David Gyngell has vowed to prove James Packer wrong.
The Nine Network boss believes there is still money to be made in free-to-air television, and has promised to tap his experience from another Packer, Kerry, to make his point.
The TV executive and close friend of James Packer told advertisers in Sydney yesterday that the billionaire's decision this week to cut his family's more than 50 years of ties to the network was not going to spell any change for Nine, which has started a comeback in TV ratings this year.
The tradition of the late Kerry Packer — who was so passionate about the network that he called producers personally to change what was on air — was set to continue under his tenure, he said.
"I loved Kerry Packer, what he did for me and how much I learned from him," Mr Gyngell said.
"He was truly extraordinary, so hopefully I picked up his attitude towards Channel Nine, and I do love Channel Nine and what we do with Channel Nine.
"While on my watch, we won't be cutting our costs to damage our content.
"If anyone understands the structure of the deal as it was originally done, the day that James and his family gave up control of Channel Nine was the day that he made a decision on his position on media.
"He's got his view, and I'm looking forward to proving him wrong."
(Credit: The Sydney Morning Herald)
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David Gyngell
James Packer
Network Nine Australia
Crown Casino
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Friday, October 31, 2008
Channelling Kerry: boss loves Nine, by Miriam Steffens - The Sydney Morning Herald - 31st October 2008
David Gyngell has vowed to prove James Packer wrong.
The Nine Network boss reckons there is still money to be made in free-to-air television, and has promised to tap his experience from another Packer, Kerry, to make his point.
The close friend of James Packer told advertisers in Sydney yesterday that the billionaire's decision this week to cut his family's ties to the network, which spanned more than 50 years, was not going to spell any change for Nine, now on a comeback in TV ratings this year.
The tradition of the late Kerry Packer - who was so passionate about the network that he called producers personally to change what was on air - was set to continue under his tenure, he said.
"I loved Kerry Packer, what he did for me and how much I learnt from him," Mr Gyngell said. "He was truly extraordinary, so hopefully I picked up his attitude towards Channel Nine, and I do love Channel Nine and what we do with Channel Nine.
"While on my watch, we won't be cutting our costs to damage our content."
The assurances came three days after James Packer cut his funding and severed links to his father's media empire by declaring that he and his top lieutenant, John Alexander, would step down from the board of PBL Media, the private equity company that runs Nine and ACP Magazines.
The business, which is creaking under a $4.2 billion debt, is now in the hands of the buy-out firm CVC Asia Pacific.
Mr Gyngell said Mr Packer had made up his mind about the network last year, when he reduced Consolidated Media Holdings' stake in PBL Media to 25 per cent, handing over economic control of Nine and ACP Magazines.
"The day that James and his family gave up control of Channel Nine was the day that he made a decision on his position on media.
"He's got his view, and I'm looking forward to proving him wrong."
(Credit: The Sydney Morning Herald)
Media Man Australia Profiles
David Gyngell
James Packer
Network Nine
Television
The Nine Network boss reckons there is still money to be made in free-to-air television, and has promised to tap his experience from another Packer, Kerry, to make his point.
The close friend of James Packer told advertisers in Sydney yesterday that the billionaire's decision this week to cut his family's ties to the network, which spanned more than 50 years, was not going to spell any change for Nine, now on a comeback in TV ratings this year.
The tradition of the late Kerry Packer - who was so passionate about the network that he called producers personally to change what was on air - was set to continue under his tenure, he said.
"I loved Kerry Packer, what he did for me and how much I learnt from him," Mr Gyngell said. "He was truly extraordinary, so hopefully I picked up his attitude towards Channel Nine, and I do love Channel Nine and what we do with Channel Nine.
"While on my watch, we won't be cutting our costs to damage our content."
The assurances came three days after James Packer cut his funding and severed links to his father's media empire by declaring that he and his top lieutenant, John Alexander, would step down from the board of PBL Media, the private equity company that runs Nine and ACP Magazines.
The business, which is creaking under a $4.2 billion debt, is now in the hands of the buy-out firm CVC Asia Pacific.
Mr Gyngell said Mr Packer had made up his mind about the network last year, when he reduced Consolidated Media Holdings' stake in PBL Media to 25 per cent, handing over economic control of Nine and ACP Magazines.
"The day that James and his family gave up control of Channel Nine was the day that he made a decision on his position on media.
"He's got his view, and I'm looking forward to proving him wrong."
(Credit: The Sydney Morning Herald)
Media Man Australia Profiles
David Gyngell
James Packer
Network Nine
Television
Tuesday, October 28, 2008
Resignations clear the decks for move on PBL Media - 27th October 2008
CVC Asia Pacific is seeking an estimated $300 million to invest in PBL Media after James Packer's Consolidated Media Holdings refused to inject $75 million into the media company. Mr Packer and Consolidated Media chairman John Alexander have also resigned as directors of PBL, ending 50 years of Packer-family involvement with Consolidated Media-owned broadcaster Nine Network. The further injection of funds by CVC Asia Pacific will see Consolidated Media's stake in PBL fall to 10 percent or less.
Media Man Australia Profiles
Network Nine Australia
James Packer
Media Man Australia Profiles
Network Nine Australia
James Packer
Packer family's TV links with Nine almost severed, by Fleur Leyden - Herald Sun - 28th October 2008
James Packer has distanced himself from Channel Nine's owner, PBL Media, quitting its board and declaring his Consolidated Media Holdings won't pour more funding into the debt-laden company.
Mr Packer's resignation, and those of CMH chairman John Alexander and alternate CMH directors Chris Anderson and Martin Dalgleish, came as PBL Media moved to allay concerns about its ability to service its $4.2 billion of debt.
"The group has been in compliance with all of its financial covenant requirements to September," PBL Media said.
It revealed it was in talks with senior debt and mezzanine note lenders about a possible recapitalisation of the company.
However, refinancing of its $4.5 billion loan facility - drawn down to $4.2 billion - was not due until February 2013 and April 2014.
"Amortisation of the senior debt over the next 12 months requires a payment of approximately $22 million in December 2008 and approximately $22 million in June 2009."
PBL Media was formed in 2006 after Mr Packer's former media and gaming empire Publishing & Broadcasting sold its media assets for $4.5 billion into a joint venture with private equity firm CVC Asia Pacific.
The billionaire's exposure to the vehicle - which houses the Nine Network, ACP Magazines and some website holdings - then reduced to CMH's 25 per cent stake.
Mr Packer's resignation from the board sees him effectively relinquish all control of his late father's TV network and PBL Media's other assets.
Australia's leading media buyer Harold Mitchell said Mr Packer's move did not come as a surprise.
"James Packer is clearly making his business life in his own mould rather than that of his father," Mr Mitchell told BusinessDaily.
"The media properties - while still very good - are not as close to him as they were to Kerry."
CMH, which holds its annual meeting today, will stop equity accounting its 25 per cent PBL Media stake.
It said the holding could be diluted by extra capital contributions from major shareholder Red Earth Holdings, which is owned by funds advised by CVC.
BBY analyst Mark McDonnell said CMH's decision not to equity account its PBL stake suggested it could be diluted below 20 per cent.
"It's difficult to see this in any other light than a distancing of CMH directors at a time when there's a great deal of speculation that PBL Media's debt levels are unsustainable," Mr McDonnell said.
"By the end of the year there's a risk that CVC will have been in breach of its debt covenants."
CVC did not return calls yesterday.
Shaw Stockbroking analyst Greg Fraser said that if attention moved from CMH'S PBL Media stake to its other assets - such as stakes in Foxtel and jobs site Seek - investors would realise the stock was cheap.
CMH shares, down 50 per cent since the start of the year, closed 6c higher yesterday at $2.08.
(Credit: News.com.au)
Media Man Australia Profiles
James Packer
Mr Packer's resignation, and those of CMH chairman John Alexander and alternate CMH directors Chris Anderson and Martin Dalgleish, came as PBL Media moved to allay concerns about its ability to service its $4.2 billion of debt.
"The group has been in compliance with all of its financial covenant requirements to September," PBL Media said.
It revealed it was in talks with senior debt and mezzanine note lenders about a possible recapitalisation of the company.
However, refinancing of its $4.5 billion loan facility - drawn down to $4.2 billion - was not due until February 2013 and April 2014.
"Amortisation of the senior debt over the next 12 months requires a payment of approximately $22 million in December 2008 and approximately $22 million in June 2009."
PBL Media was formed in 2006 after Mr Packer's former media and gaming empire Publishing & Broadcasting sold its media assets for $4.5 billion into a joint venture with private equity firm CVC Asia Pacific.
The billionaire's exposure to the vehicle - which houses the Nine Network, ACP Magazines and some website holdings - then reduced to CMH's 25 per cent stake.
Mr Packer's resignation from the board sees him effectively relinquish all control of his late father's TV network and PBL Media's other assets.
Australia's leading media buyer Harold Mitchell said Mr Packer's move did not come as a surprise.
"James Packer is clearly making his business life in his own mould rather than that of his father," Mr Mitchell told BusinessDaily.
"The media properties - while still very good - are not as close to him as they were to Kerry."
CMH, which holds its annual meeting today, will stop equity accounting its 25 per cent PBL Media stake.
It said the holding could be diluted by extra capital contributions from major shareholder Red Earth Holdings, which is owned by funds advised by CVC.
BBY analyst Mark McDonnell said CMH's decision not to equity account its PBL stake suggested it could be diluted below 20 per cent.
"It's difficult to see this in any other light than a distancing of CMH directors at a time when there's a great deal of speculation that PBL Media's debt levels are unsustainable," Mr McDonnell said.
"By the end of the year there's a risk that CVC will have been in breach of its debt covenants."
CVC did not return calls yesterday.
Shaw Stockbroking analyst Greg Fraser said that if attention moved from CMH'S PBL Media stake to its other assets - such as stakes in Foxtel and jobs site Seek - investors would realise the stock was cheap.
CMH shares, down 50 per cent since the start of the year, closed 6c higher yesterday at $2.08.
(Credit: News.com.au)
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James Packer
Channel 58 New Zealand TV Station And License For Sale
Channel 58 New Zealand TV Station And License For Sale
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Tuesday, October 21, 2008
Shooting starts for second Underbelly series - The Australian - 17th October 2008
A second series of the acclaimed Underbelly TV drama went into production today dogged by the question of whether it would it be as good as the original. Underbelly - A Tale of Two Cities will focus on the illegal drug trade in the 1970s, a long way from the more recent Melbourne drug wars portrayed in the hit series which aired on Nine this year. Instead of Carl and Roberta Williams the villains will be Aussie “Bob” Trimbole and Terry “Mr Asia” Clark.
Announcing the start of start of production in Sydney and Melbourne, the head of drama for the Nine Network Jo Horsburgh said “the series is proving to be as rich and exciting as the first series”. Nine is desperate to make Underbelly 2 the hit it was the first time around. Other Nine dramas this year, including Canal Road and The Strip have not fared so well. It wasn’t screened in Victoria until recently because it may have influenced the outcome of a trial.
Comparisons between Underbelly 1 and 2 are inevitable. Producers Screentime have been under pressure to come up with a prequel or a sequel ever since Nine attracted big audiences for Underbelly earlier this year. Should it be a prequel looking at the same Melbourne criminals when they were younger or a sequel now they’re all dead or in jail?
Eventually, producers decided to go right back to another rich period in Australia’s criminal history between 1976 and 1986 - but many younger viewers were not alive when anti-drugs campaigner Donald Mackay was a household name.
Screentime’s executive producer Des Monaghan emphasised the series would be an improvement and not a disappointment: “We are very excited about Underbelly - A Tale of Two Cities - which promises to be even bigger and better than the first series”.
Actors Roy Billing (Trimbole), Andrew McFarlane (anti-drugs campaigner Donald Mackay) Matthew Newton (Terry Clark) and Peter O’Brien (George Freeman) have already been cast.
Greg Tingle comment
I think the second series is likely to be as good, but not quite as popular as the original. There’s only even one first and the massive media and public buzz, fueled by then current criminal proceedings, backed up by frequent reference to Network Nine in the courts and the papers, all point to that equation. David Gyngell at the team at Nine have hit the jackpot with Underbelly, and let’s hope it doesn’t get prostituted to Crocodile Dundee III depths, where it makes money (again) at expense to its legacy and overall high production standards. Great to see Matthew Newton cast this time around (as everyone knows its going to be a winner, as opposed to an unknown quantity last time the cattle call was done), and it would be something to see Newton right there in the mix with Reb, Gyton Grantly (Carl), Westaway (Gatto) and the crew. I wonder if there’s going to do much with the storyline on my old mate Bert Wrout, who teases that he knows where a number of the bodies are buried! Sometimes the real news doesn’t make the news, as in some matters revolving around Wrout, however Australia eagerly awaits the next installments of prime time gangsters and mobsters Aussie style down under. Not sure what its going to do for Australia’s image on the tourism front, but that’s another story. I don’t foresee Baz getting dragged into advertising or PR scenarios for this portray of some of Australia’s society happenings. Maybe we can expect to see a dash of product placement re Packer’s Crown Casino, or maybe they don’t want to get quite that real to the true story of Melbourne’s underworld? If this show doesn’t fire up James’ passion for Australian television, nothing will. It’s all good fodder for the papers and should keep Nine out of the doldrums it was in a few years ago.
(Credit: The Australian)
Media Man Australia Profiles
Underbelly
Television
Announcing the start of start of production in Sydney and Melbourne, the head of drama for the Nine Network Jo Horsburgh said “the series is proving to be as rich and exciting as the first series”. Nine is desperate to make Underbelly 2 the hit it was the first time around. Other Nine dramas this year, including Canal Road and The Strip have not fared so well. It wasn’t screened in Victoria until recently because it may have influenced the outcome of a trial.
Comparisons between Underbelly 1 and 2 are inevitable. Producers Screentime have been under pressure to come up with a prequel or a sequel ever since Nine attracted big audiences for Underbelly earlier this year. Should it be a prequel looking at the same Melbourne criminals when they were younger or a sequel now they’re all dead or in jail?
Eventually, producers decided to go right back to another rich period in Australia’s criminal history between 1976 and 1986 - but many younger viewers were not alive when anti-drugs campaigner Donald Mackay was a household name.
Screentime’s executive producer Des Monaghan emphasised the series would be an improvement and not a disappointment: “We are very excited about Underbelly - A Tale of Two Cities - which promises to be even bigger and better than the first series”.
Actors Roy Billing (Trimbole), Andrew McFarlane (anti-drugs campaigner Donald Mackay) Matthew Newton (Terry Clark) and Peter O’Brien (George Freeman) have already been cast.
Greg Tingle comment
I think the second series is likely to be as good, but not quite as popular as the original. There’s only even one first and the massive media and public buzz, fueled by then current criminal proceedings, backed up by frequent reference to Network Nine in the courts and the papers, all point to that equation. David Gyngell at the team at Nine have hit the jackpot with Underbelly, and let’s hope it doesn’t get prostituted to Crocodile Dundee III depths, where it makes money (again) at expense to its legacy and overall high production standards. Great to see Matthew Newton cast this time around (as everyone knows its going to be a winner, as opposed to an unknown quantity last time the cattle call was done), and it would be something to see Newton right there in the mix with Reb, Gyton Grantly (Carl), Westaway (Gatto) and the crew. I wonder if there’s going to do much with the storyline on my old mate Bert Wrout, who teases that he knows where a number of the bodies are buried! Sometimes the real news doesn’t make the news, as in some matters revolving around Wrout, however Australia eagerly awaits the next installments of prime time gangsters and mobsters Aussie style down under. Not sure what its going to do for Australia’s image on the tourism front, but that’s another story. I don’t foresee Baz getting dragged into advertising or PR scenarios for this portray of some of Australia’s society happenings. Maybe we can expect to see a dash of product placement re Packer’s Crown Casino, or maybe they don’t want to get quite that real to the true story of Melbourne’s underworld? If this show doesn’t fire up James’ passion for Australian television, nothing will. It’s all good fodder for the papers and should keep Nine out of the doldrums it was in a few years ago.
(Credit: The Australian)
Media Man Australia Profiles
Underbelly
Television
Fox TV, Burnett spin casino game, By Michael Schneider - Variety - 14th October 2008
Mark Burnett and Fox Television Studios have teamed to launch a TV series based on an old casino game.
"Rouletter" takes a traditional Roulette wheel and replaces the numbers with letters. Contestants then place bets in order to form words, "Scrabble" style, within a specific time frame.
The initial pilot will be shot in South America, where Fox TV Studios is already producing several projects (including the Chris McQuarrie-produced "Persons Unknown" and the Annabella Sciorra starrer "Mental"), and then be sold to territories around the globe.
Producers in various territories will be able to ship in contestants to the South America shoot site in order to do their own pilots. Burnett, who owns a studio in Asia, plans to do the same thing on that continent as well.
"I like trying things that I think will translate globally," Burnett said. "It's a global village, and I've probably produced more foreign stuff than most other producers. I'm not intimidated by producers being in other countries. By producing ('Rouletter') in South America, it made sense to do this together with Fox TV Studios."
Fox TV Studios president Emiliano Calemzuk said he plans to first sell "Rouletter" to Latin American networks but has already received interest from channels all over the globe.
"I thought it was the perfect time to do this, a new take on successful shows like 'Wheel of Fortune,' " Calemzuk said. "And Mark thought it was a great idea to make a big pilot."
Burnett and David Russo are the show's creators and will exec produce; the Collective's Reza Izad and Al Hassas will also exec produce. In addition, FTVS and exec producer Matthew Gaven will produce the initial pilot episode.
Burnett said he sees a bigger business in "Rouletter" beyond just TV, including licensing the game to casinos. The show has applied for a patent on its unique letter-based Roulette wheel.
Beyond "Rouletter," Burnett's international expansion has included a new edition of "The Contender," now being shot in Singapore. Burnett's other upcoming skeins include CBS' "Jingles," MTV's "Star Maker" and TNT's "Wedding Day."
Fox TV Studios skeins include "Burn Notice" and "Saving Grace," as well as the alternative series "Talkshow With Spike Feresten" and "The Girls Next Door."
