Apas Nominations Release 2020
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Broadcast Bulletin Issue Number 228 22/04/13
Ofcom Broadcast Bulletin Issue number 228 22 April 2013 1 Ofcom Broadcast Bulletin, Issue 228 22 April 2013 Contents Introduction 4 Standards cases In Breach Retention and production of recordings My Channel, 24 December 2012, 04:00 5 Cancer: Forbidden Cures Showcase 2, 8 May 2012, 19:00 8 The Alan Titchmarsh Show ITV, 14 February 2013, 15:00 31 Advertising Scheduling cases In Breach Breach findings table Code on the Scheduling of Television Advertising compliance reports 37 Fairness and Privacy cases Not Upheld Complaint by Mrs Karen Peaston Obese: A Year to Save My Life, Sky1 HD, 30 January 2012 and repeat broadcasts until 13 May 2012 38 Complaint by Miss Karen Richardson EastEnders, BBC 1, 25 December 2012 46 Other Programmes Not in Breach 49 Complaints Assessed, Not Investigated 50 Investigations List 56 2 Ofcom Broadcast Bulletin, Issue 228 22 April 2013 Introduction Under the Communications Act 2003 (“the Act”), Ofcom has a duty to set standards for broadcast content as appear to it best calculated to secure the standards objectives1. Ofcom must include these standards in a code or codes. These are listed below. Ofcom also has a duty to secure that every provider of a notifiable On Demand Programme Services (“ODPS”) complies with certain standards requirements as set out in the Act2. The Broadcast Bulletin reports on the outcome of investigations into alleged breaches of those Ofcom codes below, as well as licence conditions with which broadcasters regulated by Ofcom are required to comply. We also report on the outcome of ODPS sanctions referrals made by ATVOD and the ASA on the basis of their rules and guidance for ODPS. -
Gavin Ames Avid Editor
Gavin Ames Avid Editor Profile Gavin is an exceptionally talented editor. Fast, creative, and very technically minded. He is one of the best music editors around, with vast live multi-cam experience ranging from The Isle of Wight Festival, to Take That, Faithless and Primal Scream concerts. Since excelling in the music genre, Gavin went on to develop his skills in comedy, editing Shooting Stars. His talents have since gone from strength to strength and he now has a wide range of high-end credits under his belt, such as live stand up for Bill Bailey, Steven Merchant, Ed Byrne and Angelos Epithemiou. He has also edited sketch comedy, a number of studio shows and comedy docs. Gavin has a real passion for editing comedy and clients love working with him so much that they ask him back time and time again! Comedy / Entertainment / Factual “The World According to Jeff Goldblum” Series 2. Through the prism of Jeff Goldblum's always inquisitive and highly entertaining mind, nothing is as it seem. Each episode is centred around something we all love — like sneakers or ice cream — as Jeff pulls the thread on these deceptively familiar objects and unravels a wonderful world of astonishing connections, fascinating science and history, amazing people, and a whole lot of surprising big ideas and insights. Nutopia for National Geographic and Disney + “Guessable” In this comedy game show, two celebrity teams compete to identify the famous name or object inside a mystery box. Sara Pascoe hosts the show with John Kearns on hand as her assistant. Alan Davies and Darren Harriott are the team captains, in a format that puts a twist on classic family games. -
Media Nations 2019
