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The Ratings Thread (Part 68) |
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#2051 |
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Nice- The Guardian are on the ball with the video uploads this year! Full sessions from yesterday's TV Festival now online...
Meet the Controller - Charlotte Moore (BBC One) https://www.youtube.com/watch?v=H3PdU7UDToU Meet the Controller - Jay Hunt (Channel 4) https://www.youtube.com/watch?v=mp1ggTOJOz0 Meet the Controller - Rosemary Newell (ITV Digital) https://www.youtube.com/watch?v=VZH8ssmvcUA Enjoy.
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#2052 |
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Quote:
Nice- The Guardian are on the ball with the video uploads this year! Full sessions from yesterday's TV Festival now online...
Meet the Controller - Charlotte Moore (BBC One) https://www.youtube.com/watch?v=H3PdU7UDToU Meet the Controller - Jay Hunt (Channel 4) https://www.youtube.com/watch?v=mp1ggTOJOz0 Meet the Controller - Rosemary Newell (ITV Digital) https://www.youtube.com/watch?v=VZH8ssmvcUA Enjoy. ![]() |
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#2053 |
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Quote:
Is there a Ben Frow one?
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#2054 |
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It's taking place at the moment, so I'd imagine they'll upload it tomorrow.
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#2055 |
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Even the marketing team at Channel 5 are getting confused by the scheduling, they are now promoting their new 'Secrets of the SAS' series as starting this Bank Holiday Monday at 9pm when it doesn't actually start until the following Monday. They recently screwed up promoting their V Festival coverage, by saying it would include the headliners Rihanna and Bieber when it didn't. I hope they get their act together soon.
On the plus side, ratings for 5STAR and 5USA should be improved by the recent changes on Freeview. Spike has some solid programming coming up too, so it's establishing itself. |
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#2056 |
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Has Channel of the Year been announced yet?
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#2057 |
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Has Channel of the Year been announced yet?
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#2058 |
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Thanks. Just watching Jay Hunt's at the moment.
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#2059 |
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#2060 |
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Ben Frow's is great. Apparently 5* and Spike are aiming to have their own commissioned content on the air by Q1 2017. And another interesting bit: "I wish Love Island hadn't started 2 weeks ahead of this summer's Big Brother. In retrospect that was a big problem for us."
Wildman: Extreme Adventurer starts soon on Spike, it looks like an original programme. |
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#2061 |
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5STAR already does: Strip Date, Sex Pod, 100% Hotter, When Kids Kill so far with a few new documentaries coming up.
Wildman: Extreme Adventurer starts soon on Spike, it looks like an original programme. |
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#2062 |
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Sorry, meant to say scripted content. I was writing notes furiously to try to keep up with him!
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#2063 |
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That's my sneaking suspicion, too. On paper, at least: based on what we've seen, I don't think Coleman has the technique or star power of a lead actor, and the script is by someone who's never written a primetime drama series before (or indeed appears to have any screenplay credits).
Then again, I could be pleasantly surprised and wrong on both those counts …! ![]() |
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#2064 |
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Ah, now that is interesting. They don't have much scripted content on the main channel so to be doing it on the spin-offs too is a surprise.
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#2065 |
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Didn't think much of the leaders debate this time around. Bit of a wasted opportunity with few topics of real interest and they spent too long on certain subjects.
