is the No. 1 brand in the country.
And the good news is that we believe there is still more growth to come.
We made a number of on-air changes at the beginning of the year, in line with our strategy of recruiting and retaining the best talent.
In particular, we were looking to strengthen the performance of our Melbourne stations – a market that is valued the same as Sydney, but where our audience and revenue shares lag behind our success in Sydney.
Jase & PJ on breakfast at KIIS 101.1 deliver a clear point of difference in a competitive market and we are very pleased with how they have started, working hard to realise their potential.
Across the KIIS drive network, we dictated the changes and took the opportunity to invest in Will & Woody – providing security of tenure for at least three years. The drive slot is attractive to advertisers and we are seeing increased briefing activity over last year from the content integration ideas Will & Woody bring.
Christian O’Connell starts on Gold on June 4 and is a great recruitment for us, presenting a real opportunity to drive market leadership in Melbourne. Christian is best known for his work in the UK, where he has the No. 1 breakfast show in London, and we believe his unique broadcasting ability will resonate well.
• MasterChef Australia judge Matt Preston on Gordon, Nigella, and ratings strategy
By James Manning
This is part 2 of Mediaweek’s interview with MasterChef Australia judge Matt Preston. Read part 1 here.
Even after 10 years on the Ten Network hit series, Matt Preston tells Mediaweek he still feels uncomfortable watching himself on screen. A self-described TV nerd, he watches lots of television.
“I watch quite a bit of our show. If we are to have input on how to improve it for the next season, then I need to know what is good, what’s worked and what hasn’t.
“I will certainly be scanning the ratings and seeing which guests have worked well. I will be fascinated to see if Nigella does big business like she did two years ago, which was really the difference between season eight and season nine. We really saw the [ratings] jump when she came on and those people stayed with the show.
Top photo: MasterChef Australia all-stars: The winners of every season of the show (who featured on the 2018 season launch) with the judges [L-R] Julie Goodwin, Kate Bracks, Andy Allen, Adam Liaw, Elena Duggan, George Calombaris, Matt Preston, Gary Mehigan, Emma Dean, Brent Owens, Billie McKay and Diana Chan
Twitter and SBS have entered into a partnership for the 2018 FIFA World Cup that will see the FTA broadcaster produce daily live shows for the social media platform.
Twitter will also have highlights of the biggest moments from Russia throughout the tournament.
SBS will live stream #WorldGameLive exclusively on Twitter each match day from June 15 to July 16. The show will be hosted by Lucy Zelic and will feature The World Game guests and other football experts, who will bring audiences a range of match action, previews, recaps and the best Twitter highlights, as well as segments produced by the SBS team in Moscow. There will be 23 shows in total.
#WorldGameLive will be available to Twitter users in Australia for free whether they are logged in or logged out of The World Game Twitter account.
Fans can also tune in to video highlights of each game, with every goal scored, interviews with players and coaches, and official press conference clips. It will all be available via @TheWorldGame.
Twitter Australia managing director Suzy Nicoletti said, “Aussie football fans don’t need to look any further than SBS and Twitter to keep up with what’s happening at the 2018 FIFA World Cup and we couldn’t think of a more perfect match to partner with than SBS. Broadcasting on Twitter will bring the content and conversation into one place, giving football fans a connective and immersive sporting experience.”
SBS director of sport Ken Shipp said, “SBS has been broadcasting football for nearly four decades. It’s a sport that really connects Australia’s diverse communities. As Australia is one of the most multicultural countries, the 2018 FIFA World Cup is a great moment for us all to come together to cheer on the Socceroos and other teams across the globe. We’re always looking for innovative ways to connect our audiences to a range of content on the devices and platforms they use most. Sport is something that people love to share and this partnership with Twitter enables all Australians to relive and share in the excitement.”
The coverage of the 2018 World Cup is a part of the new content deals that SBS and Twitter announced this year, which also included the coverage of the Sydney Mardi Gras and Eurovision Song Contest.
SBS is the official broadcaster of the 2018 FIFA World Cup, which kicks off on June 14.
Top photo: Germany celebrates after taking out the 2014 FIFA World Cup in Rio de Janeiro (credit: Shutterstock)
Mediaweek editor James Manning looks at the weekend box office for May 3-6, 2018.