Media nations: UK 2019 Published 7 August 2019 Overview This is Ofcom’s second annual Media Nations report. It reviews key trends in the television and online video sectors as well as the radio and other audio sectors. Accompanying this narrative report is an interactive report which includes an extensive range of data. There are also separate reports for Northern Ireland, Scotland and Wales. The Media Nations report is a reference publication for industry, policy makers, academics and consumers. This year’s publication is particularly important as it provides evidence to inform discussions around the future of public service broadcasting, supporting the nationwide forum which Ofcom launched in July 2019: Small Screen: Big Debate. We publish this report to support our regulatory goal to research markets and to remain at the forefront of technological understanding. It addresses the requirement to undertake and make public our consumer research (as set out in Sections 14 and 15 of the Communications Act 2003). It also meets the requirements on Ofcom under Section 358 of the Communications Act 2003 to publish an annual factual and statistical report on the TV and radio sector. This year we have structured the findings into four chapters. • The total video chapter looks at trends across all types of video including traditional broadcast TV, video-on-demand services and online video. • In the second chapter, we take a deeper look at public service broadcasting and some wider aspects of broadcast TV. • The third chapter is about online video. This is where we examine in greater depth subscription video on demand and YouTube. -
RAJAR DATA RELEASE Quarter 1, 2020 – May 14 Th 2020
RAJAR DATA RELEASE Quarter 1, 2020 – May 14 th 2020 COMPARATIVE CHARTS 1. National Stations 2. Scottish Stations 3. London Stations 4. Breakfast Shows – National and London stations "Please note that the information contained within this quarterly data release has yet to be announced or otherwise made public and as such could constitute relevant information for the purposes of section 118 of FSMA and non-public price sensitive information for the purposes of the Criminal Justice Act 1993. Failure to comply with this embargo could result in prosecution’’. Source RAJAR / Ipsos MORI / RSMB RAJAR DATA RELEASE Quarter 1, 2020 – May 14 th 2020 NATIONAL STATIONS STATIONS SURVEY REACH REACH REACH % CHANGE % CHANGE SHARE SHARE SHARE PERIOD '000 '000 '000 REACH Y/Y REACH Q/Q % % % Q1 19 Q4 19 Q1 20 Q1 20 vs. Q1 19 Q1 20 vs. Q4 19 Q1 19 Q4 19 Q1 20 ALL RADIO Q 48945 48136 48894 -0.1% 1.6% 100.0 100.0 100.0 ALL BBC Q 34436 33584 33535 -2.6% -0.1% 51.4 51.0 49.7 15-44 Q 13295 13048 13180 -0.9% 1.0% 35.2 35.5 34.4 45+ Q 21142 20535 20355 -3.7% -0.9% 60.2 59.4 57.9 ALL BBC NETWORK RADIO Q 31846 31081 30835 -3.2% -0.8% 44.8 45.0 43.4 BBC RADIO 1 Q 9303 8790 8915 -4.2% 1.4% 5.7 5.6 5.6 BBC RADIO 2 Q 15356 14438 14362 -6.5% -0.5% 17.4 17.0 16.3 BBC RADIO 3 Q 2040 2126 1980 -2.9% -6.9% 1.2 1.4 1.3 BBC RADIO 4 (INCLUDING 4 EXTRA) Q 11459 11416 11105 -3.1% -2.7% 13.1 13.4 12.9 BBC RADIO 4 Q 11010 10977 10754 -2.3% -2.0% 11.9 12.0 11.7 BBC RADIO 4 EXTRA Q 2238 2271 1983 -11.4% -12.7% 1.3 1.4 1.2 BBC RADIO 5 LIVE (INC. -
Blade Runner: the Final Cut Review – a Timeless Sci-Fi Classic | Film | the Guardian 22/01/2018 15:48
Blade Runner: The Final Cut review – a timeless sci-fi classic | Film | The Guardian 22/01/2018 15:48 Blade Runner: The Final Cut review 6 a Mark Kermode, Observertimeless film sci:fi classic critic RidleySun 5 Apr 2015 Scott’s 07.59 1982BST masterpiece, back on the big screen in this definitive version, is an overwhelming experience ’ve seen things you people wouldn’t believe…” When making the 2000 documentary On the Edge of Blade Runner, I asked Rutger Hauer why he thought Harrison Ford was so reluctant to talk about what is now considered a timeless sci-fi classic. “He’s such a dumb character,” Hauer replied “I mischievously of Ford’s android-hunter Deckard. “He gets a gun put to his head and then he fucks a dish-washer!” Ford, with his Star Wars cachet, was Blade Runner’s top-line draw, but it’s Hauer’s movie all the way, his shimmering “replicant” providing the tonal touchstone for Ridley Scott’s severally reworked masterpiece. The Dutch actor even contributed his own infinitely quotable couplet to the film’s epochal “tears in rain” scene, a moment as iconic as Casablanca’s “Here’s looking at you, kid”. As for Deckard, the stooge who falls for Sean https://www.theguardian.com/film/2015/apr/05/blade-runner-final-cut-timeless-sci-fi-classic-review Page 1 of 2 Blade Runner: The Final Cut review – a timeless sci-fi classic | Film | The Guardian 22/01/2018 15:48 Young’s artificial charms in rain-drenched 2019 LA, Scott had his own way of explaining Ford’s robotic performance, a unicorn-themed conceit drawn not from Philip K Dick’s source but born out of a simple miscommunication between screenwriters Hampton Fancher and David Peoples. -