I did laugh out loud a few times at Kevin Lygo, though. Especially his line on Versailles! And it was interesting to hear him so relaxed about scheduling clashes with the BBC than was the case with his predecessor, a bit of a difference from a year ago when Fincham and Cohen had a rather more heated exchange on the matter. On the specific case discussed, I do agree that Poldark and Victoria should be able to co-exist there and both should be ratings successes; that's the great thing about that Sunday 9pm slot, there's so many viewers out there looking for drama, and we've seen similar dramas co-exist quite happily in that slot on the big two before. But at the same time, it's a pity it couldn't have been avoided and maybe the newer show won't realise its full potential which is disappointing for ITV as I'm sure spending as much money as they have on it would have hoped for a slot that would pose as few problems as possible. I can fully understand his point about it not being practical to "run away" from Poldark though, even if that was his want, as then he'd have a gaping hole in the schedule that wouldn't be at all easy to fill, so you've just got to let it play out and have faith in the content winning out which I'm sure it will if it's as good as it looks. |
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#2066 |
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As far as I can think, he said he wanted Spike to have lots more original content because it's got a certain brand behind it that can experiment with formats in the way the main channel can't. Lip Sync Battle UK was originally piloted for Spike but they put it on the main channel after responding well to the pilot.
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#2067 |
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As far as I can think, he said he wanted Spike to have lots more original content because it's got a certain brand behind it that can experiment with formats in the way the main channel can't. Lip Sync Battle UK was originally piloted for Spike but they put it on the main channel after responding well to the pilot.
Perhaps also what shaped the decision on Lip Sync Battle was the fact that the U.S. version didn't land all that well on that channel - indeed the second run on Comedy Central, which is obviously a pay channel, ended up being more successful than the original FTA run, which even taking into account the fact that Spike isn't on cable yet tended to suggest the brand wasn't right for it. Surprising when it does so well for Spike in the U.S., but the UK is a very different market and I think the audience expectation of Spike in this country is rather different. it should probably be looking to be more like the long defunct Bravo channel in terms of the audience it targets and the types of commission it goes for, but with a bigger budget ideally. |
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#2068 |
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Must admit I enjoyed that they actually stuck up for each other. They're 5 of the most powerful people in TV and it's good to see that they actually realise the issues they all face (e.g. 58 people complaining about a show with an audience of millions but the media reporting it like every single person complained) and the fact that it's one show out of hundreds of hours of programming.
Nice to see them all supporting stuff like Naked Attraction as well. Of course it's not going to be something for primetime BBC1, but Channel 4 has a duty to be daring and different, it's written in their DNA. To me, Naked Attraction is just like The Tube and The Word were. Different, daring, controversial. |
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#2069 |
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Interesting stuff.
Perhaps also what shaped the decision on Lip Sync Battle was the fact that the U.S. version didn't land all that well on that channel - indeed the second run on Comedy Central, which is obviously a pay channel, ended up being more successful than the original FTA run, which even taking into account the fact that Spike isn't on cable yet tended to suggest the brand wasn't right for it. Surprising when it does so well for Spike in the U.S., but the UK is a very different market and I think the audience expectation of Spike in this country is rather different. it should probably be looking to be more like the long defunct Bravo channel in terms of the audience it targets and the types of commission it goes for, but with a bigger budget ideally. |
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#2070 |
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I'm surprised they renewed Borderline for another series, I'm guessing they think it can grow
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#2071 |
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Ben Frow's is great. Apparently 5* and Spike are aiming to have their own commissioned content on the air by Q1 2017. And another interesting bit: "I wish Love Island hadn't started 2 weeks ahead of this summer's Big Brother. In retrospect that was a big problem for us."
Interesting about 5* and Spike though, |
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#2072 |
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Anyone know why 5 have never had another go at a soap after Family Affairs? Is it due to them buying the rights to Neighbours instead? A soap could be a hit if it aired at 5pm when it's all quiz shows. Plus, done correctly, it could be cheaper per episode than Neighbours. I'm sure they'll look into that though when the contract's up.