After the record-setting opening weekend a week ago, the dollars earned by Avengers: Infinity War dipped just over 50%, which was the same amount the weekend box office dipped week-on-week.
After $28.83m the previous weekend, the numbers for the top 20 movies dropped to $15.32m for the four days Thursday to Sunday.
Takings were down 52% from the opening weekend, yet the movie has been the year’s star performer. The Marvel movie’s second weekend take was equal to the opening weekend of Black Panther. So far Avengers: Infinity War has taken $45.62m. Last week the movie reported an opening week take of $33.97m, which is the second-best ever behind only Star Wars: The Force Awakens on #38.54m in December 2015. Avengers: Infinity War has now generated global box office of $1bn, and is currently the 15th biggest release ever with plenty of momentum to climb further up that list. In Australia the movie shed 64 screens to 876 with a screen average of $11,654.
Its third weekend in the top five had a screen average of $3,671 and a total gross to-date of $7.36m.
The only new release to open wide was Simon Baker’s directorial debut. Roadshow had the movie open on 244 screens with a screen average of $4,104.
The movie with the smallest screen average in the top five – $2,760 – spends its third week on the chart with a total to-date of $4.0m.
Still showing on over 200 screens, the movie maintains a top five place after five weekends with a gross of $11.25m.
Top photo: Avengers: Infinity War (credit: Marvel Studios)
• Primetime premieres: The Voice pushes ahead of returning reality double
• The Voice #1 all people, MasterChef #1 25-54, House Rules starts low again
By James Manning
After an average of 745,000 last week, Home and Away started week 19 on 693,000.
Seven had a warning at the start of the new season of House Rules with the channel telling viewers there would be some graphic footage of an accident.
Joh Griggs welcomed the contestants to a house in the Sydney suburb of Rosebery that cost the channel $1.25m. The contestants have to renovate the property. The judges then arrived in a black Suzuki SVU and they each had a message for the contestants – Lawrence of course had by far the longest and he almost turned it into a one-man show. The seven teams each got a section of the house to work on.
The graphic footage involved House Rules design expert Carolyn Burns-McCrave, who was flattened by a stray piece of timber falling from the upper story. Although taken away by ambos, she was soon back on set.
House Rules has been a repeat offender when it comes to slow starts before the series gains some momentum. It set a new low this year though with 607,000 after its previous low launch of 718,000 in 2016. The series launched with 986,000 last year when it was wedged between two parts of the MKR grand final, something that didn’t sit well with all MKR fans.
The Mentor followed with Mark Bouris helping turn around a motorcycle shop in Cobram in rural Victoria. It was a good episode with tears all round at the end of the episode. That couldn’t stop the audience slide though. After a premiere of 472,000, episode two dropped to 369,000.
A Current Affair Monday was on 912,000 after a week 18 average of 775,000. Scott Cam spoke about misbehaving tradies, which has become a thing on social media, and the show featured a loyalty card showdown.
The Knockout rounds of The Voice continued as 48 contestants battled to stay alive in the competition. The singing competition faced a double whammy last night as it went up against returning House Rules and MasterChef Australia. The episode managed to win its timeslot all people with 949,000, which was up on 905,000 a week ago.
A New Zealand doco on musician and singer Stan Walker that told about his battle with stomach cancer followed the singers with 397,000 watching.
The soon-to-end Family Feud started a new week on 345,000 after an average of 312,000 last week. The decision of how to fill the critical timeslot will be TEN’s biggest programming decision since CBS acquired the network.
The Project devoted a big chunk of its second 30 minutes to the return of MasterChef as Carrie Bickmore dined with Matt, Gary and George. It was a fun segment getting away from the desk. Carrie dropped chocolate on her outfit during the interview and later produced a promo photo of the judges 10 years ago where they all looked pretty grumpy. Matt Preston explained the original idea was to have them as the dream crushers. The Project started on 379,000 and climbed to 587,000 after 7pm. The week 18 averages were 347,000 and 504,000.
A memorable first episode of MasterChef Australia 2018 featured all nine previous winners taking part in the opening scenes and then across the first episode where the first contestants were chosen for the 24 places. Shedding a tear was definitely an advantage last night, but with so many good cooks the judges needed something else to try to separate the contestants.