CMR NI Radio Charts
Radio and audio content Figure 3.1 Number of community radio stations on air, 2006-2012 2006 2007 2008 2009 2010 2011 2012 England 29 72 95 126 146 160 159 UK 36 90 123 163 184 199 197 Wales Northern Ireland Scotland 20 18 18 18 18 15 12 12 12 11 11 9 9 10 8 8 8 8 7 6 4 5 3 3 1 0 2006 2007 2008 2009 2010 2011 2012 Source: Ofcom, April 2012 36 Figure 3.2 Availability of radio stations in Northern Ireland Digital Analogue 14 12 10 8 13 6 12 10 4 8 5 2 4 3 0 BBC local/national National commercial Local commercial Community licences Source: Ofcom, April 2012 Note: This chart shows the maximum number of stations available in each area; local variations along with reception issues mean that listeners may not be able to access all of these 37 Figure 3.3 Ownership of DAB digital radios Figure above bar shows % point change in Percentage of respondents DAB sets in household from Q1 2011 +1 -6 +1 -2 +2 -5 -6 45% 30% 38 40 15% 29 29 28 22 25 22 22 18 19 19 0% UK 2012 N Ireland England Scotland Wales NI urban NI rural N Ireland N Ireland N Ireland N Ireland N Ireland 2012 2012 2012 2012 2012 2012 2008 2009 2010 2011 2012 Q4. You said earlier that you have (NUMBER) radio sets in your home that someone in the household listens to in most weeks. How many of these radio sets are digital radios? Source: Ofcom research, Quarter 1 2012 Base: Adults aged 16+ who listen to radio (n = 2963 UK, 405 Wales, 1790 England, 364 Scotland, 404 Northern Ireland, 191 Wales urban, 214 Wales rural, 638 Wales 2008, 848 Wales 2009, 854 Wales 2010, 397 Wales 2011, 405 Wales 2012) Note: Remaining percentages are Don’t know responses. -
Response to Ofcom Consultation on the Future of Public Service Media
Response to Ofcom Consultation on the Future of Public Service Media About this submission 1. AudioUK is the trade body for the audio-led production sector in the UK. AudioUK has four core priorities: Business; Representation; Community; and Excellence. As well as producing the annual Audio Production Awards it also runs the successful Audiotrain craft skills training programme, which has so far provided around 2,500 learner days. AudioUK, along with Radiocentre, oversees the administration of the Audio Content Fund which distributes a grant from the UK government to fund public service content on commercial and community radio. As a member of the Government Broadcasting, Film and Production Working Group, AudioUK has produced guidelines for safe working in audio production during the COVID-19 pandemic. 2. We recognise and agree with Ofcom’s reasoning for changing the language around PSB. We believe ‘Public Service Media’ is a better term to describe the content produced, partly to reflect the wider range of media created, as well as the manner in which it is distributed. 3. However, we do here refer to ‘public service broadcasters’ (‘PSBs’) to differentiate between the licenced PSBs – BBC, ITV/STV, Channel 4, S4C, Channel 5 - and other broadcasters also providing content which is officially designated PSM content – the main example being commercial and community stations broadcasting programmes funded by the Audio Content Fund. Audio as part of public service media 4. The UK has a thriving audio content production industry with an independent sector made up of around 200 companies around the UK. These companies create compelling content across a wide range of genres which engages audiences and offers them different voices, perspectives, talent and ideas. -
Piatkus Non-Fiction Backlist Translation Rights