Media Man Australia Profiles
Mark Burnett
Casino News
"Rouletter" takes a traditional Roulette wheel and replaces the numbers with letters. Contestants then place bets in order to form words, "Scrabble" style, within a specific time frame.
The initial pilot will be shot in South America, where Fox TV Studios is already producing several projects (including the Chris McQuarrie-produced "Persons Unknown" and the Annabella Sciorra starrer "Mental"), and then be sold to territories around the globe.
Producers in various territories will be able to ship in contestants to the South America shoot site in order to do their own pilots. Burnett, who owns a studio in Asia, plans to do the same thing on that continent as well.
"I like trying things that I think will translate globally," Burnett said. "It's a global village, and I've probably produced more foreign stuff than most other producers. I'm not intimidated by producers being in other countries. By producing ('Rouletter') in South America, it made sense to do this together with Fox TV Studios."
Fox TV Studios president Emiliano Calemzuk said he plans to first sell "Rouletter" to Latin American networks but has already received interest from channels all over the globe.
"I thought it was the perfect time to do this, a new take on successful shows like 'Wheel of Fortune,' " Calemzuk said. "And Mark thought it was a great idea to make a big pilot."
Burnett and David Russo are the show's creators and will exec produce; the Collective's Reza Izad and Al Hassas will also exec produce. In addition, FTVS and exec producer Matthew Gaven will produce the initial pilot episode.
Burnett said he sees a bigger business in "Rouletter" beyond just TV, including licensing the game to casinos. The show has applied for a patent on its unique letter-based Roulette wheel.
Beyond "Rouletter," Burnett's international expansion has included a new edition of "The Contender," now being shot in Singapore. Burnett's other upcoming skeins include CBS' "Jingles," MTV's "Star Maker" and TNT's "Wedding Day."
Fox TV Studios skeins include "Burn Notice" and "Saving Grace," as well as the alternative series "Talkshow With Spike Feresten" and "The Girls Next Door."
Media Man Australia Profiles
Mark Burnett
Casino News
Monday, October 20, 2008
Ten a shaky third, by Debi Enker - Fairfax - 16th October 2008
Much of the attention through the "back end" of this ratings year has rightfully been on the ascendant Seven Network and the success of its new and continuing shows. The Tuesday night line-up of RSPCA Animal Rescue, Find My Family, Packed to the Rafters and All Saints has been a notable standout. While Make Me a Supermodel has stumbled and Dancing With the Stars has waned, other shows, such as City Homicide, The Force, Border Security and Better Homes and Gardens have continued to perform strongly.
Nine has battled on in second place, riding on the surprising popularity of Two and a Half Men and, last week, the Rugby League grand final. But struggling harder in third place, and even wobbling dangerously there, has been Ten.
The youth-oriented network has suffered a string of prime-time problems over the last weeks. Episodes of the Beverly Hills 90210 revival, fast-tracked from their US screenings, have appeared and abruptly disappeared due to viewer indifference. The success earlier in the year with Bondi Rescue was not repeated when the lifesavers took their patrols to Bali and Bondi Rescue: Bali was also axed. The misconceived dating game, Taken Out, intended to anchor the 7pm slot on weeknights, lasted only two weeks.
House, once a reliable Top10 program, has also experienced a slump. Last year, it could be counted on to draw more than 1.5 million viewers, but the new, fast-tracked episodes of the hospital drama have conspicuously failed to achieve those heights. Last week, it was No.69 nationally with only 858,000 viewers. In the same timeslot, the final episode of ABC1's The Hollowmen drew 900,000.
Another new show with high hopes stepped up to fill an unscheduled gap last week when Jamie's Ministry of Food premiered to a lukewarm reception. Attracting only 764,000 viewers, it was No.80 nationally. This suggests that the Naked Chef's heyday as a TV drawcard may be over. Perhaps we are now firmly in the Ramsay era, or maybe Jamie Oliver's healthy food warrior phase is less appealing to viewers than the cheeky lad bouncin' around a cheery flat, happily snipping his homegrown herbs into some brilliant new dish.
Amid this succession of failures, one of Ten's crucial "tentpoles", the Australian Idol franchise, has also been fading. With 1.21 million viewers last week (No.25 nationally), it's not in critical condition, but it's not attracting the crowds it once did.
Amid the upheavals, the American crime series NCIS has proved a hardy stayer (No. 20 last week with 1.3 million viewers). The new Australian police drama, Rush, has also been a bright spot, in terms of quality, if not numbers. Perhaps inhibited by its 9.30pm Tuesday timeslot, Rush was No. 70 last week with 838,000 viewers. One can only hope that Ten has some patience with this one, because it's worth it. Many local series that went on to have long and healthy lives didn't take off until their second seasons (Blue Heelers and Water Rats among them).
Even with its focus fixed firmly on the youth market niche rather than a more broad-based appeal, Ten isn't doing well. In a horror week earlier this month, it was beaten in the national ratings by ABC1, an exceedingly rare event. And as it surveys the prospects for 2009, what Ten might see is a big slab of the schedule, estimated at 120 hours, that will no longer be filled by Big Brother, which was axed in July after eight seasons.
Seven is powering through its post-Olympics run and easily won the week. In Melbourne, it recorded a victory with a substantial margin, scoring a 31% prime-time audience share ahead of Nine (25.1%), Ten (20.2% ), ABC1 (18.6%) and SBS (5.1%).
Media Man Australia Profiles
Television
Nine has battled on in second place, riding on the surprising popularity of Two and a Half Men and, last week, the Rugby League grand final. But struggling harder in third place, and even wobbling dangerously there, has been Ten.
The youth-oriented network has suffered a string of prime-time problems over the last weeks. Episodes of the Beverly Hills 90210 revival, fast-tracked from their US screenings, have appeared and abruptly disappeared due to viewer indifference. The success earlier in the year with Bondi Rescue was not repeated when the lifesavers took their patrols to Bali and Bondi Rescue: Bali was also axed. The misconceived dating game, Taken Out, intended to anchor the 7pm slot on weeknights, lasted only two weeks.
House, once a reliable Top10 program, has also experienced a slump. Last year, it could be counted on to draw more than 1.5 million viewers, but the new, fast-tracked episodes of the hospital drama have conspicuously failed to achieve those heights. Last week, it was No.69 nationally with only 858,000 viewers. In the same timeslot, the final episode of ABC1's The Hollowmen drew 900,000.
Another new show with high hopes stepped up to fill an unscheduled gap last week when Jamie's Ministry of Food premiered to a lukewarm reception. Attracting only 764,000 viewers, it was No.80 nationally. This suggests that the Naked Chef's heyday as a TV drawcard may be over. Perhaps we are now firmly in the Ramsay era, or maybe Jamie Oliver's healthy food warrior phase is less appealing to viewers than the cheeky lad bouncin' around a cheery flat, happily snipping his homegrown herbs into some brilliant new dish.
Amid this succession of failures, one of Ten's crucial "tentpoles", the Australian Idol franchise, has also been fading. With 1.21 million viewers last week (No.25 nationally), it's not in critical condition, but it's not attracting the crowds it once did.
Amid the upheavals, the American crime series NCIS has proved a hardy stayer (No. 20 last week with 1.3 million viewers). The new Australian police drama, Rush, has also been a bright spot, in terms of quality, if not numbers. Perhaps inhibited by its 9.30pm Tuesday timeslot, Rush was No. 70 last week with 838,000 viewers. One can only hope that Ten has some patience with this one, because it's worth it. Many local series that went on to have long and healthy lives didn't take off until their second seasons (Blue Heelers and Water Rats among them).
Even with its focus fixed firmly on the youth market niche rather than a more broad-based appeal, Ten isn't doing well. In a horror week earlier this month, it was beaten in the national ratings by ABC1, an exceedingly rare event. And as it surveys the prospects for 2009, what Ten might see is a big slab of the schedule, estimated at 120 hours, that will no longer be filled by Big Brother, which was axed in July after eight seasons.
Seven is powering through its post-Olympics run and easily won the week. In Melbourne, it recorded a victory with a substantial margin, scoring a 31% prime-time audience share ahead of Nine (25.1%), Ten (20.2% ), ABC1 (18.6%) and SBS (5.1%).
Media Man Australia Profiles
Television
Saturday, October 18, 2008
Virgin launches casino TV channel - 3rd July 2008
Virgin Media, the entertainment and communications arm of British business magnate Richard Branson's Virgin Group conglomerate, has rolled out a 24-hour interactive casino television channel.
Challenge Jackpot features on Virgin Media Television's leading entertainment channel, Challenge.
The channel features several new games and launched at the start of this month with flagship brand Roulette Nation.
Viewers can play along and bet on a range of automated fixed-odds games that include Get Set Roulette, Face Up Hold 'Em and Hot Shot Keno.
Media Man Australia Profiles
Virgin Media
Challenge Jackpot
Virgin Enterprises Limited
Challenge Jackpot features on Virgin Media Television's leading entertainment channel, Challenge.
The channel features several new games and launched at the start of this month with flagship brand Roulette Nation.
Viewers can play along and bet on a range of automated fixed-odds games that include Get Set Roulette, Face Up Hold 'Em and Hot Shot Keno.
Media Man Australia Profiles
Virgin Media
Challenge Jackpot
Virgin Enterprises Limited
Wednesday, October 15, 2008
60 Minutes story on AP and UB could air October 26
Poker News Daily is reporting that 60 Minutes may air a story about the cheating scandals that rocked AP and UB on Oct. 26, just over a week before the general election.
http://www.pokernewsdaily.com/60-min...ober-26th-442
Media Man Australia Profiles
60 Minutes
Poker and Casino News
Casino News Media
http://www.pokernewsdaily.com/60-min...ober-26th-442
Media Man Australia Profiles
60 Minutes
Poker and Casino News
Casino News Media
Saturday, October 11, 2008
RICHARD BRANSON - TONIGHT & TOMORROW ON BLOOMBERG TV
Tonight and tomorrow on the BLOOMBERG TELEVISION® program "Night Talk," anchor Mike Schneider talks to Billionaire Richard Branson.
Branson talks about how the world is going to get out of the global economic crisis. "It's going to be up to entrepreneurs everywhere; especially those who've got a bit of money to try to you know help dig us out of this by cautious investments here and cautious investments there. And, perhaps even opportunities that come from a crash like this."
"I think it’s important that businesses that have got some cash don't just leave it in the bank and sit on it, for the sake of everybody in order to avoid a massive unemployment problem. We've still got to look for investments that make sense and push forward."
"This is a climate where entrepreneurs are born. Now, trying to find the cash is tough."
"Virgin America will actually benefit bizarrely from this crisis, Virgin Atlantic has benefited from this crisis because a lot of airline we were competing with - all the business class jets Eos and Maxi-Jet have all gone bust, the biggest holiday companies out of the UK have gone bust, and so because we have deep pockets and because we have a well respected airline a lot of that business is coming our way."
He talks about rival British Airways proposed merger with American Airlines. "I would be flabbergasted if the competition authorities allowed BA and American, the 2 biggest carriers in the world to be allowed to effectively merge."
He also talks about hedging fuel prices. "More by fluke than anything else Virgin America hadn't hedged because it was a new carrier, we will almost definitely start hedging quite soon and then we'll actually have the lowest cost base of any airline........another $20 fall would be nice and most likely we'll get in and hedge"
He talks about getting back into the mortgage business, "It won't be a massive footprint. If we'd succeeded in buying Northern Rock, which we came very close to doing, then you would have seen a light of high street Virgin Bank stores. But as it is, we didn't succeed in doing that. So it will be a more modest mortgage company and not having high street stores will most likely mean that we can be more competitive anyway."
He talks about how the Lehman collapse altered Virgin’s strategy. "We were about to launch City Hotels and our partner of 25% share holder was going to Lehman Brothers and I was meant to be on a plane to fly to sign and announce the deal on the day that Lehman’s went bust, that's been delayed by a month or two and I suspect we'll end up funding that ourselves."
"Virgin Atlantic saw this coming years ago and just decided to conserve cash and they've been very conservative over the last couple of years and they now have 2-3 billion dollars of cash so that if a lot of people stop flying they can ride it out - we learnt a lot from 9/11."
"People should remember this is not 9/11, this is just money."
"Night Talk" airs in the U.S., Europe and Asia on Bloomberg TV at 10PM on weeknights and is simulcast on Bloomberg Radio at 10PM. Bloomberg Radio is broadcast on 1130AM in the New York Metropolitan area and is available on XM and Sirius. The Friday night Show re-airs over the weekend Sat at 8:00-9:00pm, 10:00-11:00pm and Mon 12:00am - 1:00am.
"Night Talk" can also be seen on Bloomberg.com (http://www.bloomberg.com/tvradio/shows.html), is podcast at (http://www.bloomberg.com/tvradio/podcast/night_talk.html) and also on iTunes under Business News.
For information, tapes and transcripts please contact Heidi Tan (htan14@bloomberg.net). For guest suggestions, please contact Robin Wood (rwood12@bloomberg.net)
Media Man Australia Profiles
Richard Branson
Virgin Group of Companies
Financial News
Branson talks about how the world is going to get out of the global economic crisis. "It's going to be up to entrepreneurs everywhere; especially those who've got a bit of money to try to you know help dig us out of this by cautious investments here and cautious investments there. And, perhaps even opportunities that come from a crash like this."
"I think it’s important that businesses that have got some cash don't just leave it in the bank and sit on it, for the sake of everybody in order to avoid a massive unemployment problem. We've still got to look for investments that make sense and push forward."
"This is a climate where entrepreneurs are born. Now, trying to find the cash is tough."
"Virgin America will actually benefit bizarrely from this crisis, Virgin Atlantic has benefited from this crisis because a lot of airline we were competing with - all the business class jets Eos and Maxi-Jet have all gone bust, the biggest holiday companies out of the UK have gone bust, and so because we have deep pockets and because we have a well respected airline a lot of that business is coming our way."
He talks about rival British Airways proposed merger with American Airlines. "I would be flabbergasted if the competition authorities allowed BA and American, the 2 biggest carriers in the world to be allowed to effectively merge."
He also talks about hedging fuel prices. "More by fluke than anything else Virgin America hadn't hedged because it was a new carrier, we will almost definitely start hedging quite soon and then we'll actually have the lowest cost base of any airline........another $20 fall would be nice and most likely we'll get in and hedge"
He talks about getting back into the mortgage business, "It won't be a massive footprint. If we'd succeeded in buying Northern Rock, which we came very close to doing, then you would have seen a light of high street Virgin Bank stores. But as it is, we didn't succeed in doing that. So it will be a more modest mortgage company and not having high street stores will most likely mean that we can be more competitive anyway."
He talks about how the Lehman collapse altered Virgin’s strategy. "We were about to launch City Hotels and our partner of 25% share holder was going to Lehman Brothers and I was meant to be on a plane to fly to sign and announce the deal on the day that Lehman’s went bust, that's been delayed by a month or two and I suspect we'll end up funding that ourselves."
"Virgin Atlantic saw this coming years ago and just decided to conserve cash and they've been very conservative over the last couple of years and they now have 2-3 billion dollars of cash so that if a lot of people stop flying they can ride it out - we learnt a lot from 9/11."
"People should remember this is not 9/11, this is just money."
"Night Talk" airs in the U.S., Europe and Asia on Bloomberg TV at 10PM on weeknights and is simulcast on Bloomberg Radio at 10PM. Bloomberg Radio is broadcast on 1130AM in the New York Metropolitan area and is available on XM and Sirius. The Friday night Show re-airs over the weekend Sat at 8:00-9:00pm, 10:00-11:00pm and Mon 12:00am - 1:00am.
"Night Talk" can also be seen on Bloomberg.com (http://www.bloomberg.com/tvradio/shows.html), is podcast at (http://www.bloomberg.com/tvradio/podcast/night_talk.html) and also on iTunes under Business News.
For information, tapes and transcripts please contact Heidi Tan (htan14@bloomberg.net). For guest suggestions, please contact Robin Wood (rwood12@bloomberg.net)
Media Man Australia Profiles
Richard Branson
Virgin Group of Companies
Financial News
Sunday Night in the news for Seven, by Matthew Ricketson - The Age - 10th October 2008
Just months after the demise of Channel Nine's long-running Sunday program, the Seven Network has announced a new one-hour current affairs program beginning next year — Sunday Night.
Seven's decision to invest in a one-hour, long-form program comes after years of decline in current affairs programming on commercial television and as it seeks to underscore its status as the top-ranking free-to-air network.
Peter Meakin, Seven's head of news and current affairs, would not say whether the program would compete against Nine's long-running current affairs program, 60 Minutes.
"I guess the title is a bit of a giveaway as to when the program will air, but it won't necessarily go head to head with 60 Minutes," he said.
It is possible Sunday Night will air after the 6pm news, before 60 Minutes at 7.30pm. With strong stories, it could steal Nine's program's thunder and hook in viewers.
Sunday night is one of the three most important timeslots for commercial networks — along with Monday and Tuesday nights.
Meakin would not specify the program's budget nor any candidates for presenter. He ruled out departing Today Tonight host Anna Coren, who is leaving Seven to work for CNN overseas.
Seven's last major foray into long-form current affairs was in the late 1990s with Witness. It ended sourly, with patchy ratings and acrimony between executive producer Peter Manning and presenter Jana Wendt.
Industry analyst Steve Allen of Fusion Strategy said the announcement signified "Seven's growing confidence that they have the material and the ability to make this work".
(Credit: The Age)
Media Man Australia Profiles
Channel Seven
Seven's decision to invest in a one-hour, long-form program comes after years of decline in current affairs programming on commercial television and as it seeks to underscore its status as the top-ranking free-to-air network.
Peter Meakin, Seven's head of news and current affairs, would not say whether the program would compete against Nine's long-running current affairs program, 60 Minutes.
"I guess the title is a bit of a giveaway as to when the program will air, but it won't necessarily go head to head with 60 Minutes," he said.
It is possible Sunday Night will air after the 6pm news, before 60 Minutes at 7.30pm. With strong stories, it could steal Nine's program's thunder and hook in viewers.
Sunday night is one of the three most important timeslots for commercial networks — along with Monday and Tuesday nights.