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#2073 |
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I'm surprised they renewed Borderline for another series, I'm guessing they think it can grow
But at the same time, I think the viewers sent a clear message and as controller you have to accept their verdict and move on. Being creative should not mean backing stinkers that bring in only miniscule audiences just to be able to say you've done something. And indeed what have you achieved if the thing in question is so incredibly low-profile that nobody notices that you've done that thing anyway! Plus it seems bafflingly inconsistent to shift an import doing around 500,000 mid-run to a digital channel, only to later recommission an original doing just 300,000. Far better surely to learn the lessons from Borderline; what viewers liked and didn't like, and channel that information into finding something that bit stronger, that has a fighting chance of being both creative and also relevant to the C5 audience. Rather than bringing back a dud, only for it to sit there in the schedule doing not very many viewers at all, and not achieving anything other than boosting rival channels. It's a waste of time and doesn't change perceptions of the channel either because even the critics won't be all that interested. I know the point could be argued that some of C4's major returning comedies at the moment didn't start off too cleverly either - but I think they all showed considerable more promise than Borderline has. It's done nothing to suggest it's worth persevering with at all so the fact that they are suggests they are already admitting defeat in the battle to find an original scripted hit, which is pretty sad. If you're not going to have a good go at something, you'll never know, and this hardly constitutes that. Would it kill them to look at something scripted, and try to get some noteworthy talent attached to it? Or do they only want to contribute in this genre if it involves spending as little money as possible, in which case they're always going to be on the backfoot and unlikely to ever find a breakthrough? Seems to me like the latter is true. |
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#2074 |
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Interesting facts on the Leaders Debate, average age who watch the channels:
BBC1/2- 62 years old ITV- 60 years old CH4- 55 years old E4- 42 years old CH5- 58 years old I was stunned by this. And they always harp on about 16-34 being so important but they seem impossible to achieve, I honestly thought C4 would be around 33, CH5 around 29 and E4 around 25. BBC1/2 doesn't surprise me, i thought ITV would be much younger too. ![]() Also 3m of the 10.4m who watched GBBO were 16-34 which is incredible for BBC. |
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#2075 |
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Shocking call, it has to be said. For all the good that Frow has done for Five, and despite what some on here may say he has done an awful lot of good, I hate this stubbornness he has to accept when something doesn't work just because it ticks a certain box he wants to be ticked. I know they made a lot of noise about this one with quite a big press launch, and a fair amount of marketing, etc. And perhaps it may feel embarrassing to knock something on the head immediately that you've made such a song and dance about. I'm sure also that when Frow scheduled it on a Tuesday night at 10:00 over the summer he did not expect great figures, even with a Celebrity Big Brother lead-in. Especially the episodes that faced the Olympics coverage.
But at the same time, I think the viewers sent a clear message and as controller you have to accept their verdict and move on. Being creative should not mean backing stinkers that bring in only miniscule audiences just to be able to say you've done something. And indeed what have you achieved if the thing in question is so incredibly low-profile that nobody notices that you've done that thing anyway! Plus it seems bafflingly inconsistent to shift an import doing around 500,000 mid-run to a digital channel, only to later recommission an original doing just 300,000. Far better surely to learn the lessons from Borderline; what viewers liked and didn't like, and channel that information into finding something that bit stronger, that has a fighting chance of being both creative and also relevant to the C5 audience. Rather than bringing back a dud, only for it to sit there in the schedule doing not very many viewers at all, and not achieving anything other than boosting rival channels. It's a waste of time and doesn't change perceptions of the channel either because even the critics won't be all that interested. I know the point could be argued that some of C4's major returning comedies at the moment didn't start off too cleverly either - but I think they all showed considerable more promise than Borderline has. It's done nothing to suggest it's worth persevering with at all so the fact that they are suggests they are already admitting defeat in the battle to find an original scripted hit, which is pretty sad. If you're not going to have a good go at something, you'll never know, and this hardly constitutes that. Would it kill them to look at something scripted, and try to get some noteworthy talent attached to it? Or do they only want to contribute in this genre if it involves spending as little money as possible, in which case they're always going to be on the backfoot and unlikely to ever find a breakthrough? Seems to me like the latter is true. |
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And it was interesting to hear him so relaxed about scheduling clashes with the BBC than was the case with his predecessor, a bit of a difference from a year ago when Fincham and Cohen had a rather more heated exchange on the matter. 