PIATKUS NON-FICTION BACKLIST TRANSLATION RIGHTS Contents: Non-fiction p.2 Mind, Body & Spirit p.11 Health p.30 Patrick Holford p.42 Self-help/Popular Psychology p.54 Sex p.76 Memoir p.78 Humour p.87 Business p.89 ANDY HINE Rights Director (Brazil, Germany, Italy, Poland, Scandinavia and the Baltic States ) [email protected] KATE HIBBERT Rights Director (US, worldwide Spanish and Catalan, Portugal, Far East, the Netherlands, Flemish Belgium, and the Indian Subcontinent) [email protected] SARAH BIRDSEY Rights Manager (France, Greece, Turkey, Hebrew and Arabic rights, and all of Eastern Europe except Poland) [email protected] RUTH CASE-GREEN Rights Executive [email protected] JESSICA CALLAGHAN Rights Assistant [email protected] Carmelite House 50 Victoria Embankment London EC4Y 0DZ tel: +44 (0)20 3122 6209 1 NON-FICTION THE ORGANISED MUM METHOD: ROCK THE HOUSEWORK AND TRANSFORM YOUR HOME IN 30 MINUTES A DAY by Gemma Bray Say goodbye to mess, clutter and weekends spent tidying and cleaning! Gemma Bray (a.k.a The Organised Mum) is a firm believer that there is more to life than housework, and over the last decade she has perfected The Organised Mum Method (TOMM). TOMM is a structured, manageable and ultra-efficient cleaning routine that ensures all areas of the home are taken care of, as well as time-saving recipes that can be prepared in seconds. It's easy to follow, effective and ensures that everything gets done in just 30 minutes a day, Monday to Friday...and you get weekends off! As well as handy housekeeping hacks, Bray shares her super speedy recipes that will focus on delicious slow-cooked dishes that can be prepared in a flash. -
Editorial Standards Committee Bulletin
Editorial Standards Findings Appeals to the Trust and other editorial issues considered by the Editorial Standards Committee February 2016, issued March 2016 Getting the best out of the BBC for licence fee payers Contents Contents 1 Remit of the Editorial Standards Committee 2 Summary of findings 4 Appeal Findings 7 Panorama: GM Food - Cultivating Fe a r, BBC One, 8 June 2015 7 The Stephen Nolan Show, BBC Radio 5 Live, 3 April 2015, and more generally 25 Requests to review the Trust Unit’s decisions on appeals 31 Scotland 2015, BBC Two Scotland, 7 September 2015 31 Breakfast Show with Nick Grimshaw, BBC Radio 1, 6 August 2015 36 Appeals against the decisions of BBC Audience Services and BBC News not to correspond further with the complainant 39 Decision of BBC Audience Services not to respond further to a complaint about Israeli PM Benjamin Netanyahu's 44-second UN silence, BBC News online 40 Decision of BBC Audience Services not to respond further to a complaint about Kermode and Mayo’s Film Review, BBC Radio 5 live, 16 October 2015 44 Decision of BBC Audience Services not to respond further to a complaint about Inside Out (Yorkshire, East Yorkshire & Lincolnshire) 12 October 2015 47 Decision of BBC Audience Services not to respond further to a complaint about Today, Radio 4, 12 August 2015 52 Decision of BBC Audience Services not to respond further to a complaint about Today, BBC Radio 4, 6 October 2015 55 Admissibility decisions 58 Newsnight, BBC Two, 17 March 2015 59 Match of the Day 2, BBC One, 13 September 2015 61 In order to provide clarity for the BBC and licence fee payers it is the Trust’s policy to describe fully the content that is subject to complaints and appeals. -
FREEVIEW DTT Multiplexes (UK Inc NI) Incorporating Planned Local TV and Temporary HD Muxes
As at 07 December 2020 FREEVIEW DTT Multiplexes (UK inc NI) incorporating planned Local TV and Temporary HD muxes 3PSB: Available from all transmitters (*primary and relay) 3 COM: From *80 primary transmitters only Temp HD - 25 Transmiters BBC A (PSB1) BBC A (PSB1) continued BBC B (PSB3) HD SDN (COM4) ARQIVA A (COM5) ARQIVA B (COM6) ARQIVA C (COM7) HD ARQIVA D (COM8) HD LCN LCN LCN LCN LCN LCN LCN 1 BBC ONE 65 TBN UK 12 QUEST 11 Sky Arts 22 Ideal World 64 Free Sports BBC RADIO: 1 BBC ONE NI Cambridge, Lincolnshire, 74 Shopping Quarter 13 E4 (Wales only) 17 Really 23 Dave ja vu 70 Quest Red+1 722 Merseyside, Oxford, 1 BBC ONE Scot Solent, Somerset, Surrey, 101 BBC 1 Scot HD 16 QVC 19 Dave 26 Yesterday 83 NOW XMAS Tyne Tees, WM 1 BBC ONE Wales 101 BBC 1 Wales HD 20 Drama 30 4Music 33 