The 2018 season launched with 890,000, which ranked it second in the slot all people, yet MasterChef ranked #1 for the night 25-54. MasterChef 2017 launched with 1.06m.
Episode two of Roseanne followed on 401,000 after it launched with 463,000 last week.
Another Montreal Comedy Special followed with Tommy Little hosting for the audience of 194,000.
Australian Story revisited Claudine Fitzgerald to see how her baby Harvey was progressing after mum had previously had surgery on her then-unborn baby. The episode did 542,000 after 665,000 last week.
Four Corners spoke to a young woman at the centre of Australia’s most controversial rape trial, who was prepared to reveal her identity, with 511,000 watching.
Media Watch then did 528,000 followed by Q&A live from Melbourne on 367,000.
Episode four of Elizabeth moved into the 1970s with 280,000 watching.
Michael Mosley’s Trust Me I’m A Doctor examined if changing meal times could help weight loss for the 216,000 viewers.
24 Hours In Emergency looked at single parenthood with 219,000 watching.
|ABC ME||0.6%||7mate||3.3%||GEM||2.2%||ELEVEN||1.9%||Food Net||0.8%|
|ABC||Seven Affiliates||Nine Affiliates||Ten Affiliates||SBS|
|ABC ME||0.8%||7mate||3.6%||GEM||3.9%||ELEVEN||2.1%||Food Net||0.7%|
|MONDAY METRO ALL TV|
16-39 Top 5
18-49 Top 5
25-54 Top 5
APN Outdoor is now the official Australian representative of the Cannes Lions International Festival of Creativity and the company has announced Australia’s juror contingent for 2018.
This year, Australia will have 13 representatives across a total of 26 jury categories at the world’s largest festival for creative and marketing communications, entertainment, design and tech industries.
APN Outdoor general manager marketing Charlotte Valente said: “Australia consistently finds itself in pole position when it comes to awards in Cannes, leading to our very strong representation this year.
“The judges selected for 2018 truly highlight the high standard of jury representation at this world-leading event and illustrate the unbelievable talent we have in our own backyard.”
Here, There & Everywhere chairman Peter Cosgrove is open to breaking up the radio and outdoor advertising company if that is what newly appointed investment bank advisers CLSA and Credit Suisse decide is the best option, reports The AFR’s Max Mason.
At the $700 million company’s annual meeting on Monday, Cosgrove confirmed the appointment of the advisers, which was first revealed by The Australian Financial Review, to help the company boost shareholder value. The review could result in a formal sale process.
Cosgrove said the board was open to all options for the business. “Selling one asset, or the whole company, or how it works without one asset, that’s part of the brief, that’s what we’re looking for,” he said.
“We have appointed Credit Suisse and CSLA. Let them do their work, that’s what we pay them for.”
Unruly, the global video marketplace, has appointed AMNET programmatic strategist Heath Irving to lead their programmatic offering in Australia and New Zealand.
Irving joins from AMNET (Dentsu), where he has spent the last three years providing programmatic guidance, training and devising bespoke solutions for tier one clients. He was also responsible for leading joint business plans and roadmaps for specific clients to develop new revenue streams and also retain business through tailoring both products and operational process to best suit client needs.
Irving comes with more than eight years of experience in the programmatic space at publishers, agency trade desk and ad tech vendors such as Fairfax media and Yahoo!7.
He will be based at the News Corp-owned company’s Sydney headquarters and will report directly to Ricky Chanana, Unruly’s AUNZ managing director.
Ipsos has announced the appointment of Carin Hercock as Managing Director, Ipsos New Zealand, effective immediately.
Hercock brings nearly three decades’ experience in the research and marketing industry, and joins from Nielsen New Zealand, where she was the Executive Director of Customer Insights. She has also held roles in media at APN New Zealand (now NZME) and the Newspaper Advertising Bureau (now Newsworks).
In the new role, Hercock will lead Ipsos’s Wellington and Auckland offices, driving strategy, managing senior-level client relationships and building the Ipsos brand in NZ. She reports to Ipsos Australia and NZ CEO Simon Wake.
Simon Wake said: “Carin is the ideal leader for our New Zealand team, with a stellar track record on both the client and agency side of our industry.