Meakin would not specify the program's budget nor any candidates for presenter. He ruled out departing Today Tonight host Anna Coren, who is leaving Seven to work for CNN overseas.
Seven's last major foray into long-form current affairs was in the late 1990s with Witness. It ended sourly, with patchy ratings and acrimony between executive producer Peter Manning and presenter Jana Wendt.
Industry analyst Steve Allen of Fusion Strategy said the announcement signified "Seven's growing confidence that they have the material and the ability to make this work".
(Credit: The Age)
Media Man Australia Profiles
Channel Seven
Thursday, October 09, 2008
Branson documentary to air on Virgin 1, by Alex Fletcher - Digital Spy - 8th October 2008
A documentary featuring Richard Branson and his children sailing across the Atlantic will air this Autumn on Virgin 1.
One-off show The Bransons: Come Hell Or High Water will follow Richard, daughter Holly and son Sam as they attempt to break the record for crossing the ocean in a mono-hull sailing boat.
Speaking about the hour-long programme, Branson said: "It's so difficult to explain what you experience during a record-breaking attempt whether it is at sea or in the air, so it's great to have documentary film maker onboard to share the highs and lows.
"Strange thing for a father to wish for his kids to experience - but at least we'll be in it together!"
The Bransons is the highlight of Virgin 1's Autumn/Winter schedule, which also sees returns for American series Chuck, The Riches and Terminator: The Sarah Connor Chronicles.
Other programmes on the schedule include popular HBO animated comedy The Life And Times Of Tim and a fly-on-the-wall series based in Mallorca called Sun, Sea and A&E.
The lineup also features My Holiday Hostage Hell, which tells real life horror stories about British holidaymakers, reality series Britain's Worst Learners and Gethin Jones' Danger Hunters, factual entertainment show Prisoner X and fishing documentary The North Sea, which is produced by the makers of the award-winning Deadliest Catch.
(Credit: Digital Spy)
Profiles
Richard Branson
Virgin Media
One-off show The Bransons: Come Hell Or High Water will follow Richard, daughter Holly and son Sam as they attempt to break the record for crossing the ocean in a mono-hull sailing boat.
Speaking about the hour-long programme, Branson said: "It's so difficult to explain what you experience during a record-breaking attempt whether it is at sea or in the air, so it's great to have documentary film maker onboard to share the highs and lows.
"Strange thing for a father to wish for his kids to experience - but at least we'll be in it together!"
The Bransons is the highlight of Virgin 1's Autumn/Winter schedule, which also sees returns for American series Chuck, The Riches and Terminator: The Sarah Connor Chronicles.
Other programmes on the schedule include popular HBO animated comedy The Life And Times Of Tim and a fly-on-the-wall series based in Mallorca called Sun, Sea and A&E.
The lineup also features My Holiday Hostage Hell, which tells real life horror stories about British holidaymakers, reality series Britain's Worst Learners and Gethin Jones' Danger Hunters, factual entertainment show Prisoner X and fishing documentary The North Sea, which is produced by the makers of the award-winning Deadliest Catch.
(Credit: Digital Spy)
Profiles
Richard Branson
Virgin Media
Wednesday, October 08, 2008
NRL ready to spark rights bidding war, by Jacquelin Magnay - Fairfax - 8th October 2008
Channel Nine's stranglehold on broadcasting rugby league matches free to air is threatened by an NRL push to have its matches broadcast on several television networks and internet platforms by 2013.
Rugby league officials are even considering breaking up the rights to the NRL grand final and the top-rating State of Origin series when negotiating the next round of multimillion-dollar broadcast deals.
An NRL sub-committee has been looking at whether it is more financially attractive to split the rights, or to follow the trend of recent negotiations and stick to the one free-to-air network for an entire rugby league package.
The league rights, currently with Channel Nine and the pay-TV operator Fox Sports, are due to expire at the end of the 2012 season. Some media buyers and an external consultancy company are understood to have advised the NRL that a separate offering of the Origin series would generate a fierce bidding war and boost the NRL coffers. The Origin series is one of the most watched sporting events year after year, with this year's deciding game drawing a five city audience of 2.145 million people.
NRL chief executive David Gallop told the Herald that splitting the rights was "certainly an option, as is selling individual nights as distinct packages, a whole of these options are open to us". He said one idea was to sell the Friday night football to one broadcaster, the Saturday night to another and the Monday night to a third.
"The money is a big factor, it is the factor," Gallop said. "But we also want to see our game reach as many people as possible and be well presented."
The NRL has its free-to-air, pay-TV and broadband internet rights all expiring at the one time. While the sub-committee is investigating different opportunities, the negotiations with TV networks and internet providers won't commence for at least 18 months.
This comes as the ratings for the NRL grand final clawed back the high-flying AFL ratings when the regional figures were released yesterday.
Overall the AFL rated 3.247 million to the NRL's 3.070 million from the five capital cities and regional networks. The NRL grand final rated extremely high in the bush - one of its traditional supporter bases - with a regional audience of 996,000. The AFL's regional figures were 756,000. Of no surprise was the fact the NRL rated higher in Sydney than Melbourne and the reverse was true for the AFL.
The only disappointing aspect to the twilight grand final kick-off - seemingly well received in Sydney - was the reduced audience in Melbourne, compared to last year's grand final, which also featured the Storm.
This year the AFL grand final between Geelong and Hawthorn was the second-highest rating event, behind the Olympic Games opening ceremony, both televised on Channel Seven.
But rugby league's Origin III came in at eight, behind some Beijing Olympic Games prime-time events, the men's Australian tennis open final and the AFL grand final presentation. The NRL grand final, at No.15, rated behind all three Origin matches.
Media Man Australia Profiles
NRL
Network Nine Australia
Fox Sports
Rugby league officials are even considering breaking up the rights to the NRL grand final and the top-rating State of Origin series when negotiating the next round of multimillion-dollar broadcast deals.
An NRL sub-committee has been looking at whether it is more financially attractive to split the rights, or to follow the trend of recent negotiations and stick to the one free-to-air network for an entire rugby league package.
The league rights, currently with Channel Nine and the pay-TV operator Fox Sports, are due to expire at the end of the 2012 season. Some media buyers and an external consultancy company are understood to have advised the NRL that a separate offering of the Origin series would generate a fierce bidding war and boost the NRL coffers. The Origin series is one of the most watched sporting events year after year, with this year's deciding game drawing a five city audience of 2.145 million people.
NRL chief executive David Gallop told the Herald that splitting the rights was "certainly an option, as is selling individual nights as distinct packages, a whole of these options are open to us". He said one idea was to sell the Friday night football to one broadcaster, the Saturday night to another and the Monday night to a third.
"The money is a big factor, it is the factor," Gallop said. "But we also want to see our game reach as many people as possible and be well presented."
The NRL has its free-to-air, pay-TV and broadband internet rights all expiring at the one time. While the sub-committee is investigating different opportunities, the negotiations with TV networks and internet providers won't commence for at least 18 months.
This comes as the ratings for the NRL grand final clawed back the high-flying AFL ratings when the regional figures were released yesterday.
Overall the AFL rated 3.247 million to the NRL's 3.070 million from the five capital cities and regional networks. The NRL grand final rated extremely high in the bush - one of its traditional supporter bases - with a regional audience of 996,000. The AFL's regional figures were 756,000. Of no surprise was the fact the NRL rated higher in Sydney than Melbourne and the reverse was true for the AFL.
The only disappointing aspect to the twilight grand final kick-off - seemingly well received in Sydney - was the reduced audience in Melbourne, compared to last year's grand final, which also featured the Storm.
This year the AFL grand final between Geelong and Hawthorn was the second-highest rating event, behind the Olympic Games opening ceremony, both televised on Channel Seven.
But rugby league's Origin III came in at eight, behind some Beijing Olympic Games prime-time events, the men's Australian tennis open final and the AFL grand final presentation. The NRL grand final, at No.15, rated behind all three Origin matches.
Media Man Australia Profiles
NRL
Network Nine Australia
Fox Sports
Monday, October 06, 2008
Smart Live takes affiliates to a new level
New affiliate program aimed at capitalizing on "impressive growth"
September 18, 2008 -- As part of its latest marketing drive, leading online and live TV casino Smart Live Casino has launched a new affiliate scheme to encourage more traffic to its website and TV channels.
Smart Live, which has been operating since May 2007, operates two roulette channels on the Sky Satellite network and Freeview digital terrestrial television.
The most popular broadcast is the presenter-led show, freely available on Sky Channel 869 from 5pm to 5am, every night of the year. The show features popular names from satellite and cable television, including Naomi Millbank-Smith and Jem Patel, as well as qualified croupiers from some of the finest land-based casinos in the world.
Smart Live's new affiliate program is aimed at capitalizing on an impressive 500% growth since January 2008, and offers partners either a generous 60% commission share or CPA of £150.
The launch is backed up by a confident schedule of new and exciting features in coming months, including …
• An Online Poker room coming soon with the Ongame network
• An Online Bingo room coming soon using Parlay Software
• An enticing range of player promotions and VIP schemes
• A new state-of-the-art website and internet community
Affiliate Manager at Smart Live, Jason Prasad, said the new deal for partners was a demonstration of the casino's continuing commitment to best value and innovation.
"Smart Live is fully licensed, operated and regulated in the United Kingdom to the highest standards, as approved by the UK Gambling Commission," he said. "Now we want to make sure that our new affiliate marketing scheme is set up and run to the same high standards."
"We've already made great strides in a competitive business and the astounding growth we've achieved this year shows that our products are appreciated and trusted by ordinary punters too."
About Smart Live Casino
Smart Live Casino is owned by Smart TV Broadcasting, a registered company in England and Wales founded in May 2007 with offices at 130 Shaftesbury Avenue, London W1D 5EU. The Casino is licensed and regulated by the UK Gambling Commission (licence number 000-002715-R-103240-001).
The company employs more than 50 staff members at operating centers in central London, Teddington, Middx, Kent, and Manchester. The company uses gaming software by major providers including Ongame, Parlay and NetEnt, and has contracts with financial service providers including MoneyBookers.
Further Information
For further information on partnering with Smart Live Casino please contact Affiliate Manager Jason Prasad (jason@smartlivecasino.com, tel: 020 7149 3776). For general enquiries, please contact Magda Biernat (magda@smartlivecasino.com, tel: 020 7149 3786).
Media Man Australia Profiles
Smart Live Casino
Sky TV
Sky Digital
Interactive TV
Casino
Television
September 18, 2008 -- As part of its latest marketing drive, leading online and live TV casino Smart Live Casino has launched a new affiliate scheme to encourage more traffic to its website and TV channels.
Smart Live, which has been operating since May 2007, operates two roulette channels on the Sky Satellite network and Freeview digital terrestrial television.
The most popular broadcast is the presenter-led show, freely available on Sky Channel 869 from 5pm to 5am, every night of the year. The show features popular names from satellite and cable television, including Naomi Millbank-Smith and Jem Patel, as well as qualified croupiers from some of the finest land-based casinos in the world.
Smart Live's new affiliate program is aimed at capitalizing on an impressive 500% growth since January 2008, and offers partners either a generous 60% commission share or CPA of £150.
The launch is backed up by a confident schedule of new and exciting features in coming months, including …
• An Online Poker room coming soon with the Ongame network
• An Online Bingo room coming soon using Parlay Software
• An enticing range of player promotions and VIP schemes
• A new state-of-the-art website and internet community
Affiliate Manager at Smart Live, Jason Prasad, said the new deal for partners was a demonstration of the casino's continuing commitment to best value and innovation.
"Smart Live is fully licensed, operated and regulated in the United Kingdom to the highest standards, as approved by the UK Gambling Commission," he said. "Now we want to make sure that our new affiliate marketing scheme is set up and run to the same high standards."
"We've already made great strides in a competitive business and the astounding growth we've achieved this year shows that our products are appreciated and trusted by ordinary punters too."
About Smart Live Casino
Smart Live Casino is owned by Smart TV Broadcasting, a registered company in England and Wales founded in May 2007 with offices at 130 Shaftesbury Avenue, London W1D 5EU. The Casino is licensed and regulated by the UK Gambling Commission (licence number 000-002715-R-103240-001).
The company employs more than 50 staff members at operating centers in central London, Teddington, Middx, Kent, and Manchester. The company uses gaming software by major providers including Ongame, Parlay and NetEnt, and has contracts with financial service providers including MoneyBookers.
Further Information
For further information on partnering with Smart Live Casino please contact Affiliate Manager Jason Prasad (jason@smartlivecasino.com, tel: 020 7149 3776). For general enquiries, please contact Magda Biernat (magda@smartlivecasino.com, tel: 020 7149 3786).
Media Man Australia Profiles
Smart Live Casino
Sky TV
Sky Digital
Interactive TV
Casino
Television
Sunday, October 05, 2008
Strong local content, by John Elder and Tom Reilly - The Age - 5th October 2008
Cheap and nasty — and even worse, boring — is what Australian-made free-to-air television was looking like for a few years. Big Brother with its turkey-slapping pants down was probably the lowest point … along with that great trite hope of locally made drama, The Alice, a pretty-looking stinker with its travelogue photography and toothless characters born from a drongo dreaming.
"It was looking pretty ordinary for a while," says commentator Greg "Media Man" Tingle. "But what a difference a year makes. We now have what's almost an epidemic of Australian-made shows. Just look at Underbelly on Nine, Rush on Ten, and Packed to the Rafters on Seven. They're mixing it with the best foreign imports and coming out on top.
"There are so many quality shows being produced, it's hard to keep up with them."
Tingle says the unsettled mood of the free-to-air networks during the late '90s and early 2000s — unnerved by the threat of cable TV and the internet revolution — has been turned around such that "there's a feeling we're entering a golden age of Australian television".
Seven's homey sitcom Packed to the Rafters has been watched by an average of 2 million viewers since it debuted Tuesdays at 8.30pm just after the Olympics. Many of those viewers stay tuned for the enduring hospital soap All Saints. Seven is also quite gleeful about the 1.6 million who regularly watch Monday's gritty City Homicide.
At Nine, where the ratings are sustained right now by endless repeats of Two and a Half Men, the good ship Sea Patrol held its own in the first half of the year with more than 1 million viewers. And we learned that almost 600,000 Victorians had not yet downloaded Underbelly illegally when they tuned in to the first pixellated episode last month; add them to the million interstate viewers who watched in April, and it may have earned back its legal fees.
While the two newest cop dramas, Nine's The Strip and Ten's Rush, are struggling, the numbers show that Australians have rediscovered the habit of watching dramas with a local accent.
The turning point came a year ago, Tingle says, with the return of David Gyngell to the helm of Channel Nine. "What the Australian networks desperately needed was a creative boost to competition," he says. "Without a strong Nine asserting itself, the industry doesn't flourish. The other thing that's happened is the networks have stopped just looking at numbers and started focusing on quality. That's what healthier competition has achieved."
Dr Vincent O'Donnell, an honorary fellow at the Royal Melbourne Institute of Technology's School of Applied Communication, agrees Australian TV has had a resurgence in the past year as a result of increasing competition between broadcasters.
"Historically, Channel Nine was always regarded as the home of well-written drama shows that were well-received by audiences, while Seven liked to consider itself as the broadcaster which excelled at sports," he says. "But a few years ago those perceptions started to change as Nine faltered. I believe when they commissioned Underbelly, it was probably as a result of that shift. It was an attempt to reassert themselves in this area of fast-moving, well-written drama."
O'Donnell says commissioning a big-budget program such as Underbelly "is a gamble for networks but one which hopefully they'll continue to make.
"A big-budget drama like that would cost … $300,000 to $400,000 for an hour of television. If a network bought a drama in from America, they'd probably get something for little more than a tenth of that. But it's important to remember that Australian audiences have always tuned in to these well-written locally produced shows, so hopefully networks will have to keep investing in them, even if they do cost a lot."
According to Geoff Brown, executive director of the Screen Producers Association of Australia, the Underbelly strategy was the result of a change in attitude to project financing by the major industry players. "A few years back, the Film Finance Corporation made a decision it would invest in 13-part Australian mini-series, along with the network licensees. What it did was ramp up budgets and led to shows like Underbelly, with substantially better production values and better writing.
"In film production, the critical relationship is between producer and director; in television, it's between producer and writer. We have very good writing teams in television, and certainly the investment in writing is one of the main reasons why the current crop of Australian productions are doing so well. A good idea doesn't work without good writing."
Brown points to programs such as The Circuit, Rush, Sea Patrol and East West 101 as examples of good writing translating to success with viewers and critics. "We make the best drama for the cheapest dollar anywhere in the world. We have to compete with the CSI franchise, which costs … $5 million to $6 million an hour to make. For the high-end of Australian drama, you're looking at $600,000 an hour … so our stories have to be more narrative-driven."
Brown says Australia has a history of producing good television "but the networks lost their way in the '90s and early part of this millennium. They backed away from Australian drama in particular and put their focus on infotainment and reality programming. They kept serving up more Big Brothers and in the end this didn't work for the networks. The audience has shown itself to be more sophisticated … and now Seven and Nine are re-establishing their brands on the back of good old Australian drama."
Some analysts point to a lack of quality programs from the US — a result of the writers' strike that crippled Hollywood — as a key reason behind the resurgence of Australian-made drama.
"This makes our local offerings even more appealing," says one industry insider. "There was also a hiatus where few local programs were being made, so again, when new ones came around, there was even more interest in them.
"The shows are actually good. The networks have invested heavily in them: probably figuring that they have to meet their local content quotas, they might as well invest and do it properly. The scripts and the acting have reflected this willingness to take it seriously and make hits."
And that added slice of healthy self-image — attributed to the efforts of former prime minister John Howard — is another reason audiences are keen to watch shows for Australians, by Australians, about Australians.
"We're not selling shrimps on the barbie any more," says Greg Tingle. "We're a more sophisticated society and our television programs demonstrate that.
"Our locally made shows are hot exports in their own right, and they help sell the country. Our entertainment is part of the tourism spiel … the rest of the world sees us moving ahead with quality. The confidence for that was certainly bolstered under the previous government."