Sony Movies 86 More4+1 2 BBC TWO 101 BBC ONE HD 21 5 USA 35 Pick 36 QVC Beauty 88 TogetherTV+1 (00:00-21:00) 2 BBC TWO NI BBC RADIO: 101 BBC ONE NI HD 27 ITVBe 39 Quest Red 37 QVC Style 93 PBS America+1 726 BBC Solent Dorset 2 BBC TWO Wales BBC Stoke 102 BBC 2 Wales HD 28 ITV2 +1 42 Food Network 38 DMAX 96 Forces TV 7 BBC ALBA (Scot only) 102 BBC TWO HD 31 5 STAR 44 Gems TV 40 CBS Justice 106 BBC FOUR HD 9 BBC FOUR 102 BBC TWO NI HD 32 Paramount Network 46 Film4+1 43 HGTV 107 BBC NEWS HD Sony Movies Action 9 BBC SCOTLAND (Scot only) BBC RADIO: 103 ITV HD 41 47 Challenge 67 CBS Drama 111 QVC HD (exc Wales) 734 Essex, Northampton, CLOSED 24 BBC FOUR (Scot only) Sheffield, 103 ITV Wales HD 45 Channel 5+1 48 4Seven 71 Jewellery Maker 112 QVC Beauty HD 201 CBBC -
A Distinctive BBC
A distinctive BBC April 2016 1 TABLE OF CONTENTS Foreword 1. Executive Summary 2. What is distinctiveness 3. Measuring distinctiveness today – what the audience thinks 4. Measuring distinctiveness today – comparisons to other services 5. Enhancing distinctiveness in the future 2 FOREWORD I believe that the case for the BBC is a very straightforward, pragmatic one. We have produced, and continue to produce, some of the very best programmes and services in the world. That is why people like the BBC. That is why they enjoy it. That is why they trust it. That is why they value it. That is what they pay us to do. If the BBC stands for anything, it stands for quality. In just the last month, we have seen Panorama’s exposé of the Panama Papers; Radio 4’s previously unseen footage of Kim Philby speaking to the Stasi; the domestic abuse storyline on The Archers; Inside Obama’s White House and Behind Closed Doors; The Night Manager, Undercover and Cuckoo. We have just launched the 2016 BBC Proms. And those are just a few highlights. This is the BBC I believe in. A beacon of cultural excellence in a world increasingly awash with media of all kinds. A trusted voice in a crowded arena, accountable to the public and focused on their interests, independent of both government and market. A benchmark of quality. But the unique way the BBC is funded places two further obligations on us. Because the BBC’s funding is independent, that gives us creative freedom. That means a BBC that must be more prepared than ever to take risks. -
Playing Shakespeare with Deutsche Bank Production of Twelfth Night
2016 shakespeare’s globe Annual review contents Welcome 5 Theatre: The Globe 8 Theatre: The Sam Wanamaker Playhouse 14 Celebrating Shakespeare’s 400th Anniversary 20 Globe Education – Inspiring Young People 30 Globe Education – Learning for All 33 Exhibition & Tour 36 Catering, Retail and Hospitality 37 Widening Engagement 38 How We Made It & How We Spent It 41 Looking Forward 42 Last Words 45 Thank You! – Our Stewards 47 Thank You! – Our Supporters 48 Who’s Who 50 The Playing Shakespeare with Deutsche Bank production of Twelfth Night. Photo: Cesare de Giglio The Little Matchgirl and Other Happier Tales. Photo: Steve Tanner WELCOME 2016 – a momentous year – in which the world celebrated the richness of Shakespeare’s legacy 400 years after his death. Shakespeare’s Globe is proud to have played a part in those celebrations in 197 countries and led the festivities in London, where Shakespeare wrote and worked. Our Globe to Globe Hamlet tour travelled 193,000 miles before coming home for a final emotional performance in the Globe to mark the end, not just of this phenomenal worldwide journey, but the artistic handover from Dominic Dromgoole to Emma Rice. A memorable season of late Shakespeare plays in the Sam Wanamaker Playhouse and two outstanding Globe transfers in the West End ran concurrently with the last leg of the Globe to Globe Hamlet tour. On Shakespeare’s birthday, 23 April, we welcomed President Obama to the Globe. Actors performed scenes from the late plays running in the Sam Wanamaker Playhouse at Southwark Cathedral, a service which was the only major civic event to mark the anniversary in London and was attended by our Patron, HRH the Duke of Edinburgh.