Being a sports fan is an expensive habit. Ticket prices for games are sky high – WRU tickets recently tipped the £100 mark for the first time in the organisation’s history. So, it’s not surprising most of us will prefer to tune in at home to indulge our habits. There has never been more choice for viewers and the amount of sport being broadcast is the best it’s ever been.
As a women in sport, I couldn’t be more excited to see how accessible hockey has become on TV in the past few years following Olympic success. Not to mention being able to watch the thrilling England Netball Commonwealth campaign from the comfort of iPlayer last month.
Sports broadcasting is a complicated landscape however. With streaming rights for certain leagues often split across multiple broadcasters – these days you need a Sky Sports subscription to watch the Premier League, BT Sport to watch the Aviva Premiership and Amazon Prime if you want to watch the NFL. And that’s not even taking some of the more obscure platforms into consideration. My Netball Live subscription is the best £13 investment I’ve made this year – and currently the only option in the UK for watching the professional Suncorp Super Netball from Australia.
‘Netflix for Sports’
There’s no one size fits all subscription package for the ultimate sport fan. Consumers have been crying out for a ‘Netflix for Sports’ for a long time, and there’s a very good reason it’s yet to materialise. Sport is a prolific business, and the cost for live streaming rights is at a premium. The Premier League is the biggest prize in British sport broadcasting, and Sky recently signed a £3.6bn deal to air the majority of the games for the next 3 seasons.
When you consider Netflix paid a record £100m in production costs for the first series of global drama The Crown – it puts the cost of multiple sport rights in context. Sky paid a golden sum for the Premier League, and it’s still not an exclusive deal.
That’s not to say sport isn’t attracting the big tech players. Amazon recently paid a reported $50million for the rights to stream 11 NFL games this season. A package the digital giant managed to win over rival Twitter. And niche markets such as esports have long been reaching their audiences through digital platforms such as Facebook and Twitch.
There are exciting ripples of movement over the pond towards a ‘Netflix for Sports’ format, from the likes of ESPN and CBS. I for one am interested to see how the pay-per-game format of Turner’s Bleacher Report Live will pay off, as it brings together a variety of sports under one model.
But much has to be said about the impact of multiple broadcasting packages from leagues in all this. Live TV broadcast, digital streaming rights, highlight packages, near-live broadcast and goal-clips for the same league are all being sold separately. As a result, there’s so much more content than ever before being auctioned to the highest bidder.
With Sky Sports and BT recently reaching a content-sharing agreement on the Premier League, there appears to be some level of consolidation of rights. So while we might not be ready for an all-encompassing ‘Netflix for Sport’ just yet – change may just be on the horizon.
By Abi Williams, Account Manager, Franklin Rae
Industry events are a great platform to raise your corporate profile among key audiences and tell your story in your own words. So, what does it take to get up on stage and be part of the conversation? Adam Webb, Senior Content Manager at IBC tells us what makes a great panel discussion.
Most of us have been there, at an event, watching a panel discussion, interview or keynote and just wishing it would end. But what makes a panel engaging, informative or entertaining? And what makes you regret the time and money you’ve invested to attend?
Turning failure on its head
A good panel shouldn’t be a glorified sales pitch – the audience can see straight through that and instantly disengages. In my experience, having also overseen the programme at the Edinburgh International TV Festival, delegates don’t want to sit through an hour of self-satisfied smugness where people just talk about their successes and achievements. Of course, the reason they’re on the panel is because they are a leader in their field and have achieved success, but it’s vital to drill down further into their story.
Each panel topic will come with a different set of questions. But for a TV show masterclass for example, it’s important to also delve into areas around failure; was there a moment they felt out of their depth? What would they have done differently? How do they deal with negative reviews? Exploring questions around overcoming failure provides a much more rewarding experience for anyone watching.
Keeping it diverse
At IBC, we critique every speaker to make sure they justify their place on a panel debate, masterclass or case study. Will they offer an opinion that hasn’t been heard before? Are they going to be open enough to offer real insight? It’s vital that anyone watching will leave feeling satisfied they’re getting ROI. We’re also keen to make sure the line-up is fresh, forward facing and diverse.
Rightly so it’s becoming increasingly difficult to justify male only panels, often those events that end up with 5 men on stage lead to an awkward apology from an embarrassed chair, which is met with a ripple of raised eyebrows from members of the audience. We’ve made it our mission to aim for a 50/50 male/female split this year. We’re currently on target with Lindsay Pattison, Chief Transformation Officer, GroupM and WPP Global, Jette Nygaard-Andersen, EVP, CEO of MTG International Entertainment and Lisa Tobin, Executive Producer, Audio at The New York Times, just some of the women joining a brilliant line-up.