“Few marketing and research executives can rival Carin’s experience, which spans finance to FMCG, retail to real estate, and manufacturing to media. Carin’s extensive relationships and strong industry networks are a tremendous asset as we progress Ipsos’s determined expansion in the New Zealand market.”
Carin Hercock said: “It’s exciting to work with an organisation that’s as passionate about people and insights as I am. The breadth and depth of Ipsos’s research knowledge, experience and innovation is impressive, and I see limitless potential as we recruit additional talent and build the Ipsos brand in New Zealand.
“I’m looking forward to tapping into Ipsos’s global strengths and network and working with our highly talented research team to benefit our clients and grow the business.”
Hercock currently sits on the board of Research Association of New Zealand and has been actively involved in the print media industry research association. She has also been an Executive Judge for the NZ Effie awards for the last two years.
Fairfax Media has been found guilty of contempt of court and fined $15,000 for publishing an advertisement with false claims about the size and power of real estate business Domain, reports The Australian’s Darren Davidson.
Federal Court Justice Bernard Murphy found the publisher guilty for its conduct in publishing an advertisement in The Sydney Morning Herald newspaper on February 13, 2016 which contained the phrases “#1 property app in Australia” and “the most property listings in Sydney are on Domain”.
The case arose after Fairfax gave an undertaking not to publish such phrases to the court on February 12, 2016 following legal action by REA Group, which is majority-owned by News Corp Australia (publisher of The Australian), and runs realestate.com.au.
TEN’s 6pm game show Family Feud Australia will cease production. The host of the program, Grant Denyer, broke the news on his 2Day FM breakfast show this morning.
“We thought we’d only get two years out of it, so it was lovely to stretch it to four,” he told listeners and his radio co-hosts Em Rusciano and Ed Kavalee. “It’s been a huge success for Network Ten. It obviously reinvigorated that 6pm timeslot, which was dead for them for about five years. It also increased all the night-time programming on TEN.
“There were really two things working for TEN at the time – Family Feud and Have You Been Paying Attention?”
TEN’s revival of the Family Feud was its fourth in Australia. While the show served the broadcaster well, Denyer confessed, “We are guilty, if anything, of driving it into the ground.”
There have been about 1,200 episodes of the show aired on TEN since it launched 2014. “I have said ‘Survey says’ 30,000 times already,” Denyer said.
The show, which currently airs Sunday-Friday, has been simulcast on TEN’s primary channel and Eleven and ONE from day one.
“We gave it a bit too much,” Denyer said. “Six days a week, twice a day, plus the all-star episodes – we might have squeezed that lemon a little bit too much.”
Now that Family Feud is coming to an end, will Denyer be doing anything in TV?
“They [TEN] say they are resting show. One of the reasons why they’re resting it is that they want me to do some big new projects. They can’t do both,” Denyer said, not giving away too much detail. “I have heard what those projects are: they are big, bright, shiny, new and exciting.”
Network Ten said in a statement, “Family Feud has been an important part of our schedule for the past four years, but we feel it is time to rest the show. It will be put on hold later this year and we will be announcing an exciting new game show very soon. We will also have some exciting news about Grant Denyer’s new show on TEN soon.”
The TEN primary channel schedule continues to get a May makeover. Following the launch of MasterChef Australia last night, two more long-running formats return next week.
Monday night sees the return of Have You Been Paying Attention? with host Tom Gleisner is back at the helm, attempting to maintain some sort of control while putting Australia’s funniest comedians through their paces.
In the first episode of the new season, series regulars Ed Kavalee and Sam Pang return to battle alongside guests Jane Kennedy, Kitty Flanagan and Anne Edmonds.
On Tuesday night next week Shark Tank returns with a series promising drama, innovation and remarkable inventions.
Narrated by Studio 10’s Sarah Harris, Shark Tank brings together five Australian business superstars – internet pioneer Steve Baxter, Boost Juice entrepreneur Janine Allis, international businessman Andrew Banks, RedBalloon experience founder Naomi Simson and Dr Glen Richards, founder of Australia’s largest pet-care company Greencross.
They invest their own cash on the line and turn the next big idea into a profitable venture.
The Sharks have invested over $21 million of their own money since series one of Shark Tank.