Jonathan Nolan, chief executive of Pisces All Media, which runs the Hottest on TV website, agrees. "No matter what else you might say about him, John Howard made Australians feel great about themselves. It really started with the 2000 Sydney Olympics, but Howard actually presided over a cultural shift that saw the death of the cringe factor — the adolescent craving for approval from America and Britain," he says.
"Even the dumbest talking-heads on TV have the confidence not to cringe and fawn all over celebrities visiting from overseas. Compare that to the old days, with Molly Meldrum constantly saying how wonderful it was that such-and-such a pop star was in the country."
Nolan says evidence for this new-found confidence can be seen in private investment in television production. "We had a sheltered workshop here, where everything was driven by government grants. All that did was compomise quality. That's no longer the case. People invest in these shows because they believe in them, not just because they're getting a tax break …
"The pay-off is that we now perform extremely well on the overseas market. You get a show selling well overseas — like Stingers or Police Rescue — (and) you have an earner for life. At the Roma Fiction Fest (a television awards and buying festival) in July, there were buyers from all over Europe looking at the Australian shows with the greatest interest.
"The Italian shows looked like something from the '70s … they were desperately clinging to their own culture, while the Australian shows were more sophisticated and well-placed for the international market."
Dr Sue Turnbull, co-ordinator of the Media Studies Program at La Trobe University, says the Australian push into the global market was pioneered in the '80s by Neighbours, Home and Away and older programs such as The Sullivans and Prisoner. One British critic whinged at the time that UK television was overrun by Australian content. "There were 11 different Australian soap operas being shown on British TV in a week," says Turnbull.
In the '90s, the Australian invasion died down such that only Neighbours and Home and Away held a significant audience. We were making some good shows, but the Brits weren't interested. "There was the great failure of Sea Change to find a market in the UK. It never got a release."
Now, Aussie producers are deliberately targeting the global market ahead of local viewers. A second series of Sea Patrol was planned ahead of the first series release, with a view to an international release — which it gained through Hallmark.
Turnbull says that the later episodes of Kath & Kim were blatantly written for the UK, featuring appearances by Kylie Minogue "and the fellows from Little Britain".
While Australian-made "usually goes well at home — from the days of Graham Kennedy on IMT to Packed to the Rafters — audiences won't watch bad Australian TV. Like The Alice."
With MICHELLE GRIFFIN
(Credit: The Age)
Media Man Australia Profiles
Television
"It was looking pretty ordinary for a while," says commentator Greg "Media Man" Tingle. "But what a difference a year makes. We now have what's almost an epidemic of Australian-made shows. Just look at Underbelly on Nine, Rush on Ten, and Packed to the Rafters on Seven. They're mixing it with the best foreign imports and coming out on top.
"There are so many quality shows being produced, it's hard to keep up with them."
Tingle says the unsettled mood of the free-to-air networks during the late '90s and early 2000s — unnerved by the threat of cable TV and the internet revolution — has been turned around such that "there's a feeling we're entering a golden age of Australian television".
Seven's homey sitcom Packed to the Rafters has been watched by an average of 2 million viewers since it debuted Tuesdays at 8.30pm just after the Olympics. Many of those viewers stay tuned for the enduring hospital soap All Saints. Seven is also quite gleeful about the 1.6 million who regularly watch Monday's gritty City Homicide.
At Nine, where the ratings are sustained right now by endless repeats of Two and a Half Men, the good ship Sea Patrol held its own in the first half of the year with more than 1 million viewers. And we learned that almost 600,000 Victorians had not yet downloaded Underbelly illegally when they tuned in to the first pixellated episode last month; add them to the million interstate viewers who watched in April, and it may have earned back its legal fees.
While the two newest cop dramas, Nine's The Strip and Ten's Rush, are struggling, the numbers show that Australians have rediscovered the habit of watching dramas with a local accent.
The turning point came a year ago, Tingle says, with the return of David Gyngell to the helm of Channel Nine. "What the Australian networks desperately needed was a creative boost to competition," he says. "Without a strong Nine asserting itself, the industry doesn't flourish. The other thing that's happened is the networks have stopped just looking at numbers and started focusing on quality. That's what healthier competition has achieved."
Dr Vincent O'Donnell, an honorary fellow at the Royal Melbourne Institute of Technology's School of Applied Communication, agrees Australian TV has had a resurgence in the past year as a result of increasing competition between broadcasters.
"Historically, Channel Nine was always regarded as the home of well-written drama shows that were well-received by audiences, while Seven liked to consider itself as the broadcaster which excelled at sports," he says. "But a few years ago those perceptions started to change as Nine faltered. I believe when they commissioned Underbelly, it was probably as a result of that shift. It was an attempt to reassert themselves in this area of fast-moving, well-written drama."
O'Donnell says commissioning a big-budget program such as Underbelly "is a gamble for networks but one which hopefully they'll continue to make.
"A big-budget drama like that would cost … $300,000 to $400,000 for an hour of television. If a network bought a drama in from America, they'd probably get something for little more than a tenth of that. But it's important to remember that Australian audiences have always tuned in to these well-written locally produced shows, so hopefully networks will have to keep investing in them, even if they do cost a lot."
According to Geoff Brown, executive director of the Screen Producers Association of Australia, the Underbelly strategy was the result of a change in attitude to project financing by the major industry players. "A few years back, the Film Finance Corporation made a decision it would invest in 13-part Australian mini-series, along with the network licensees. What it did was ramp up budgets and led to shows like Underbelly, with substantially better production values and better writing.
"In film production, the critical relationship is between producer and director; in television, it's between producer and writer. We have very good writing teams in television, and certainly the investment in writing is one of the main reasons why the current crop of Australian productions are doing so well. A good idea doesn't work without good writing."
Brown points to programs such as The Circuit, Rush, Sea Patrol and East West 101 as examples of good writing translating to success with viewers and critics. "We make the best drama for the cheapest dollar anywhere in the world. We have to compete with the CSI franchise, which costs … $5 million to $6 million an hour to make. For the high-end of Australian drama, you're looking at $600,000 an hour … so our stories have to be more narrative-driven."
Brown says Australia has a history of producing good television "but the networks lost their way in the '90s and early part of this millennium. They backed away from Australian drama in particular and put their focus on infotainment and reality programming. They kept serving up more Big Brothers and in the end this didn't work for the networks. The audience has shown itself to be more sophisticated … and now Seven and Nine are re-establishing their brands on the back of good old Australian drama."
Some analysts point to a lack of quality programs from the US — a result of the writers' strike that crippled Hollywood — as a key reason behind the resurgence of Australian-made drama.
"This makes our local offerings even more appealing," says one industry insider. "There was also a hiatus where few local programs were being made, so again, when new ones came around, there was even more interest in them.
"The shows are actually good. The networks have invested heavily in them: probably figuring that they have to meet their local content quotas, they might as well invest and do it properly. The scripts and the acting have reflected this willingness to take it seriously and make hits."
And that added slice of healthy self-image — attributed to the efforts of former prime minister John Howard — is another reason audiences are keen to watch shows for Australians, by Australians, about Australians.
"We're not selling shrimps on the barbie any more," says Greg Tingle. "We're a more sophisticated society and our television programs demonstrate that.
"Our locally made shows are hot exports in their own right, and they help sell the country. Our entertainment is part of the tourism spiel … the rest of the world sees us moving ahead with quality. The confidence for that was certainly bolstered under the previous government."
Jonathan Nolan, chief executive of Pisces All Media, which runs the Hottest on TV website, agrees. "No matter what else you might say about him, John Howard made Australians feel great about themselves. It really started with the 2000 Sydney Olympics, but Howard actually presided over a cultural shift that saw the death of the cringe factor — the adolescent craving for approval from America and Britain," he says.
"Even the dumbest talking-heads on TV have the confidence not to cringe and fawn all over celebrities visiting from overseas. Compare that to the old days, with Molly Meldrum constantly saying how wonderful it was that such-and-such a pop star was in the country."
Nolan says evidence for this new-found confidence can be seen in private investment in television production. "We had a sheltered workshop here, where everything was driven by government grants. All that did was compomise quality. That's no longer the case. People invest in these shows because they believe in them, not just because they're getting a tax break …
"The pay-off is that we now perform extremely well on the overseas market. You get a show selling well overseas — like Stingers or Police Rescue — (and) you have an earner for life. At the Roma Fiction Fest (a television awards and buying festival) in July, there were buyers from all over Europe looking at the Australian shows with the greatest interest.
"The Italian shows looked like something from the '70s … they were desperately clinging to their own culture, while the Australian shows were more sophisticated and well-placed for the international market."
Dr Sue Turnbull, co-ordinator of the Media Studies Program at La Trobe University, says the Australian push into the global market was pioneered in the '80s by Neighbours, Home and Away and older programs such as The Sullivans and Prisoner. One British critic whinged at the time that UK television was overrun by Australian content. "There were 11 different Australian soap operas being shown on British TV in a week," says Turnbull.
In the '90s, the Australian invasion died down such that only Neighbours and Home and Away held a significant audience. We were making some good shows, but the Brits weren't interested. "There was the great failure of Sea Change to find a market in the UK. It never got a release."
Now, Aussie producers are deliberately targeting the global market ahead of local viewers. A second series of Sea Patrol was planned ahead of the first series release, with a view to an international release — which it gained through Hallmark.
Turnbull says that the later episodes of Kath & Kim were blatantly written for the UK, featuring appearances by Kylie Minogue "and the fellows from Little Britain".
While Australian-made "usually goes well at home — from the days of Graham Kennedy on IMT to Packed to the Rafters — audiences won't watch bad Australian TV. Like The Alice."
With MICHELLE GRIFFIN
(Credit: The Age)
Media Man Australia Profiles
Television
Friday, October 03, 2008
TheFightChannel.com is seeking capital to launch our live streaming high definition web TV network
TheFightChannel.com is a planned streaming high definition web TV network airing live PPV and library fighting events, 24/7 FightNews coverage, Deportes TFC's all Spanish language network, producing original programming, social networking and virtual gaming plus much, much, more.
For investor information please write info@thefightchannel.com or antinneil@att.net for more information.
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TheFightChannel.com
Media Man Australia Profiles
MMA
Television
Media Companies
For investor information please write info@thefightchannel.com or antinneil@att.net for more information.
Website
TheFightChannel.com
Media Man Australia Profiles
MMA
Television
Media Companies
Thursday, October 02, 2008
Proof of mixed martial arts' rapid growth lies within the tube, by Josh Gross - INSIDE MMA - 1st October 2008
Want proof mixed martial arts is a brute of an emerging sport? Flip on the TV.
When casino magnate brothers Lorenzo Fertitta and Frank Fertitta III joined Dana White in pooling together $2 million dollars to purchase the UFC in 2001, MMA -- dubbed "No Holds Barred" then -- couldn't so much as get a bite from the pay-per-view industry.
Two weeks after 9-11 when, in MMA's Nevada debut, the UFC reappeared on PPV. Dotted with decisions, UFC 33 was regarded a near disaster for going off the air prior to the conclusion of the main event. The night, however, marked an important moment in the revitalization of MMA. At a minimum, it gave rise to a stronger gust the following summer when Fox Sports Net and the UFC partnered for the first fight aired on U.S. cable television. NHB was now MMA, and executives of all kind were paying attention.
Fast forward seven years and CBS, in a feat still unbelievable to many, is set to air a live fight card on prime time Saturday. It will be the network's third MMA showing in less than six months.
Asked what was needed to remove the "underground" label so closely associated with MMA, most observers offered a not-so-simple suggestion: Get MMA on TV and people will watch.
Executives at Spike TV took the first gamble, agreeing to air a reality show featuring mixed martial artists competing for a UFC contract -- but not before the fight company footed the $10 million price tag. Soon, the sport's core audience was discovered to be a marketer's dream, and the UFC wasn't about to pay anyone to broadcast its product again.
For the benefit of advertisers and TV execs, who was watching became almost more important than how many. Although a 1.9 rating for The Ultimate Fighter Season 1 finale was nice nonetheless. Faith in MMA fans -- more than half of whom are males 18 to 49 -- came early in 2005 for Spike executives like Brian Diamond, the network's current senior vice president of sports and specials.
"I'm not surprised everybody is trying to get into the mix [today]," Diamond said of the bevy of networks vying for the coveted audience. "It speaks to the power, strength and fan base of MMA. It was a sport looked upon disgracefully when it came in 15 years ago because of the way it was positioned. And now it's the hottest growing sport worldwide."
Attempting to find the magic shared by UFC and Spike has proved fruitless for most. While competing promoters and networks disappeared, consolidated or downsized, the deal between Spike and UFC, recently extended through 2011, ensured continued growth in each group's brand equity. So intertwined are Spike and its flagship sports property, some have labeled the network the rather uninspired "UFC Channel." Diamond doesn't agree, saying that while the "network was the home of the UFC," it also carries other important properties.
Mark Cuban's HDNet would love to be known as the home of MMA. But HDNet's efforts have taken a different direction than Spike, Showtime or CBS in trying to make itself unique.
"We're interested in bringing the best fights for fight fans, regardless of where it's being held and who the promoter is," said HDNet Fights CEO Andrew Simon. "That's the piece that makes us a little bit different."
Offering up to 30 live MMA events this year, HDNet ventured across and outside the U.S. to find broadcast-worthy fights in 2008. With homes increasingly adopting hi-def and additional cable carriers offering HDNet, Cuban expressed pleasure in "the way things are going," even though his goal of surpassing Showtime's subscriber base, which stands at 16 million, seems unlikely this year.
From the promoter's point of view, as Strikeforce Vice President Mike Afromowitz attests, exposure and cost-cutting are two major benefits of having a broadcast partner. The California-based fight company currently has three television deals to fit its needs -- The Score in Canada, HDNet and NBC, which averages 700,000 viewers for its repurposed fights several hours after Saturday Night Live.
"Getting a deal is by no means easy," Afromowitz added. "There's a lot of competition out there on the networks, and the product has to be superior in order to get a TV deal."
Affliction Vice President Tom Atencio, who also signed a deal with HDNet, acknowledged that even in a climate when most networks are sincere in their interests as the sport approaches mainstream acceptance among advertisers and a widening fan base, "it's still difficult" to nail down a quality TV deal..
As a group, however, TV executives in the MMA business appear to be a happy bunch. Returning to prime time from the BankAtlantic Center in Sunrise, Fla., the Oct. 4 EliteXC-CBS card, said Senior Executive Vice President of CBS Prime Time, Kelly Kahl, should deliver similar numbers to the 6.5 million viewers who tuned in last May to watch MMA's debut on CBS.
"I think we gave it some mainstream legitimacy," Kahl said of the first CBS card when Kevin "Kimbo Slice" Ferguson, who headlines Saturday against Ken Shamrock, won in controversial fashion. "I certainly like to think we helped bring a lot of new fans on board. For CBS, this isn't a one-shot deal. This is more of a journey. We need to continue to develop fighters and develop the sport. That's the longer term plan for us."
Short term, Kahl will do what most in his position do after an event: check ratings.
(Credit: Sports Illustrated)
Media Man Australia Profiles
UFC
MMA
When casino magnate brothers Lorenzo Fertitta and Frank Fertitta III joined Dana White in pooling together $2 million dollars to purchase the UFC in 2001, MMA -- dubbed "No Holds Barred" then -- couldn't so much as get a bite from the pay-per-view industry.
Two weeks after 9-11 when, in MMA's Nevada debut, the UFC reappeared on PPV. Dotted with decisions, UFC 33 was regarded a near disaster for going off the air prior to the conclusion of the main event. The night, however, marked an important moment in the revitalization of MMA. At a minimum, it gave rise to a stronger gust the following summer when Fox Sports Net and the UFC partnered for the first fight aired on U.S. cable television. NHB was now MMA, and executives of all kind were paying attention.
Fast forward seven years and CBS, in a feat still unbelievable to many, is set to air a live fight card on prime time Saturday. It will be the network's third MMA showing in less than six months.
Asked what was needed to remove the "underground" label so closely associated with MMA, most observers offered a not-so-simple suggestion: Get MMA on TV and people will watch.
Executives at Spike TV took the first gamble, agreeing to air a reality show featuring mixed martial artists competing for a UFC contract -- but not before the fight company footed the $10 million price tag. Soon, the sport's core audience was discovered to be a marketer's dream, and the UFC wasn't about to pay anyone to broadcast its product again.
For the benefit of advertisers and TV execs, who was watching became almost more important than how many. Although a 1.9 rating for The Ultimate Fighter Season 1 finale was nice nonetheless. Faith in MMA fans -- more than half of whom are males 18 to 49 -- came early in 2005 for Spike executives like Brian Diamond, the network's current senior vice president of sports and specials.
"I'm not surprised everybody is trying to get into the mix [today]," Diamond said of the bevy of networks vying for the coveted audience. "It speaks to the power, strength and fan base of MMA. It was a sport looked upon disgracefully when it came in 15 years ago because of the way it was positioned. And now it's the hottest growing sport worldwide."
Attempting to find the magic shared by UFC and Spike has proved fruitless for most. While competing promoters and networks disappeared, consolidated or downsized, the deal between Spike and UFC, recently extended through 2011, ensured continued growth in each group's brand equity. So intertwined are Spike and its flagship sports property, some have labeled the network the rather uninspired "UFC Channel." Diamond doesn't agree, saying that while the "network was the home of the UFC," it also carries other important properties.
Mark Cuban's HDNet would love to be known as the home of MMA. But HDNet's efforts have taken a different direction than Spike, Showtime or CBS in trying to make itself unique.
"We're interested in bringing the best fights for fight fans, regardless of where it's being held and who the promoter is," said HDNet Fights CEO Andrew Simon. "That's the piece that makes us a little bit different."
Offering up to 30 live MMA events this year, HDNet ventured across and outside the U.S. to find broadcast-worthy fights in 2008. With homes increasingly adopting hi-def and additional cable carriers offering HDNet, Cuban expressed pleasure in "the way things are going," even though his goal of surpassing Showtime's subscriber base, which stands at 16 million, seems unlikely this year.
From the promoter's point of view, as Strikeforce Vice President Mike Afromowitz attests, exposure and cost-cutting are two major benefits of having a broadcast partner. The California-based fight company currently has three television deals to fit its needs -- The Score in Canada, HDNet and NBC, which averages 700,000 viewers for its repurposed fights several hours after Saturday Night Live.