Setting quotas is just part of the solution when aiming for more diversity on stage. If you’re the type of person that recoils in horror at the thought of getting up in front of an audience, you might be just the kind of person people would relish hearing from. For too long conferences and events have played it lazily safe by recruiting the same seasoned speakers. Go to any number of events on the same theme and you’re likely to see the same old faces on stage.
Getting involved in an event like IBC is a great way to speak directly to an audience, giving you the opportunity to tell your story in your own words or offer insight and knowledge in an area of expertise. The more people that put themselves up for these experiences and are brave enough to offer honest insight, the more diverse stories are heard from the widest possible pool of voices – and the less yawns from the audience.
The IBC Conference 2018 is taking place in Amsterdam, 13th – 17th September
This month, we speak to veteran TV journalist Andy Fry ahead of MIPTV to hear what everyone’s talking about in the build up to market.
What are you writing about at the moment?
At the moment I’m mainly writing about subjects related to MIPTV in Cannes. But, being freelance means I have to spread my net quite widely so I’ve also been doing stuff in areas like travel, sponsorship and sports marketing. There’s much more of a sense these days that you need to be writing reports, moderating, consulting and so on to make a living.
What are the headlines everyone’s talking about at the moment?
The issue of female representation on screen is a big story right now. There’s lots of interesting looking dramas that have strong female characters, though still some work to be done with getting women into writing and directing roles. Drama, as always, is also a big talking point – especially with the launch of the new Cannes Series event which will showcase great non-English drama from around the world. Broadcast has also got me doing an interesting piece about entertainment programming based on a round table discussion – definitely a feeling there that drama is being paid too much attention by the trade media and critics.
What is your biggest frustration as a journalist?
The two extremes; 1) organisations that don’t engage at all because they don’t think they need the media. Generally in my experience that leads to problems for them in the long run. 2) Organisations that micromanage the process – questions up front, lots of PR execs involved, requests to see copy, questions about who else is being interviewed. It takes forever and makes you dread dealing with them again in future. But, don’t get me wrong good PRs are amazingly useful.
What are you watching at the moment?
Save Me on Sky, which is really good. I love Lennie James and hope he goes on to win some awards. I’m juggling it with Born To Kill (C4 drama last year) and just finished Peaky Blinders series 4, which was brilliantly back on form after a slightly wayward series 3. Jack Thorne’s Kiri was thought-provoking and for a lighter mood I am watching The Durrells with my wife, which immediately gets me looking at travel websites. I occasionally get sucked into First Dates by my wife and daughters. My son and I tore through the exceptional Silicon Valley and are now bonding over Mr Robot.
It’s the busiest time of the year for the TV industry. And our press office is no exception! Everyone wants to make an impact at market and we’ve been busy doing just that for our clients, announcing some of the biggest deals that happened at MIPCOM. Here’s what we’ve been working on:
Shellhut and Tiny Island Pictures sign record 10 feature film MOU with Shanghai Media Group’s Wingsmedia
The biggest animation film cooperation deal took place between Thailand’s Shellhut Entertainment and Singapore’s Tiny Island Productions earlier this month. Both companies signed on a 10-feature film co-production with MOU and WingsMedia, a member of Oriental Pearl Group and Shanghai Media Group. Valued at an estimated USD$250 million, this is the first ever China-Singapore-Thailand animation co-production! Following a buzzing press conference at MIPCOM, news of the deal was covered in Variety, C21, MIP Daily, The Hollywood Reporter, Content Asia, Animation magazine to name but a few.
Komixx secures worldwide rights to Wattpad sensation ‘Captured’ by Kelly Anne Blount
Independent film and TV producer, Komixx Entertainment announced it has optioned the worldwide screen rights to electrifying young adult thriller novel Captured; the debut novel from award winning author Kelly Anne Blount with more than 15.6 million reads worldwide on Wattpad. Captured builds on Komixx’s reputation as a leading producer of exciting YA TV and film adaptations internationally. With the announcement featuring prominently in The Bookseller, C21, Variety and the Variety newsletter on the first day of MIPCOM – Komixx is fast becoming known as the leader in identifying content to surprise the YA generation.
Talesmith explores the history of Earth in spectacular new documentary for ZEEL and Smithsonian Channel
High-end, specialist factual production company Talesmith has been commissioned by Zee Entertainment Enterprises LTD (ZEEL) and Smithsonian Channel to produce the incredible Life of Earth: From Space and Life of Earth: The Age of Humans. A world-first collaboration between Talesmith, ZEEL and the Smithsonian Channel – this spectacular two-hour 4K/UHD feature documentary delves into the planet’s extraordinary 4.5 billion-year old history as never seen before. With coverage in the MIP Daily, Realscreen, C21, TBI, Worldscreen and TV Asia – this was one announcement making history at MIPCOM.