Australian singer Jessica Mauboy turned the Eurovision Song Contest’s blue carpet red, arriving at the competition’s official opening night in Lisbon, Portugal today, reports Fairfax Media’s Michael Idato.
The buzz around Australia’s delegation is strong on ground despite our relative inexperience in the field – this is just our fourth year in competition. There remains strong sentiment for us among competing European countries.
Mauboy is singing “We Got Love”, which she co-wrote with songwriters Anthony Egizii and David Musumeci.
Egizii and Musumeci previously collaborated on Dami Im’s “Sound of Silence”, which took Australia to a stunning second place at Eurovision in 2016. The pair also co-wrote last year’s song, Isaiah Firebrace’s “Don’t Come Easy”.
Two key rehearsals of the song are now complete and Mauboy enters this with an appearance at the second semifinal, which will air on SBS on Friday May 11, and then – if she scores well – in Sunday’s grand final.
Eurovision action starts on SBS on Wednesday morning May 9 at 5am with live coverage of Eurovision Semifinal #1.
Picnic at Hanging Rock has made a solid start in the ratings, debuting as the number one non-sport program for Foxtel on Sunday night, reports News Corp’s Holly Byrnes.
The subscription channel averaged 122,000 viewers – putting it in the ballpark of some of its biggest international drama launches, which have included Top Of The Lake (130,000 people), Big Little Lies (133,000) and the global sensation, Westworld (141,000).
The initial figures don’t take into account the streaming audience, with those numbers expected next week when Foxtel can assess the impact of their decision to drop all six episodes for their binge-hungry viewers.
The third series of Nine’s hit drama series Doctor Doctor has commenced production in Sydney and will return to the Nine Network later this year.
Cast returning to the new season include Rodger Corser (Hugh), Nicole da Silva (Charlie), Steve Bisley (Jim), Ryan Johnson (Matt), Tina Bursill (Meryl), Hayley McElhinney (Penny), Matt Castley (Ajax), Chloe Bayliss (Hayley), Charles Wu (Ken), Belinda Bromilow (Betty) and Brittany Clark (Mia).
Joining the cast are Vince Colosimo (Underbelly, Schapelle), who will play a long-lost relative and TV Week Logie Award winning Miranda Tapsell (Love Child, The Sapphires), who plays an old school friend of the Knight brothers.
Doctor Doctor is filmed in Sydney and country NSW and is produced by Easy Tiger Productions for Nine with the assistance of Create NSW.
The Handmaid’s Tale has moved into top spot on the cross-platform TV demand charts as measured by Parrot Analytics.
The drama’s second season was at #3 in the Australia and New Zealand Digital Originals charts last week ahead of its move to top spots on both sides of the Tasman. The Handmaid’s Tale has swapped spots with Lost In Space, which dropped from top spot to #3 in both markets.
New to both countries this week was the second season of the Brazilian drama 3%, which sits at #5.
The Walking Dead continues to rank #1 on the Overall TV charts in both countries.
Nine News was way ahead in social interactions for TV shows as measured by Nielsen for the week ending Sunday May 6. Four primary channels were represented in the top five with Seven’s My Kitchen Rules #2 on the non-sport chart.
The A-League Grand Final managed to top the sports chart, with the match broadcast by Fox Sports and Ten multichannel ONE.
The Perth Supercars weekend was #2 on the chart, the NRL and AFL filling the remaining spots in the top five.
Global sports data and intelligence provider STATS has signed a new five-year agreement with the National Rugby League (NRL) as the official data provider.
STATS expands its statistics collection to include men’s and women’s live and post-match data for 1,357 matches across 24 international, national, state, and age grade competitions ranging from NRL’s Telstra Premiership to under-16 junior representatives.
Working from both the NRL’s Bunker and their Sydney production centre, STATS’ live match data is distributed to league partners and media providers through STATS’ industry-leading data feeds, which Northwestern University has validated as the fastest and most accurate in the industry.
STATS’ post-match data is provided to media and the league. The agreement also gives the NRL access to extensive reporting and research support.
Luke Gooden, NRL general manager of digital football product development, said: “NRL teams have been using STATS’ rugby league data and analytics for several years, and it has become an important part of match preparation. STATS also collects and distributes NRL data to our partners and affiliates, providing fans with more information on and off the pitch.”