"Getting a deal is by no means easy," Afromowitz added. "There's a lot of competition out there on the networks, and the product has to be superior in order to get a TV deal."
Affliction Vice President Tom Atencio, who also signed a deal with HDNet, acknowledged that even in a climate when most networks are sincere in their interests as the sport approaches mainstream acceptance among advertisers and a widening fan base, "it's still difficult" to nail down a quality TV deal..
As a group, however, TV executives in the MMA business appear to be a happy bunch. Returning to prime time from the BankAtlantic Center in Sunrise, Fla., the Oct. 4 EliteXC-CBS card, said Senior Executive Vice President of CBS Prime Time, Kelly Kahl, should deliver similar numbers to the 6.5 million viewers who tuned in last May to watch MMA's debut on CBS.
"I think we gave it some mainstream legitimacy," Kahl said of the first CBS card when Kevin "Kimbo Slice" Ferguson, who headlines Saturday against Ken Shamrock, won in controversial fashion. "I certainly like to think we helped bring a lot of new fans on board. For CBS, this isn't a one-shot deal. This is more of a journey. We need to continue to develop fighters and develop the sport. That's the longer term plan for us."
Short term, Kahl will do what most in his position do after an event: check ratings.
(Credit: Sports Illustrated)
Media Man Australia Profiles
UFC
MMA
Saturday, September 27, 2008
Back to the glamorous days - Marketing Week - 25th September 2008
Demand for branded content is rising steeply because there are projects to suit brands large or small - from film financing such as Eurostar's Somers Town, to pop star tie-ups. Catherine Turner reports
Few ads generate anything like the excitement of the big TV campaigns of the Seventies and Eighties, and in pursuit of that old-time glamour - and with the aim of "giving consumers more" - marketers are turning to the idea of branded entertainment.
It isn't a new idea, but has gained traction in marketing circles since 2001 when a series of short films by Hollywood A-list directors had the BMW car as the star of the action.
Seven years on - and with the internet amplifying the shift from "interruptive" to "engaging" advertising - branded content has exploded. And the good news for advertisers is there's a format or idea to suit every budget - from low-cost hosting of videos and entertainment on the web, through staging festivals and shows such as the O2 Wireless event, and funding or sponsoring hit TV shows.
Eurostar of the show
Earlier this year train operator Eurostar raised the bar by financing a film from gritty UK director Shane Meadows. The film takes place in Somers Town, from which the film takes its name, an area near St Pancras station, Eurostar's new UK home.
Jonathan Webb, managing director of Virgin Media Television, which set up the UK's first dedicated advertiser-funded programming team, says: "In my view the most impactful recent example of branded content comes not from commercially-focused television, but from the world of cinema. The £500,000 budget for Somers Town came from Eurostar, which also plays a starring role in the story."
Branded content blurs conventional distinctions between what constitutes advertising and what constitutes entertainment and, according to its advocates, creates a richer relationship with the target audience.
Branded entertainment should primarily be that - a piece of entertainment, but which aligns with the brand's attributes and is a reflection of the advertiser's brand personality. Get it right, and you've created a property that can sit at the heart of your marketing strategy, amplifying any PR or advertising and straddling all media and consumer touchpoints, according to Gemma Newland, managing director of TBWA/Stream.
But it is easy to get wrong. Daniel Salem, Viacom Brand Solutions head of partnerships, says pitfalls include not working with partners such as broadcasters earlier enough, and developing properties that do not relate to any other activity. "This should not be an afterthought," he says. "It should fit in to your overall activity. Brands should not do it 'just because they can'."
Branded entertainment works particularly well for brands wanting to associate with subjects that people feel passionate about, such as sport, music and food.
"Bold advertisers will reap rewards", says Virgin Media TV's Webb, but he cautions that television regulation still makes it difficult to achieve real brand integration on the medium. He believes newer platforms such as mobile and online bring one obvious benefit: they are free of the kind of tight and unyielding regulations that limit TV deals.
The Pros Of Online
Another advantage the internet brings is value. Online branded campaigns cost a fraction of the price of TV and can be distributed more cheaply too.
Rebecca Allen, head of client services at specialist agency HowTo.tv, says there has been an increase in brands seeking to create short, targeted films and clips to either distribute or host on their websites, from pure entertainment to advice.
Others look to events to create a closer relationship with customers, such as Polish music marketing company STX Jamboree which recently staged a music festival at Wembley Arena featuring the cream of Poland's music scene to reach the 1 million Poles living in the UK. The concert was sponsored and branded by Polish bank PKO BP.
In every case close collaboration is critical. Getting branded content right is an art and requires media agencies, producers and media owners to work together from the beginning of an idea. Only this can produce content that really lives up to its full potential.
Media Man Australia Profiles
Virgin Media
Television
Media Companies
Few ads generate anything like the excitement of the big TV campaigns of the Seventies and Eighties, and in pursuit of that old-time glamour - and with the aim of "giving consumers more" - marketers are turning to the idea of branded entertainment.
It isn't a new idea, but has gained traction in marketing circles since 2001 when a series of short films by Hollywood A-list directors had the BMW car as the star of the action.
Seven years on - and with the internet amplifying the shift from "interruptive" to "engaging" advertising - branded content has exploded. And the good news for advertisers is there's a format or idea to suit every budget - from low-cost hosting of videos and entertainment on the web, through staging festivals and shows such as the O2 Wireless event, and funding or sponsoring hit TV shows.
Eurostar of the show
Earlier this year train operator Eurostar raised the bar by financing a film from gritty UK director Shane Meadows. The film takes place in Somers Town, from which the film takes its name, an area near St Pancras station, Eurostar's new UK home.
Jonathan Webb, managing director of Virgin Media Television, which set up the UK's first dedicated advertiser-funded programming team, says: "In my view the most impactful recent example of branded content comes not from commercially-focused television, but from the world of cinema. The £500,000 budget for Somers Town came from Eurostar, which also plays a starring role in the story."
Branded content blurs conventional distinctions between what constitutes advertising and what constitutes entertainment and, according to its advocates, creates a richer relationship with the target audience.
Branded entertainment should primarily be that - a piece of entertainment, but which aligns with the brand's attributes and is a reflection of the advertiser's brand personality. Get it right, and you've created a property that can sit at the heart of your marketing strategy, amplifying any PR or advertising and straddling all media and consumer touchpoints, according to Gemma Newland, managing director of TBWA/Stream.
But it is easy to get wrong. Daniel Salem, Viacom Brand Solutions head of partnerships, says pitfalls include not working with partners such as broadcasters earlier enough, and developing properties that do not relate to any other activity. "This should not be an afterthought," he says. "It should fit in to your overall activity. Brands should not do it 'just because they can'."
Branded entertainment works particularly well for brands wanting to associate with subjects that people feel passionate about, such as sport, music and food.
"Bold advertisers will reap rewards", says Virgin Media TV's Webb, but he cautions that television regulation still makes it difficult to achieve real brand integration on the medium. He believes newer platforms such as mobile and online bring one obvious benefit: they are free of the kind of tight and unyielding regulations that limit TV deals.
The Pros Of Online
Another advantage the internet brings is value. Online branded campaigns cost a fraction of the price of TV and can be distributed more cheaply too.
Rebecca Allen, head of client services at specialist agency HowTo.tv, says there has been an increase in brands seeking to create short, targeted films and clips to either distribute or host on their websites, from pure entertainment to advice.
Others look to events to create a closer relationship with customers, such as Polish music marketing company STX Jamboree which recently staged a music festival at Wembley Arena featuring the cream of Poland's music scene to reach the 1 million Poles living in the UK. The concert was sponsored and branded by Polish bank PKO BP.
In every case close collaboration is critical. Getting branded content right is an art and requires media agencies, producers and media owners to work together from the beginning of an idea. Only this can produce content that really lives up to its full potential.
Media Man Australia Profiles
Virgin Media
Television
Media Companies
The Fight Channel
About Us
TheFightChannel.com is a streaming high definition web TV network airing live Pay-Per-View fighting events and library programming, 24/7 FightNews coverage, originally produced and licensed movies, documentaries and TV shows, plus a state of the art community and social networking site, "Deportes" TFC's all Spanish language network, virtual online gaming room, mobile TV, RadioFightChannel and much, much more.
Website
The Fight Channel
TheFightChannel.com is a streaming high definition web TV network airing live Pay-Per-View fighting events and library programming, 24/7 FightNews coverage, originally produced and licensed movies, documentaries and TV shows, plus a state of the art community and social networking site, "Deportes" TFC's all Spanish language network, virtual online gaming room, mobile TV, RadioFightChannel and much, much more.
Website
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Tuesday, September 09, 2008
WWE SmackDown, WrestleMania on MyNetwork - The Miami Herald - 9th September 2008
World Wrestling Entertainment on MyNetworkTV will kick off a night early with a first ever broadcast presentation of WrestleMania at 8 p.m. EST/PST Thursday, Oct. 2, said the network's president, Greg Meidel, in a release.
This special presentation featuring the best moments of WrestleMania XXIV in March from the Citrus Bowl in Orlando including boxer Floyd Mayweather vs. Big Show will be followed by the premiere of WWE SmackDown! at 8 p.m. EST/PST Friday, Oct. 3.
WWE SmackDown! moved to MyNetworkTV from the CW Network, formerly UPN which housed WWE SmackDown! from 1999-2006, after CW and WWE opted not to renew their contract. MyNetworkTV, an offshoot of stations dropped when CW took some of UPN's affiliates, quickly snatched the television ratings' grabber.
WWE SmackDown!'s prime-time wrestling show boasts 474 episodes and counting. It has been one of the highest-rated shows on the networks, even drawing millions of viewers when it moved from Thursday to Friday nights, television's death wish.
Meidel said, ``We're thrilled to bring fans even more of their favorite WWE action on MyNetworkTV. These side-by-side primetime events are sure to deliver two nights of edge-of-your-seat, action-packed entertainment.''
WWE SmackDown! will be presented on MyNetworkTV weekly on Fridays and showcase a star-studded cast of WWE stars including Triple H, Edge, Jeff Hardy, Chavo Guerrero, Shelton Benjamin, Big Show, Carlito, Mr. Kennedy, Great Khali, Umaga, Undertaker, Michelle McCool, Victoria, Natalya, Thee Brian Kendrick, Vladimir Kozlov and Miami's own MVP.
It will feature the action, excitement, drama and athleticism that have made it for nine years one of the most popular programs among males on broadcast television and one of the Top 10 English language prime-time programs among Hispanic households.
• WrestleMania is one of the biggest annual sports entertainment events. In addition to the Mayweather/Big Show match, this year's lineup featured the retirement of the legendary Ric Flair following an emotional loss to Shawn Michaels, as well as the crowning of the Undertaker as the new World champ and Kane as the new WWE/ECW champ.
Celebrity appearances included a performance of America the Beautiful by John Legend along with special guest hostess Kim Kardashian and BunnyMania Lumberjack Match Master of Ceremonies Snoop Dogg. Raven-Symon helped entertain 50 children honored by WWE in its largest ever Make-A-Wish event.
WrestleMania XXIV was the highest grossing live event for WWE and the Citrus Bowl.
• About MyNetworkTV
MyNetworkTV is a primetime general entertainment broadcast television network. Reaching more than 97 percent of the country and targeted to Adults 18-49, MyNetworkTV provides its affiliates 12 hours of diverse programming Monday through Saturday. Visit mynetworktv.com.
• About World Wrestling Entertainment
WWE produces original weekly programming, 52 weeks per year, distributed domestically, internationally and via WWE.com. WWE programs reach more than 16 million total viewers during the average week.
Its domestic cable and broadcast programs include Monday Night RAW and A.M. RAW on USA Network and WWE's ECW: Extreme Championship Wrestling on the Sci Fi Channel. WWE's television programming can also be seen in more than 130 countries around the world on broadcast partners including BSkyB in the UK and Foxtel in Australia.
Visit wwe.com and corporate.wwe.com and wwe.com/worldwide.
• Wrestlers Rescue, a very worthy cause, is Sunday, Sept. 14 at the Radisson in Piscataway, N.J.
Meet Torrie Wilson, Terri Runnels, Mick Foley, Dawn Marie, Tammy Sytch, Missy Hyatt, Iron Sheik, Superfly Snuka, Greg Valentine, Lou Albano, Balls Mahoney, Nikolai Volkoff, Lanny Poffo, Brutus Beefcake, JJ Dillon, Sandman, Manny Fernandez, Baywatch's Traci Bingham, boxing legend Emile Griffith and others.
There will be a wrestling convention/autograph session and a semi-formal dinner with the stars. For up-to-date information on the star-studded celebrity guests, schedule, prices, super tickets, auction, charity, etc. visit WrestlersRescue.Org.
Questions about the event, e-mail Michele at wrestlersrescue@aol.com.
• Hulk Hogan's Celebrity Championship Wrestling television series debuts 8 p.m. EST Oct. 18 on cable channel CMT.
The celebrities are Dustin Diamond from Saved by the Bell, Tiffany, Todd Bridges from Different Strokes, Trishelle from Real World, boxer Butterbean, Nikki Ziering from Playboy, Sylvester Stallone's acting/singing brother Frank, Erin Murphy from Bewitched, Danny Bonaduce and former NBA player Dennis Rodman. They will be learning to wrestle.
The reality-type television show, under the direction of Eric Bischoff (AWA/WCW/WWE), Jason Hervey (Wonder Years) and Hogan, was filmed in a converted warehouse in California.
Jimmy Hart, Bischoff and Hogan will be the judges. Rodman previously worked with Bischoff and Hogan in WCW. Sylvester Stallone inducted Hogan into the WWE Hall of Fame.
Bischoff and Hervey run their own production company, co-produced a reality show on television sitcom star Scott Baio for VH-1 and actor/singer Billy Ray Cyrus for CMT as well as I Want To Be a Hilton for NBC. Hogan starred in Hogan Knows Best on VH-1.
• The Killer Kowalski Memorial Wrestling Show is 2 p.m. Sunday, Oct. 26 at the Irish-American Club in Malden, Mass. Proceeds will benefit the Walter Killer Kowalski Memorial Fund. See Tito Santana, Nikolai Volkoff and more. Visit superstarprowrestling.com.
• WWE's Monday Night Raw is 7:30 p.m. Nov. 3 at the St. Pete Times Forum in Tampa. Tickets go on sale Saturday, Oct. 4. Prices $70, $50, $40, $30 and $20.
WWE Raw has a house show 7:30 p.m. Friday, Dec. 19 at the Bank Atlantic Center in (South Florida) Sunrise. Tickets go on sale Saturday, Aug. 30. Prices $60, $45, $35, $25 and $20.
WWE SmackDown/ECW has a house show 7:30 p.m. Saturday, Dec. 20 at the Leon County Civic Center in Tallahassee. Tickets go on sale Friday, Oct. 24. Prices $40, $30, $25 and $20.
• Florida Championship Wrestling, the feeder group to WWE, is Saturday, Nov. 15 at the Lee County Civic Center in Fort Myers, Fla. See talent signed to WWE developmental contracts. Go to fcwwrestling.com.
• Between The Ropes wrestling radio is 6-8 p.m. EST Tuesdays on ESPN Florida AM 1080 and AM 1060. Brian Fritz, Vito DeNucci and Dickerman host the show which is simulcast worldwide online at BetweenTheRopes.com
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This special presentation featuring the best moments of WrestleMania XXIV in March from the Citrus Bowl in Orlando including boxer Floyd Mayweather vs. Big Show will be followed by the premiere of WWE SmackDown! at 8 p.m. EST/PST Friday, Oct. 3.
WWE SmackDown! moved to MyNetworkTV from the CW Network, formerly UPN which housed WWE SmackDown! from 1999-2006, after CW and WWE opted not to renew their contract. MyNetworkTV, an offshoot of stations dropped when CW took some of UPN's affiliates, quickly snatched the television ratings' grabber.
WWE SmackDown!'s prime-time wrestling show boasts 474 episodes and counting. It has been one of the highest-rated shows on the networks, even drawing millions of viewers when it moved from Thursday to Friday nights, television's death wish.
Meidel said, ``We're thrilled to bring fans even more of their favorite WWE action on MyNetworkTV. These side-by-side primetime events are sure to deliver two nights of edge-of-your-seat, action-packed entertainment.''
WWE SmackDown! will be presented on MyNetworkTV weekly on Fridays and showcase a star-studded cast of WWE stars including Triple H, Edge, Jeff Hardy, Chavo Guerrero, Shelton Benjamin, Big Show, Carlito, Mr. Kennedy, Great Khali, Umaga, Undertaker, Michelle McCool, Victoria, Natalya, Thee Brian Kendrick, Vladimir Kozlov and Miami's own MVP.
It will feature the action, excitement, drama and athleticism that have made it for nine years one of the most popular programs among males on broadcast television and one of the Top 10 English language prime-time programs among Hispanic households.
• WrestleMania is one of the biggest annual sports entertainment events. In addition to the Mayweather/Big Show match, this year's lineup featured the retirement of the legendary Ric Flair following an emotional loss to Shawn Michaels, as well as the crowning of the Undertaker as the new World champ and Kane as the new WWE/ECW champ.
Celebrity appearances included a performance of America the Beautiful by John Legend along with special guest hostess Kim Kardashian and BunnyMania Lumberjack Match Master of Ceremonies Snoop Dogg. Raven-Symon helped entertain 50 children honored by WWE in its largest ever Make-A-Wish event.
WrestleMania XXIV was the highest grossing live event for WWE and the Citrus Bowl.
• About MyNetworkTV
MyNetworkTV is a primetime general entertainment broadcast television network. Reaching more than 97 percent of the country and targeted to Adults 18-49, MyNetworkTV provides its affiliates 12 hours of diverse programming Monday through Saturday. Visit mynetworktv.com.
• About World Wrestling Entertainment
WWE produces original weekly programming, 52 weeks per year, distributed domestically, internationally and via WWE.com. WWE programs reach more than 16 million total viewers during the average week.