Smithsonian channel™ renews hit series ‘America in Color’ from Arrow Media
Arrow Media has been re-commissioned to produce six new hour-long episodes of its hit series America In Color by the Smithsonian Channel. The series, which first premiered in July, presents iconic moments in U.S. history as never seen before – using artistry, an expert colorizing team and cutting-edge technology to transform black-and-white films and photographs into vibrant 4K color. The announcement appeared in Televisual, Realscreen and C21 at an important time during the market to help Arrow make an impact.
Channel 5 orders second season of Naked Entertainment’s ‘Celebrity 100% Hotter’
London-based Naked Entertainment, the production company creating bold, innovative factual and entertainment programming, chose MIPCOM to announce its extreme-make-under format 100% Hotter has been commissioned by Channel 5 for a second celebrity spin-off series. Following the success of the first series, which almost doubled the broadcaster’s primetime average among 16-34 year olds, the four hour-long episodes will air in January 2018. C21, Worldscreen and Realscreen all covered the news with enthusiasm!
TV Azteca and Keshet International join forces in scripted co-development deal for Mexico market
Keshet International announced a scripted deal to co-develop and produce a new original Spanish-language super series (60 episodes) to air on TV Azteca. The series will be developed under the KI banner and co-produced in house with TV Azteca and set to launch in 2018. Keshet International will distribute the series globally. With widespread coverage across the board in Variety, Rapid TV News, Hollywood Reporter, Deadline, Worldscreen, TBI and C21 – the news comes during a period of tremendous growth for KI in Latin America.
Until next year MIPCOM…
At Franklin Rae, we’re passionate about championing and promoting diversity in all forms across the international TV industry. The issue is very close to our hearts. And we’re thrilled to be official partners for the inaugural Diversify TV Excellence Awards at MIPCOM in Cannes this October.
Created by Diversify TV, a pressure group co-founded by Scorpion TV Managing Director, David Cornwall; All3Media International’s Nick Smith; Little Black Book CEO, Bunmi Akintonwa; and Reed MIDEM’s Liliane Da Cruz; the Diversify TV Awards aim to recognise productions that celebrate diversity, equality and inclusion on the small screen.
And who better than Sir Lenny Henry to lend his support. An instrumental voice in raising awareness around the lack of diverse representation on and off screen. He has long been at the forefront of campaigns to make British broadcasters address issues of diversity, and this year Sir Lenny Henry will deliver a keynote address at MIPCOM to coincide with the inaugural awards.
Categories for Diversify TV Awards include scripted and non-scripted content: representation for race and ethnicity, representation of LBGTQ and representation of disability. With entries officially open to producers and production companies across the international TV industry, we’re urging others to take part! The deadline for entries is Friday 6 October at midnight BST and there’s more information available here.
With the launch announcement covered in Worldscreen and Video Age International we’re proud to be associated with Diversify TV Excellence Awards and such a powerful initiative.
See you at MIPCOM!
At the Edinburgh International TV Festival, news presenter Jon Snow delivered a stirring and emotional MacTaggart Lecture in which he argued the media has become “disconnected” from some parts of society. His impassioned speech had tears in many of the audiences eyes, mine included.
“The completely man-made Grenfell disaster has proved beyond all other domestic events, how little we know, and how dangerous the disconnect is.”
“The Grenfell story was out there, shocking in its accuracy, hidden in plain sight.. but we had stopped looking.”
The challenge for the media is; how can it better reflect the problems, interests, and sensibilities of different cultures so that it better represents modern British society?
Behind the Camera
One of the best ways to achieve this is to increase the diversity of behind the camera talent. These people decide what is interesting, what programmes are made, and what news is reported. It is an issue that needs to be tackled at the grassroots level. It’s about increasing awareness of opportunities that are on offer – and shedding light on TV as a potential career.
Edinburgh International TV Festival’s Talent Schemes
This is where PR can help. As a company operating in the media industry, there’s scope to use PR to develop awareness and events to raise the profile of the industry in communities. At Franklin Rae we work to promote the Edinburgh International TV Festival’s Talent Schemes, Ones To Watch and The Network. These work together to drive applications from all parts of the country.
To engage with people from a number of varied communities meant we had to work differently. In order to raise the profile of the talent schemes we worked closely with local journalists, placing case studies and using social media in ways that would resonate with the audience. For example, interviews with creative leaders of diverse backgrounds and sourced testimonials from TV talent who are well known in these communities.
Both schemes do incredible work getting people from all walks of life involved in TV. Jon Snow applauded the schemes in his speech for this very reason – to great cheers from this year’s members! We were with the members of the schemes throughout the festival and their enthusiasm, knowledge, and skill was incredible. Their energy will really help drive the industry forward.
By Xander Ross, Senior Account Executive at Franklin Rae