Its domestic cable and broadcast programs include Monday Night RAW and A.M. RAW on USA Network and WWE's ECW: Extreme Championship Wrestling on the Sci Fi Channel. WWE's television programming can also be seen in more than 130 countries around the world on broadcast partners including BSkyB in the UK and Foxtel in Australia.
Visit wwe.com and corporate.wwe.com and wwe.com/worldwide.
• Wrestlers Rescue, a very worthy cause, is Sunday, Sept. 14 at the Radisson in Piscataway, N.J.
Meet Torrie Wilson, Terri Runnels, Mick Foley, Dawn Marie, Tammy Sytch, Missy Hyatt, Iron Sheik, Superfly Snuka, Greg Valentine, Lou Albano, Balls Mahoney, Nikolai Volkoff, Lanny Poffo, Brutus Beefcake, JJ Dillon, Sandman, Manny Fernandez, Baywatch's Traci Bingham, boxing legend Emile Griffith and others.
There will be a wrestling convention/autograph session and a semi-formal dinner with the stars. For up-to-date information on the star-studded celebrity guests, schedule, prices, super tickets, auction, charity, etc. visit WrestlersRescue.Org.
Questions about the event, e-mail Michele at wrestlersrescue@aol.com.
• Hulk Hogan's Celebrity Championship Wrestling television series debuts 8 p.m. EST Oct. 18 on cable channel CMT.
The celebrities are Dustin Diamond from Saved by the Bell, Tiffany, Todd Bridges from Different Strokes, Trishelle from Real World, boxer Butterbean, Nikki Ziering from Playboy, Sylvester Stallone's acting/singing brother Frank, Erin Murphy from Bewitched, Danny Bonaduce and former NBA player Dennis Rodman. They will be learning to wrestle.
The reality-type television show, under the direction of Eric Bischoff (AWA/WCW/WWE), Jason Hervey (Wonder Years) and Hogan, was filmed in a converted warehouse in California.
Jimmy Hart, Bischoff and Hogan will be the judges. Rodman previously worked with Bischoff and Hogan in WCW. Sylvester Stallone inducted Hogan into the WWE Hall of Fame.
Bischoff and Hervey run their own production company, co-produced a reality show on television sitcom star Scott Baio for VH-1 and actor/singer Billy Ray Cyrus for CMT as well as I Want To Be a Hilton for NBC. Hogan starred in Hogan Knows Best on VH-1.
• The Killer Kowalski Memorial Wrestling Show is 2 p.m. Sunday, Oct. 26 at the Irish-American Club in Malden, Mass. Proceeds will benefit the Walter Killer Kowalski Memorial Fund. See Tito Santana, Nikolai Volkoff and more. Visit superstarprowrestling.com.
• WWE's Monday Night Raw is 7:30 p.m. Nov. 3 at the St. Pete Times Forum in Tampa. Tickets go on sale Saturday, Oct. 4. Prices $70, $50, $40, $30 and $20.
WWE Raw has a house show 7:30 p.m. Friday, Dec. 19 at the Bank Atlantic Center in (South Florida) Sunrise. Tickets go on sale Saturday, Aug. 30. Prices $60, $45, $35, $25 and $20.
WWE SmackDown/ECW has a house show 7:30 p.m. Saturday, Dec. 20 at the Leon County Civic Center in Tallahassee. Tickets go on sale Friday, Oct. 24. Prices $40, $30, $25 and $20.
• Florida Championship Wrestling, the feeder group to WWE, is Saturday, Nov. 15 at the Lee County Civic Center in Fort Myers, Fla. See talent signed to WWE developmental contracts. Go to fcwwrestling.com.
• Between The Ropes wrestling radio is 6-8 p.m. EST Tuesdays on ESPN Florida AM 1080 and AM 1060. Brian Fritz, Vito DeNucci and Dickerman host the show which is simulcast worldwide online at BetweenTheRopes.com
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Saturday, September 06, 2008
THE FIGHT NETWORK LANDS EXCLUSIVE DEAL IN CANADA WITH HISTORIC AFFLICTION BANNED EVENT
TORONTO, ON – June 21, 2008… The Fight Network’s President and CEO George Burger announced today that it has secured the exclusive rights to air the live star-studded, one-hour undercard for July 19th’s Affliction Banned Pay-Per-View event on its Network.
Mr. Burger made the announcement at a packed news conference at Toronto’s MMA Expo, alongside Tom Atencio, Affliction’s Vice President; Fight Network Senior Vice President, Strategy and founder Mike Garrow; and two MMA superstars: Andrei “The Pitbull” Arlovksi and “Big” Ben Rothwell who will face each other on Pay-Per-View.
“This is a stellar card, arguably the best collection of heavyweights under one roof in the history of MMA. The Fight Network is excited to be working side by side with Affliction in taking the launch of this promotion worldwide,” said Mr. Burger. “Not only are we showing the undercard live and exclusively on our Network, a great lead-in to the Pay-Per-View event, but we are also distributing the Pay-Per-View in Canada, Australia, the United States and the United Kingdom.”
The 60-minute broadcast on the Fight Network will air in Canada at 8 pm ET/ 5 pm PT, and is expected to feature at least two of the five scheduled preliminary bouts, including a heavyweight clash between former UFC heavyweight title challenger Paul Buentello and Aleksander Emelianenko. The pay-per-view broadcast will follow starting at 9 pm ET.
“With this card, Affliction vaults into the front ranks of what is the fastest growing sport in the world,” said Mr. Atencio. “We have a long relationship with The Fight Network and are pleased to share this momentous event with them.”
Affliction Banned is the monster mixed-martial-arts promotion presented by Affliction, the premier fashion label for men who love hard rock and fast living, in association with Roy Englebrecht Events. Earlier this month, Donald Trump announced his involvement and partnership with the promotion. The main event features the return of Russian combat fighting icon Fedor ”The Last Emperor” Emelianenko against former two-time UFC® heavyweight title-holder Tim “The Maine-iac” Sylvia at the Honda Center in Anaheim, California.-
Mr. Burger also announced that The Fight Network’s on-air MMA experts Mauro Ranallo and legendary MMA pioneer and Fight Network analyst “Big” John McCarthy will be calling the action for this worldwide event.
Along with the Emelianenko-Sylvia match-up, former UFC heavyweight champion Josh Barnett will take on Pedro Rizzo in a rematch of their February 2001 bout, Team Quest founder Matt Lindland will return to action against Fabio “Negao” Nascimento, and UFC veterans Renato “Babalu” Sobral and Mike Whitehead will collide as well.
ABOUT THE FIGHT NETWORK
Launched in 2005, The Fight Network is currently seen in nearly 10 million homes in Canada and the UK. The Fight Network is a multi-platform, international sports and entertainment company, providing its content to fight fans on digital television, pay-per-view, VOD, radio, mobile and online. The Fight Network is the global leader in presenting and covering all combat sports, including Mixed Martial Arts (MMA), Boxing, Wrestling and Kickboxing and theme-related entertainment, through its 24/7 dedication to the sports. The Fight Network Inc. is a wholly-owned subsidiary of TFN Global Inc., whose corporate headquarters are located in Toronto, Canada. Visit www.thefightnetwork.com
ABOUT AFFLICTION
Already a mainstay for most elite athletes, heaviest bands, A-listers and the fashion conscious, Affliction Clothing’s ability to set the bar high in fashion is evident in its collections of style and design, focus on quality and its trademark series of divinely executed, dark and powerful themes.
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Mr. Burger made the announcement at a packed news conference at Toronto’s MMA Expo, alongside Tom Atencio, Affliction’s Vice President; Fight Network Senior Vice President, Strategy and founder Mike Garrow; and two MMA superstars: Andrei “The Pitbull” Arlovksi and “Big” Ben Rothwell who will face each other on Pay-Per-View.
“This is a stellar card, arguably the best collection of heavyweights under one roof in the history of MMA. The Fight Network is excited to be working side by side with Affliction in taking the launch of this promotion worldwide,” said Mr. Burger. “Not only are we showing the undercard live and exclusively on our Network, a great lead-in to the Pay-Per-View event, but we are also distributing the Pay-Per-View in Canada, Australia, the United States and the United Kingdom.”
The 60-minute broadcast on the Fight Network will air in Canada at 8 pm ET/ 5 pm PT, and is expected to feature at least two of the five scheduled preliminary bouts, including a heavyweight clash between former UFC heavyweight title challenger Paul Buentello and Aleksander Emelianenko. The pay-per-view broadcast will follow starting at 9 pm ET.
“With this card, Affliction vaults into the front ranks of what is the fastest growing sport in the world,” said Mr. Atencio. “We have a long relationship with The Fight Network and are pleased to share this momentous event with them.”
Affliction Banned is the monster mixed-martial-arts promotion presented by Affliction, the premier fashion label for men who love hard rock and fast living, in association with Roy Englebrecht Events. Earlier this month, Donald Trump announced his involvement and partnership with the promotion. The main event features the return of Russian combat fighting icon Fedor ”The Last Emperor” Emelianenko against former two-time UFC® heavyweight title-holder Tim “The Maine-iac” Sylvia at the Honda Center in Anaheim, California.-
Mr. Burger also announced that The Fight Network’s on-air MMA experts Mauro Ranallo and legendary MMA pioneer and Fight Network analyst “Big” John McCarthy will be calling the action for this worldwide event.
Along with the Emelianenko-Sylvia match-up, former UFC heavyweight champion Josh Barnett will take on Pedro Rizzo in a rematch of their February 2001 bout, Team Quest founder Matt Lindland will return to action against Fabio “Negao” Nascimento, and UFC veterans Renato “Babalu” Sobral and Mike Whitehead will collide as well.
ABOUT THE FIGHT NETWORK
Launched in 2005, The Fight Network is currently seen in nearly 10 million homes in Canada and the UK. The Fight Network is a multi-platform, international sports and entertainment company, providing its content to fight fans on digital television, pay-per-view, VOD, radio, mobile and online. The Fight Network is the global leader in presenting and covering all combat sports, including Mixed Martial Arts (MMA), Boxing, Wrestling and Kickboxing and theme-related entertainment, through its 24/7 dedication to the sports. The Fight Network Inc. is a wholly-owned subsidiary of TFN Global Inc., whose corporate headquarters are located in Toronto, Canada. Visit www.thefightnetwork.com
ABOUT AFFLICTION
Already a mainstay for most elite athletes, heaviest bands, A-listers and the fashion conscious, Affliction Clothing’s ability to set the bar high in fashion is evident in its collections of style and design, focus on quality and its trademark series of divinely executed, dark and powerful themes.
Media Man Australia Profiles
MMA
PPV
Media Companies
Couture Returns to Defend Heavyweight Crown against Lesnar on Nov. 15, by Thomas Gerbasi - 2nd September 2008
If we’ve learned one thing in combat sports, it’s to never say old adage was solidified once again today, as UFC President Dana White announced the November 15th return to the Octagon of heavyweight champion Randy Couture to face Brock Lesnar in the main event of UFC 91 at the MGM Grand Garden Arena in Las Vegas.
The announcement comes after nearly a year of contentious relations between the organization and Couture, who walked away from the UFC in October of 2007 with two fights remaining on his contract. But in August, the heavyweight champion and the organization worked on a renegotiation of his contract that will enable ‘The Natural’ to finish his Hall of Fame career with the UFC.
“We had some problems with Randy, we’ve resolved them all, and he’s always been the heavyweight champion of the UFC,” said White. “It took us some time to get everything straight, but I think we’re all good now and ready to move forward and get Randy back out there fighting again.”
”I think we cleared the air and addressed a lot of the issues, we’re both in a different place, and both the company and myself are trying to move forward,” said Couture. “I think we understand each other, and I certainly would much rather fight in the Octagon than anywhere else. Spending the last year in legal fights is not someplace where I’ve had a very good time. At 45, I can’t sit around in court rooms for very long – I want to fight.”
Couture’s first order of business – taking on the imposing 6-3 ½, 265 pound Lesnar, a former NCAA Division I National Wrestling Champion whose arrival in the UFC earlier this year shook the foundations of the MMA world. Add in the former pro wrestling superstar’s spectacular victory over Heath Herring at UFC 87 in August, and the stage is set for what will most certainly be one of the most highly-anticipated heavyweight title fights in history.
“I haven’t looked at tape yet and studied him,” said Couture of Lesnar. “Obviously, he’s a great big guy, and on the ground or standing, he poses some interesting problems, so I’ve got to go to work and find the answers to those questions.”
“My whole goal coming into this company was to get a shot at the UFC heavyweight title, so for me, this is a great opportunity, one that anybody in my position wouldn’t turn down,” added Lesnar. “Randy poses all kinds of threats, and we’re gonna try to nullify them and try to win the title that night.”
You don’t have to convince White when it comes to the importance of this matchup.
“I can tell you this right now,” said White. “Couture vs Lesnar will be the biggest fight in UFC history.”
And though some might question whether Couture
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- 45 years old and more than a year removed from his last fight – will be able to keep up with a younger, faster, and stronger challenger, keep in mind that the Las Vegas resident has made a career of baffling oddsmakers, most recently in March of 2007, when he returned from a year-long retirement to shutout 6 foot 8, 263 pound Tim Sylvia to win the UFC heavyweight crown a record third time.
Couture went on to successfully defend the title with a third round TKO of Gabriel Gonzaga in August of 2007, but two months later, the title was left in limbo, leaving Brazil’s Antonio Rodrigo Nogueira to swoop in and take the interim belt by submitting Sylvia in February. Nogueira is scheduled to clash with his fellow Ultimate Fighter 8 coach (and former heavyweight champion) Frank Mir in December, with the winners of these two heavyweight megafights to meet sometime in 2009.
“The winner of the Brock-Randy fight will be the heavyweight champion of the UFC,” said White. “Obviously, the reality show is already in motion, and those two (Nogueira and Mir) are already scheduled to fight, so they’ll fight for the interim (title) and then it will be Champion vs Champion when this thing’s all done. So it’s a pretty interesting little tournament.”
Of course, Lesnar will have something to say about putting a dent in Couture’s fighting plans, and he’ll get his chance to say it on November 15th.
“Things happen in mysterious ways, and I’m fortunate and honored to get in the Octagon with Randy, so it’s very exciting all the way around,” said Lesnar.
As for Couture, it’s been a long, strange trip to get to this point, but suffice to say, he’s happy to put acting, book tours, and speaking engagements on the side for now in order to get back to where he belongs – the Octagon.
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The announcement comes after nearly a year of contentious relations between the organization and Couture, who walked away from the UFC in October of 2007 with two fights remaining on his contract. But in August, the heavyweight champion and the organization worked on a renegotiation of his contract that will enable ‘The Natural’ to finish his Hall of Fame career with the UFC.
“We had some problems with Randy, we’ve resolved them all, and he’s always been the heavyweight champion of the UFC,” said White. “It took us some time to get everything straight, but I think we’re all good now and ready to move forward and get Randy back out there fighting again.”
”I think we cleared the air and addressed a lot of the issues, we’re both in a different place, and both the company and myself are trying to move forward,” said Couture. “I think we understand each other, and I certainly would much rather fight in the Octagon than anywhere else. Spending the last year in legal fights is not someplace where I’ve had a very good time. At 45, I can’t sit around in court rooms for very long – I want to fight.”
Couture’s first order of business – taking on the imposing 6-3 ½, 265 pound Lesnar, a former NCAA Division I National Wrestling Champion whose arrival in the UFC earlier this year shook the foundations of the MMA world. Add in the former pro wrestling superstar’s spectacular victory over Heath Herring at UFC 87 in August, and the stage is set for what will most certainly be one of the most highly-anticipated heavyweight title fights in history.
“I haven’t looked at tape yet and studied him,” said Couture of Lesnar. “Obviously, he’s a great big guy, and on the ground or standing, he poses some interesting problems, so I’ve got to go to work and find the answers to those questions.”
“My whole goal coming into this company was to get a shot at the UFC heavyweight title, so for me, this is a great opportunity, one that anybody in my position wouldn’t turn down,” added Lesnar. “Randy poses all kinds of threats, and we’re gonna try to nullify them and try to win the title that night.”
You don’t have to convince White when it comes to the importance of this matchup.
“I can tell you this right now,” said White. “Couture vs Lesnar will be the biggest fight in UFC history.”
And though some might question whether Couture
Click here to find out more!
- 45 years old and more than a year removed from his last fight – will be able to keep up with a younger, faster, and stronger challenger, keep in mind that the Las Vegas resident has made a career of baffling oddsmakers, most recently in March of 2007, when he returned from a year-long retirement to shutout 6 foot 8, 263 pound Tim Sylvia to win the UFC heavyweight crown a record third time.
Couture went on to successfully defend the title with a third round TKO of Gabriel Gonzaga in August of 2007, but two months later, the title was left in limbo, leaving Brazil’s Antonio Rodrigo Nogueira to swoop in and take the interim belt by submitting Sylvia in February. Nogueira is scheduled to clash with his fellow Ultimate Fighter 8 coach (and former heavyweight champion) Frank Mir in December, with the winners of these two heavyweight megafights to meet sometime in 2009.
“The winner of the Brock-Randy fight will be the heavyweight champion of the UFC,” said White. “Obviously, the reality show is already in motion, and those two (Nogueira and Mir) are already scheduled to fight, so they’ll fight for the interim (title) and then it will be Champion vs Champion when this thing’s all done. So it’s a pretty interesting little tournament.”
Of course, Lesnar will have something to say about putting a dent in Couture’s fighting plans, and he’ll get his chance to say it on November 15th.
“Things happen in mysterious ways, and I’m fortunate and honored to get in the Octagon with Randy, so it’s very exciting all the way around,” said Lesnar.
As for Couture, it’s been a long, strange trip to get to this point, but suffice to say, he’s happy to put acting, book tours, and speaking engagements on the side for now in order to get back to where he belongs – the Octagon.
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Setanta Sports News rebrands to take on its Sky rival - Guardian News and Media Limited - 4th September 2008
As the Virgin Media and Setanta joint venture channel nears its first birthday, it has toned down its previous "busy" look
Setanta Sports News has unveiled an on-screen revamp as it approaches its first birthday in a bid to create a simpler look and provide greater contrast with its rival, Sky Sports News.
The channel, which launched in November last year, has seen its audience grow steadily, hitting a record reach of 784,000 viewers on Monday.
This week's on-screen revamp has seen its branding brought more into line with Setanta Sports 1 as well as the toning down of its previous "busy" look with the ditching of one of the two news tickers at the bottom of the screen.
Setanta Sports News editor-in-chief Geoff Hill said he expected the channel's ratings to continue to grow as it geared up for its busiest season ever after Setanta Sports became the FA's broadcast partner, picking up rights to England internationals and FA Cup games in addition to its existing live Premier League coverage.
A spike in viewers is expected tomorrow when England's World Cup qualifying campaign kicks-off, with live coverage of the game on Setanta Sports.
Hill said:
We are a television medium and if we have rights it makes our coverage better. The World Cup qualifying matches on Saturday will be the biggest story in town.
The sports news channel, a joint venture between Virgin Media and Setanta, with its output produced by ITN under a three-year contract, was created after Sky Sports News was withdrawn from the Virgin Media cable TV network following the row with BSkyB over carriage fees.
Setanta Sports News now has a staff of more than 60 based at ITN's central London headquarters, although it is still about a third of the size of Sky Sports News' team.
Sky Sports News, which has been on air for a decade and continues to be the channel of choice for other news organisations, had an average daily reach of 1.6 million viewers for the week ending Sunday August 24. In the same week Setanta Sports News had an average reach of 317,000 viewers.
Hill said he didn't expect Setanta Sports News to overtake its rival but instead wanted it to be a contrast and praised the fact that the total audience for sports news was growing.
He added:
I don't know if overtaking Sky is possible. What we need to do is compete with them and offer viewers more. We try and offer something different. We have 12 appointment to view shows in our schedule.
We are also a bit less formal than Sky Sports News. We try not to be too serious in terms of interacting with our viewers. Sport is very important but it can be fun too.
There are three million people out there who want to watch sports news and there is evidence there is a growing number of people watching both channels.
With Setanta Sports News having a monopoly on viewers on the Virgin Media cable network, Hill said the battle with Sky Sports News was now on its rival's home ground - Sky's own digital satellite TV service.
He added:
Every increase in viewing we get will come from the digital satelitte platform. That is the battleground. Sky Sports News will be a hard habit for people to give up but we have something different for them.
Media Man Australia Profiles
Setanta Sports
Virgin Media
Sky Sports
Setanta Sports News has unveiled an on-screen revamp as it approaches its first birthday in a bid to create a simpler look and provide greater contrast with its rival, Sky Sports News.
The channel, which launched in November last year, has seen its audience grow steadily, hitting a record reach of 784,000 viewers on Monday.
This week's on-screen revamp has seen its branding brought more into line with Setanta Sports 1 as well as the toning down of its previous "busy" look with the ditching of one of the two news tickers at the bottom of the screen.
Setanta Sports News editor-in-chief Geoff Hill said he expected the channel's ratings to continue to grow as it geared up for its busiest season ever after Setanta Sports became the FA's broadcast partner, picking up rights to England internationals and FA Cup games in addition to its existing live Premier League coverage.
A spike in viewers is expected tomorrow when England's World Cup qualifying campaign kicks-off, with live coverage of the game on Setanta Sports.
Hill said:
We are a television medium and if we have rights it makes our coverage better. The World Cup qualifying matches on Saturday will be the biggest story in town.
The sports news channel, a joint venture between Virgin Media and Setanta, with its output produced by ITN under a three-year contract, was created after Sky Sports News was withdrawn from the Virgin Media cable TV network following the row with BSkyB over carriage fees.
Setanta Sports News now has a staff of more than 60 based at ITN's central London headquarters, although it is still about a third of the size of Sky Sports News' team.
Sky Sports News, which has been on air for a decade and continues to be the channel of choice for other news organisations, had an average daily reach of 1.6 million viewers for the week ending Sunday August 24. In the same week Setanta Sports News had an average reach of 317,000 viewers.
Hill said he didn't expect Setanta Sports News to overtake its rival but instead wanted it to be a contrast and praised the fact that the total audience for sports news was growing.
He added:
I don't know if overtaking Sky is possible. What we need to do is compete with them and offer viewers more. We try and offer something different. We have 12 appointment to view shows in our schedule.
We are also a bit less formal than Sky Sports News. We try not to be too serious in terms of interacting with our viewers. Sport is very important but it can be fun too.
There are three million people out there who want to watch sports news and there is evidence there is a growing number of people watching both channels.
With Setanta Sports News having a monopoly on viewers on the Virgin Media cable network, Hill said the battle with Sky Sports News was now on its rival's home ground - Sky's own digital satellite TV service.
He added:
Every increase in viewing we get will come from the digital satelitte platform. That is the battleground. Sky Sports News will be a hard habit for people to give up but we have something different for them.
Media Man Australia Profiles
Setanta Sports
Virgin Media
Sky Sports
Sunday, August 31, 2008
Lesnar vs. Couture could be finalized next week
Sources close to the MMA world indicate that a November fight between Brock Lesnar and Randy Couture could be finalized as early as Tuesday of next week.
If a deal can be reached, the fight would likely take place in Portland's Rose Garden.
Sources also say that in a perfect world that the legendary Couture would like to have three more fights before he retires and those fights would all be for the UFC.
Lesnar vs. Couture would be an extremely intriguing match up if contracts can be worked out. One would assume that getting a deal done quickly after the Labor Day holiday would allow both fighters to officially begin their preparation within a few days.
It will also be interesting to see where the betting line starts and ends for this
one if it does happen. This match blows away the previously discussed Lesnar-Kongo fight and should do huge business on PPV. (Credit: JR)
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If a deal can be reached, the fight would likely take place in Portland's Rose Garden.
Sources also say that in a perfect world that the legendary Couture would like to have three more fights before he retires and those fights would all be for the UFC.
Lesnar vs. Couture would be an extremely intriguing match up if contracts can be worked out. One would assume that getting a deal done quickly after the Labor Day holiday would allow both fighters to officially begin their preparation within a few days.
It will also be interesting to see where the betting line starts and ends for this
one if it does happen. This match blows away the previously discussed Lesnar-Kongo fight and should do huge business on PPV. (Credit: JR)
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Brock Lesnar
MMA
UFC
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Jim Ross
Thursday, August 28, 2008
Drama, not doomsday, by Matthew Warren - The Australian - 28th August 2008
A forthcoming environmental apocalypse portrayed in a new television series should be treated as fiction, writes, Matthew Warren
BY Christmas Eve in 2012, no rain has fallen in Sydney for more than 200 days and, despite its new desalination plant, the emerald city has run out of drinking water. The effects of climate change have created the conditions for a ring of bushfires that surround the city, but authorities don't have enough water to put them out.
This is the plot synopsis for the Nine Network's new tele-feature experiment called Scorched, which will screen nationally in prime time on Sunday night. Promoters have hailed the production a "major television event" with an all-star cast, fake news broadcasts from authentic Nine newsreaders and a comprehensive supporting website.
"Mother nature is on the warpath. It's armageddon," the publicity kit modestly proclaims. Media previews have described the plot as "scarily plausible". Director Tony Tilse claims the idea of a city running out of water is "basically a true story, but it just hasn't happened yet".
Oh, really? Perhaps what is more scarily plausible is that the producers of the program didn't bother to speak to Sydney Water or the Sydney Catchment Authority before going to air. They would have discovered that even in the worst-case scenario, Sydney already has enough water in its huge network of catchments to meet demand until 2014. The city's new desalination plant will come on line by 2010 and will be able to supply 15 per cent of Sydney's demand, but has been designed to quickly double its capacity to a half-billion litres of water a day.
Scorched is the headline act in a wave of climate porn to hit Australia in coming weeks. In 2006, Britain's Institute for Public Policy Research reviewed media, government and activist reporting of climate change and found it to be confusing, contradictory and chaotic, leaving the public feeling disempowered and uncompelled to act.
Most notable was the tendency to use alarmist language, or climate porn, which offered "a thrilling spectacle but ultimately distances the public from the problem".
Scorched producer Kylie Du Fresne says the telemovie is not meant to be seen as a documentary, but admits "we were interested in blurring the lines between fact and fiction".
A water disaster of this magnitude is like being run over by a steamroller. It's possible, but only if you do nothing. Sydney Water spokesman Brendan Elliott says the plot is "truly a work of fiction".
Given it's Sydney Water's primary job to make sure the city doesn't run out of water in the face of population growth and climate change, it's not surprising they have a range of strategies to keep moving in the face of the steamroller. These include desalination, increased water recycling and increased conservation programs.
Water Services Association chief executive Ross Young says he is concerned the show might spark a wave of panicked callers to water authorities on Monday morning.
"It's very important that the program is clearly labelled a drama and not a documentary," he tells The Australian. "Even though the chances of climate change are significant, there are processes in place to manage the consequences.
"The bottom line is our cities are not going to run out of water."
Climate porn is the latest manifestation of infotainment that flourishes in the no man's land between fiction and nonfiction: dramas loosely based on factual events and the communication of often credible and important ideas and theories sexed up with an extra dose of dramatic licence.
On October 30, 1938, Orson Welles caused panic across the US when he broadcast a dramatisation of the H.G. Wells novel The War of the Worlds. Like Scorched, the radio broadcast used simulated news broadcasts to create an aura of authenticity; some of the program's six million listeners thought there was a Martian invasion in progress.
Climate disaster movies date back to the release of Soylent Green in 1973. The dystopian science-fiction film is set in a severely over-populated and overheated (as a result of climate change) New York in 2022 facing chronic food shortages. Charlton Heston plays a detective who discovers to his horror that the newest food substitute (Soylent Green) is made by reprocessing dead people.
Then in 1995, Kevin Costner starred in the box-office flop Waterworld, a kind of climate-change crisis meets Mad Max movie set in a futuristic Earth where the polar ice caps have melted and the few survivors sail around or live on floating islands, inevitably fighting with each other.
The most explicit climate porn may well be the 2004 blockbuster The Day After Tomorrow. Released two years before Al Gore's An Inconvenient Truth, it grossed 10 times more at the box office. Melting ice sheets and glaciers caused the Altantic Ocean currents to stop suddenly, plunging the entire northern hemisphere into a deep snap-freeze. The film was derided by most climate scientists and highlighted the real problem with creating drama about the effects of climate change: in reality the changes are not sudden, but slow and insidious.
In a review, US paleoclimatologist William Hyde observed: "This movie is to climate science as Frankenstein is to heart transplant surgery."
But even a genuine attempt to explain the science, such as An Inconvenient Truth, sailed close to the wind at times in order to sustain the level of drama in what is basically a 90-minute lecture.
In one example, Gore made much of the devastating impacts of Hurricane Katrina on New Orleans as a portent of increased natural disasters caused by a warming climate.
The main cause of New Orleans' flooding was a poorly maintained system of levees holding back the Mississippi River and surrounding lakes. But holding this aside, scientists are still arguing over whether Gore's claim is actually true. Despite predictions to the contrary, the two subsequent hurricane seasons on the US Atlantic coast were well below average.
Climate porn is not just constrained to the cinema. It is just as pervasive in the written form. One of the pioneers of the genre was US ecologist Paul Ehrlich with the 1968 book The Population Bomb.
Concerns about human overpopulation date back to English economist Thomas Malthus in the 19th century, who observed the exponential growth of the human population and grimly doubted the capacity of agricultural systems to keep pace. "The power of population is so superior to the power of the earth to produce subsistence for man, that premature death must in some shape or other visit the human race," he wrote.
Ehrlich picked up the idea, expanding Malthus's concerns to include the unsustainable consumption of Earth's natural resources and the destruction of the environment.
While Ehrlich was widely regarded as a brilliant young scientist, The Population Bomb was more speculation than science, proposing three grim scenarios for the future, including a food war between China and the US, total nuclear annihilation and, on a more upbeat note, 500 million dying from starvation in the 1970s and '80s, including millions in developed countries.
It was a blockbuster, selling more than three million copies worldwide and catapulting Ehrlich into the public spotlight. On the lecture and interview circuit that followed, Ehrlich's warnings became predictions, bolder and more reckless. He predicted that a billion people might starve to death, including some 65 million Americans by the '80s, and that many key minerals would be nearing exhaustion point by 1985.
Curbing population growth is undoubtedly crucial in solving poverty and fundamental to reducing environmental damage. But while Ehrlich thrilled millions with his portents of doom, none of his headline projections have eventuated. The postwar transformation in global agriculture, known as the green revolution, developed new breeds of grain crops coupled with more targeted fertilisers and pesticides to radically increase yields.
The World Bank estimates the proportion of the world's population living in countries where per-capita food supplies are less than 9200 kilojoules a day has decreased from 56per cent in the mid-'60s to below 10 per cent by the '90s, during which time the world's population increased by more than two billion.
This week, Canadian writer on war and geopolitics Gwynne Dyer is in Australia to launch his latest book, Climate Wars. It's being promoted as "a terrifying glimpse of the none-too-distant future, when climate change will force the world's powers into a desperate struggle for advantage and even survival".
Dyer views the potential impacts of climate change - shifting agricultural production, reductions in freshwater supplies, crashing economies and large population movements - from a military and strategic perspective, and notes that most leading military strategists are already making contingency plans for what might happen later this century. He doesn't pull any punches: on the second page Dyer writes, "there is a probability of wars, including even nuclear wars, if temperatures rise 2 to 3 degrees Celsius".
He then constructs seven scenarios for the future, including the collapse of Europe and anarchy in the subcontinent by 2045, the emergence of a fortified border between the US and Mexico and the rise of eco-terrorism across the world by 2032.
"My background is 30 years in the strategic field and I look at this stuff, and the potential for huge disruption to internal relationships and international relationships to me looks enormous," Dyer tells The Australian.
"There is a range of possibilities here, that's why these scenarios are not mutually independent, each one is a free-floating possibility, and they depend on the amount of change that you have got. But that basically is a question of dates."
Dyer says discussing the consequences of events such as the potential drying out of the Indus River, which is crucial for the Pakistani economy, is important because it is an inevitability if the planet keeps warming.
"I don't imagine people reading this book will be empowered or disempowered to the extent that it will make a whole lot of difference to the balance of outcomes," Dyer tells The Australian.
"I'm not a pessimist. I don't think these are foregone conclusions. We are on a large highway and there are any number of exits off this highway that we could take and avoid the bridge that's out down the road.
"But (there are) no guarantees that any of them will be taken, and further down the highway very bad things will happen if the exits aren't taken."
Matthew Warren is The Australian's environment writer.
BY Christmas Eve in 2012, no rain has fallen in Sydney for more than 200 days and, despite its new desalination plant, the emerald city has run out of drinking water. The effects of climate change have created the conditions for a ring of bushfires that surround the city, but authorities don't have enough water to put them out.
This is the plot synopsis for the Nine Network's new tele-feature experiment called Scorched, which will screen nationally in prime time on Sunday night. Promoters have hailed the production a "major television event" with an all-star cast, fake news broadcasts from authentic Nine newsreaders and a comprehensive supporting website.
"Mother nature is on the warpath. It's armageddon," the publicity kit modestly proclaims. Media previews have described the plot as "scarily plausible". Director Tony Tilse claims the idea of a city running out of water is "basically a true story, but it just hasn't happened yet".
Oh, really? Perhaps what is more scarily plausible is that the producers of the program didn't bother to speak to Sydney Water or the Sydney Catchment Authority before going to air. They would have discovered that even in the worst-case scenario, Sydney already has enough water in its huge network of catchments to meet demand until 2014. The city's new desalination plant will come on line by 2010 and will be able to supply 15 per cent of Sydney's demand, but has been designed to quickly double its capacity to a half-billion litres of water a day.
Scorched is the headline act in a wave of climate porn to hit Australia in coming weeks. In 2006, Britain's Institute for Public Policy Research reviewed media, government and activist reporting of climate change and found it to be confusing, contradictory and chaotic, leaving the public feeling disempowered and uncompelled to act.
Most notable was the tendency to use alarmist language, or climate porn, which offered "a thrilling spectacle but ultimately distances the public from the problem".
Scorched producer Kylie Du Fresne says the telemovie is not meant to be seen as a documentary, but admits "we were interested in blurring the lines between fact and fiction".
A water disaster of this magnitude is like being run over by a steamroller. It's possible, but only if you do nothing. Sydney Water spokesman Brendan Elliott says the plot is "truly a work of fiction".
Given it's Sydney Water's primary job to make sure the city doesn't run out of water in the face of population growth and climate change, it's not surprising they have a range of strategies to keep moving in the face of the steamroller. These include desalination, increased water recycling and increased conservation programs.
Water Services Association chief executive Ross Young says he is concerned the show might spark a wave of panicked callers to water authorities on Monday morning.
"It's very important that the program is clearly labelled a drama and not a documentary," he tells The Australian. "Even though the chances of climate change are significant, there are processes in place to manage the consequences.
"The bottom line is our cities are not going to run out of water."
Climate porn is the latest manifestation of infotainment that flourishes in the no man's land between fiction and nonfiction: dramas loosely based on factual events and the communication of often credible and important ideas and theories sexed up with an extra dose of dramatic licence.
On October 30, 1938, Orson Welles caused panic across the US when he broadcast a dramatisation of the H.G. Wells novel The War of the Worlds. Like Scorched, the radio broadcast used simulated news broadcasts to create an aura of authenticity; some of the program's six million listeners thought there was a Martian invasion in progress.
Climate disaster movies date back to the release of Soylent Green in 1973. The dystopian science-fiction film is set in a severely over-populated and overheated (as a result of climate change) New York in 2022 facing chronic food shortages. Charlton Heston plays a detective who discovers to his horror that the newest food substitute (Soylent Green) is made by reprocessing dead people.
Then in 1995, Kevin Costner starred in the box-office flop Waterworld, a kind of climate-change crisis meets Mad Max movie set in a futuristic Earth where the polar ice caps have melted and the few survivors sail around or live on floating islands, inevitably fighting with each other.
The most explicit climate porn may well be the 2004 blockbuster The Day After Tomorrow. Released two years before Al Gore's An Inconvenient Truth, it grossed 10 times more at the box office. Melting ice sheets and glaciers caused the Altantic Ocean currents to stop suddenly, plunging the entire northern hemisphere into a deep snap-freeze. The film was derided by most climate scientists and highlighted the real problem with creating drama about the effects of climate change: in reality the changes are not sudden, but slow and insidious.
In a review, US paleoclimatologist William Hyde observed: "This movie is to climate science as Frankenstein is to heart transplant surgery."
But even a genuine attempt to explain the science, such as An Inconvenient Truth, sailed close to the wind at times in order to sustain the level of drama in what is basically a 90-minute lecture.
In one example, Gore made much of the devastating impacts of Hurricane Katrina on New Orleans as a portent of increased natural disasters caused by a warming climate.
The main cause of New Orleans' flooding was a poorly maintained system of levees holding back the Mississippi River and surrounding lakes. But holding this aside, scientists are still arguing over whether Gore's claim is actually true. Despite predictions to the contrary, the two subsequent hurricane seasons on the US Atlantic coast were well below average.
Climate porn is not just constrained to the cinema. It is just as pervasive in the written form. One of the pioneers of the genre was US ecologist Paul Ehrlich with the 1968 book The Population Bomb.
Concerns about human overpopulation date back to English economist Thomas Malthus in the 19th century, who observed the exponential growth of the human population and grimly doubted the capacity of agricultural systems to keep pace. "The power of population is so superior to the power of the earth to produce subsistence for man, that premature death must in some shape or other visit the human race," he wrote.
Ehrlich picked up the idea, expanding Malthus's concerns to include the unsustainable consumption of Earth's natural resources and the destruction of the environment.
While Ehrlich was widely regarded as a brilliant young scientist, The Population Bomb was more speculation than science, proposing three grim scenarios for the future, including a food war between China and the US, total nuclear annihilation and, on a more upbeat note, 500 million dying from starvation in the 1970s and '80s, including millions in developed countries.
It was a blockbuster, selling more than three million copies worldwide and catapulting Ehrlich into the public spotlight. On the lecture and interview circuit that followed, Ehrlich's warnings became predictions, bolder and more reckless. He predicted that a billion people might starve to death, including some 65 million Americans by the '80s, and that many key minerals would be nearing exhaustion point by 1985.
Curbing population growth is undoubtedly crucial in solving poverty and fundamental to reducing environmental damage. But while Ehrlich thrilled millions with his portents of doom, none of his headline projections have eventuated. The postwar transformation in global agriculture, known as the green revolution, developed new breeds of grain crops coupled with more targeted fertilisers and pesticides to radically increase yields.
The World Bank estimates the proportion of the world's population living in countries where per-capita food supplies are less than 9200 kilojoules a day has decreased from 56per cent in the mid-'60s to below 10 per cent by the '90s, during which time the world's population increased by more than two billion.
This week, Canadian writer on war and geopolitics Gwynne Dyer is in Australia to launch his latest book, Climate Wars. It's being promoted as "a terrifying glimpse of the none-too-distant future, when climate change will force the world's powers into a desperate struggle for advantage and even survival".
Dyer views the potential impacts of climate change - shifting agricultural production, reductions in freshwater supplies, crashing economies and large population movements - from a military and strategic perspective, and notes that most leading military strategists are already making contingency plans for what might happen later this century. He doesn't pull any punches: on the second page Dyer writes, "there is a probability of wars, including even nuclear wars, if temperatures rise 2 to 3 degrees Celsius".
He then constructs seven scenarios for the future, including the collapse of Europe and anarchy in the subcontinent by 2045, the emergence of a fortified border between the US and Mexico and the rise of eco-terrorism across the world by 2032.
"My background is 30 years in the strategic field and I look at this stuff, and the potential for huge disruption to internal relationships and international relationships to me looks enormous," Dyer tells The Australian.
"There is a range of possibilities here, that's why these scenarios are not mutually independent, each one is a free-floating possibility, and they depend on the amount of change that you have got. But that basically is a question of dates."
Dyer says discussing the consequences of events such as the potential drying out of the Indus River, which is crucial for the Pakistani economy, is important because it is an inevitability if the planet keeps warming.
"I don't imagine people reading this book will be empowered or disempowered to the extent that it will make a whole lot of difference to the balance of outcomes," Dyer tells The Australian.
"I'm not a pessimist. I don't think these are foregone conclusions. We are on a large highway and there are any number of exits off this highway that we could take and avoid the bridge that's out down the road.
"But (there are) no guarantees that any of them will be taken, and further down the highway very bad things will happen if the exits aren't taken."
Matthew Warren is The Australian's environment writer.
Monday, August 11, 2008
Aunty puts five new channels online, by Miriam Steffens - The Sydney Morning Herald - 24th July 2008
ABC viewers can now watch television online, with the launch of an internet platform that streams five new ABC channels onto computer screens.
The service, called ABC iView, enables viewers to catch up on some popular programs they might have missed and to watch the latest news bulletins.
It also has a children's cartoon channel, a documentary channel and ABC Arts, with At The Movies, Painting Australia and other programs.
The digital push is designed to increase the ABC's audience. Its managing director, Mark Scott, said he wants to triple the broadcaster's number of TV stations and radio services over the next 12 years to increase Australian content and cement Aunty's place in the digital media age.
The ABC's head of television, Kim Dalton, said: "As Australians spend more time online and increasingly get some of their entertainment and information via broadband, we want the ABC to be there."
The network's existing stations, ABC1 and ABC2, are not streamed online, and it previously offered downloads of only some of its most popular programs.
iView, which is modelled on the BBC's iPlayer service, is available to households with a high-speed broadband connection.
The site delivers full-screen content through an in-built video player, so users can watch the channels or select programs and create their own TV schedule.
The service is free, but there are hidden costs. Program streaming guzzles up internet bandwidth, so viewers could breach their download limits and be charged extra fees by internet service providers.
Mr Dalton said the ABC was "very aware" of the problem and would warn users of the file sizes they were about to watch.
He said the broadcaster was trying to convince internet providers to exclude ABC channels from download limits and by last night iiNet had agreed.
(Credit: Fairfax)
Media Man Australia Profiles
ABC
Media Companies
Television
The service, called ABC iView, enables viewers to catch up on some popular programs they might have missed and to watch the latest news bulletins.
It also has a children's cartoon channel, a documentary channel and ABC Arts, with At The Movies, Painting Australia and other programs.
The digital push is designed to increase the ABC's audience. Its managing director, Mark Scott, said he wants to triple the broadcaster's number of TV stations and radio services over the next 12 years to increase Australian content and cement Aunty's place in the digital media age.
The ABC's head of television, Kim Dalton, said: "As Australians spend more time online and increasingly get some of their entertainment and information via broadband, we want the ABC to be there."
The network's existing stations, ABC1 and ABC2, are not streamed online, and it previously offered downloads of only some of its most popular programs.
iView, which is modelled on the BBC's iPlayer service, is available to households with a high-speed broadband connection.
The site delivers full-screen content through an in-built video player, so users can watch the channels or select programs and create their own TV schedule.
The service is free, but there are hidden costs. Program streaming guzzles up internet bandwidth, so viewers could breach their download limits and be charged extra fees by internet service providers.
Mr Dalton said the ABC was "very aware" of the problem and would warn users of the file sizes they were about to watch.
He said the broadcaster was trying to convince internet providers to exclude ABC channels from download limits and by last night iiNet had agreed.
(Credit: Fairfax)
Media Man Australia Profiles
ABC
Media Companies
Television
Monday, July 28, 2008
Foxtel chief opens up his cupboard of channels, by Miriam Steffens - The Sydney Morning Herald - 26th July 2008
FOXTEL'S chief executive, Kim Williams, has indicated the pay TV operator will report solid results for 2007-08 but the slowing economy has dampened consumer spending.
"Foxtel has performed well over the past year, although it hasn't been easy," Mr Williams told a business luncheon in Melbourne yesterday.
"Clearly the impact of high interest rates and rising petrol and food prices, and exuberant demand over the last few years causing rises in inflation, have affected consumer confidence and spending."
Foxtel - which is owned by Telstra, News Corp and Consolidated Media Holdings - is banking on new high-definition channels and its latest personal digital recorder, iQ2, to retain customers and keep up its growth rates after exceeding a milestone of 1.5 million subscribers this year.
But its churn rate, which indicates contract cancellations, jumped from less than 12 per cent in 2006-07 to 13.5 per cent in the first half of the financial year just gone, sparking concern that higher interest rates and petrol costs were taking their toll. ABN Amro has estimated Foxtel's subscriptions will be up 8 per cent in 2007-08, down from 14 per cent growth in the year before.
The success of the iQ2, which has been taken up by more than 22,000 subscribers since its launch last month, has helped to boost the share of Foxtel customers using a personal digital recorder (PDR) to more than 24 per cent and would take it past 30 per cent by the end of the year, Mr Williams said.
Firing another salvo at the Seven Network, whose rival recorder, TiVo, will go on sale on Tuesday, he said Foxtel called Seven's device a "Mother Hubbard PDR box" because "when you look inside it's pretty bare", providing just the free-to-air channels compared with more than 150 channels on pay TV.
The Foxtel boss repeated his calls on the Rudd Government to abolish rules governing sports coverage that favoured the free-to-air networks, urging it to employ a "use it or lose it" rule, allowing sporting events that aren't shown by the free-to-airs to be taken off the anti-siphoning list so that they can be bought by the highest bidder.
The Government is reviewing the anti-siphoning list over the next 18 months.
Media Man Australia Profiles
News Corp
Foxtel
"Foxtel has performed well over the past year, although it hasn't been easy," Mr Williams told a business luncheon in Melbourne yesterday.
"Clearly the impact of high interest rates and rising petrol and food prices, and exuberant demand over the last few years causing rises in inflation, have affected consumer confidence and spending."
Foxtel - which is owned by Telstra, News Corp and Consolidated Media Holdings - is banking on new high-definition channels and its latest personal digital recorder, iQ2, to retain customers and keep up its growth rates after exceeding a milestone of 1.5 million subscribers this year.
But its churn rate, which indicates contract cancellations, jumped from less than 12 per cent in 2006-07 to 13.5 per cent in the first half of the financial year just gone, sparking concern that higher interest rates and petrol costs were taking their toll. ABN Amro has estimated Foxtel's subscriptions will be up 8 per cent in 2007-08, down from 14 per cent growth in the year before.
The success of the iQ2, which has been taken up by more than 22,000 subscribers since its launch last month, has helped to boost the share of Foxtel customers using a personal digital recorder (PDR) to more than 24 per cent and would take it past 30 per cent by the end of the year, Mr Williams said.
Firing another salvo at the Seven Network, whose rival recorder, TiVo, will go on sale on Tuesday, he said Foxtel called Seven's device a "Mother Hubbard PDR box" because "when you look inside it's pretty bare", providing just the free-to-air channels compared with more than 150 channels on pay TV.
The Foxtel boss repeated his calls on the Rudd Government to abolish rules governing sports coverage that favoured the free-to-air networks, urging it to employ a "use it or lose it" rule, allowing sporting events that aren't shown by the free-to-airs to be taken off the anti-siphoning list so that they can be bought by the highest bidder.
The Government is reviewing the anti-siphoning list over the next 18 months.
Media Man Australia Profiles
News Corp
Foxtel
Thursday, July 24, 2008
Future may rest with the old school, by Will Brodie - The Age - 24th July 2008
So, one fine day soon we will be able to watch exactly what we want on TV. Thanks to impending technological advances, our living-room TV will act like a computer, letting us access an almost limitless array of visual material. Think YouTube in your living room.
You will be able to satisfy your compulsion to see the innovative, misunderstood final episodes of Chances or that perfect last quarter your team played a decade ago.
Someone somewhere will share your kooky tastes and possess the weird media fossil you covet. The brave new media ecology of audience-driven megadistribution, and, god forbid, maybe even high-speed broadband access, will get it for you, pronto. Search and play. Bless them, the web's subversive, anti-corporate, open-source, peer-to-peer, file-sharing, radical do-gooders.
Television's exact future is unpredictable because of the proliferation of competing options for its delivery. Media companies are striving to ensure the content they pay for continues to generate revenue. Committed individuals and foundations are decentralising content sharing so that no one entity can control access to programs. The audience is sharing shows with as much glee (and disdain for copyright) as they did with music and short video clips.
The idealist, cheapskate, lazy everyman and anarchist are strangely aligned against those who would restrict programming. But the enemy is also the provider of much of the planet's most beloved content. The only thing agreed on universally is that future delivery models will have to maximise choices and access for viewers.
But what of the sports fan? If you are into curling or caber tossing, you will have greater access to material of interest. But for fans of major sports, traditional networks will continue to provide live programming.
The infrastructure and expertise necessary to broadcast a sport like footy from a major stadium is limited to the established operators whose future prosperity may depend on specialising in such live events as news and mainstream sport. Most useful innovations for viewers, if and when they finally reach these shores, will be opening up access to already completed programs.
In the short-term, rabid AFL fans who like to rush home after a good win to soak in the televised version of their team's triumph may find Foxtel's set-top box, which enables you to record and play back live events, a useful if expensive option.
But, on the whole, we will remain at the mercy of programmers.
The recently departed and much mourned Fox Footy Channel was the historical high-water mark of AFL coverage. Diehard fans are now not nearly as spoilt. Live coverage remains excellent on Foxtel but recent replays were disfigured by brutal and clumsy editing into 90-minute highlight packages and they are no longer as conveniently scheduled. Bonus programs that really mattered, such as Jason Bennett's wonderful Headliners series, are no more.
I want to see the matches in full, first and foremost. I would settle for fewer panel discussions featuring newspapermen rehashing what they wrote in their columns and discussed on their radio spots. But others love those shows. The beauty of the telecommunications future is that more people's desires will be met. Sub-cultures will presumably thrive and variety and diversity will flourish.
All the same, it seems the more technologically connected people become, the more they feel the urge to congregate publicly. Live sport is booming and if people can't attend, they watch on TV, in numbers still relevant to advertisers.
Modern sports coverage is a lot more comprehensive than a generation ago. Compare the number of cameras and statistics in any footy telecast to Channel Seven's Big League from the 1970s. There are so many advances we take for granted.
But modern media consumers are fussy. They pay a lot, expect a lot and know overseas consumers get better services.
Already Australians with broadband sit at their computer more than in front of their TV. We are among the world's most enthusiastic users of bit-torrents, which enable the downloading of films and TV shows. Australians embrace whatever changes come.
AFL fans, however, should be wary about what they wish for in this evolving broadcast environment. Our clubs, and our sport, rely to an alarming extent on the need for traditional networks to broadcast popular mainstream sports.
Many things are going to change, soon, but those of us who love a one-nation sport that relies on a network television industry facing a revolution might be advised to put up with some shortcomings and count our blessings.
Media Man Australia Profiles
Foxtel
Television
Media Companies
You will be able to satisfy your compulsion to see the innovative, misunderstood final episodes of Chances or that perfect last quarter your team played a decade ago.
Someone somewhere will share your kooky tastes and possess the weird media fossil you covet. The brave new media ecology of audience-driven megadistribution, and, god forbid, maybe even high-speed broadband access, will get it for you, pronto. Search and play. Bless them, the web's subversive, anti-corporate, open-source, peer-to-peer, file-sharing, radical do-gooders.
Television's exact future is unpredictable because of the proliferation of competing options for its delivery. Media companies are striving to ensure the content they pay for continues to generate revenue. Committed individuals and foundations are decentralising content sharing so that no one entity can control access to programs. The audience is sharing shows with as much glee (and disdain for copyright) as they did with music and short video clips.
The idealist, cheapskate, lazy everyman and anarchist are strangely aligned against those who would restrict programming. But the enemy is also the provider of much of the planet's most beloved content. The only thing agreed on universally is that future delivery models will have to maximise choices and access for viewers.
But what of the sports fan? If you are into curling or caber tossing, you will have greater access to material of interest. But for fans of major sports, traditional networks will continue to provide live programming.
The infrastructure and expertise necessary to broadcast a sport like footy from a major stadium is limited to the established operators whose future prosperity may depend on specialising in such live events as news and mainstream sport. Most useful innovations for viewers, if and when they finally reach these shores, will be opening up access to already completed programs.
In the short-term, rabid AFL fans who like to rush home after a good win to soak in the televised version of their team's triumph may find Foxtel's set-top box, which enables you to record and play back live events, a useful if expensive option.
But, on the whole, we will remain at the mercy of programmers.
The recently departed and much mourned Fox Footy Channel was the historical high-water mark of AFL coverage. Diehard fans are now not nearly as spoilt. Live coverage remains excellent on Foxtel but recent replays were disfigured by brutal and clumsy editing into 90-minute highlight packages and they are no longer as conveniently scheduled. Bonus programs that really mattered, such as Jason Bennett's wonderful Headliners series, are no more.
I want to see the matches in full, first and foremost. I would settle for fewer panel discussions featuring newspapermen rehashing what they wrote in their columns and discussed on their radio spots. But others love those shows. The beauty of the telecommunications future is that more people's desires will be met. Sub-cultures will presumably thrive and variety and diversity will flourish.
All the same, it seems the more technologically connected people become, the more they feel the urge to congregate publicly. Live sport is booming and if people can't attend, they watch on TV, in numbers still relevant to advertisers.
Modern sports coverage is a lot more comprehensive than a generation ago. Compare the number of cameras and statistics in any footy telecast to Channel Seven's Big League from the 1970s. There are so many advances we take for granted.
But modern media consumers are fussy. They pay a lot, expect a lot and know overseas consumers get better services.
Already Australians with broadband sit at their computer more than in front of their TV. We are among the world's most enthusiastic users of bit-torrents, which enable the downloading of films and TV shows. Australians embrace whatever changes come.
AFL fans, however, should be wary about what they wish for in this evolving broadcast environment. Our clubs, and our sport, rely to an alarming extent on the need for traditional networks to broadcast popular mainstream sports.
Many things are going to change, soon, but those of us who love a one-nation sport that relies on a network television industry facing a revolution might be advised to put up with some shortcomings and count our blessings.
Media Man Australia Profiles
Foxtel
Television
Media Companies
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