MUMBAI: Discovery Communications has appointed Ralph Rivera as managing director of Eurosport Digital. He will begin the role on 26 September and will be based in London. Rivera will report to Discovery Communications executive VP of international development and digital Michael Lang. He will also work closely with Eurosport CEO Peter Hutton and his leadership team.
Commenting on the appointment, Lang said, “Recognized as one of the most forward-thinking digital executives in the world, Ralph brings extensive knowledge in the direct-to-consumer space, with a deep understanding of the digital landscape in Europe and a strong reputation for innovation and transformation. His product-centric mind set and technology orientation will help us to grow Eurosport Digital, which is one of Discovery’s top priorities, as we continue our march to making sports and all of our content accessible to viewers across all screens, in a highly meaningful and profitable way.”
Eurosport is the number one sports destination in Europe and connects fans and athletes around the greatest sporting events across all screens. Rivera is charged with leading the aggressive expansion of Eurosport’s digital businesses, which today include Eurosport.com – the continent’s number one sports news website, and Eurosport Player – the leading subscription-based OTT sports platform across Europe giving fans an all-access pass anytime and on any device in 52 countries. He will collaborate with local teams to drive innovation for next-generation digital sports products and make the brand’s content available across all screens, to enhance viewers’ digital sports experience.
With hundreds of millions of mobile data subscribers and growing OTT momentum via connected TVs, Europe provides a significant strategic opportunity to leverage both Rivera’s successful track record of creating immersive digital video products and Discovery’s recent investments in premium sports content. In Asia Pacific, Eurosport reaches more than 10 million fans.
Hutton said, “Eurosport is focused on the further acquisition and delivery of locally relevant, premium sports content that will continue to attract more subscribers to the Eurosport Player. We continue to build momentum through the recent acquisition of premium rights such as Wimbledon across Europe and the Bundesliga in Germany. As we plan the enhanced delivery of these acquisitions and take ownership of the Olympic Rings from January 1, 2017, as the official multi-platform broadcast rights holder for Europe through 2024, we look forward to having Ralph as part of the Eurosport team.”
Rivera joins from the BBC, where he spent six years as Director, BBC Digital and was responsible for all of the BBC’s digital media services, leading on the implementation and operation of BBC iPlayer as it grew by over 300% and delivering the first truly digital Olympic Games for London 2012, setting a new standard for live sports coverage online. Prior to the BBC, Rivera spent ten years at AOL, most recently as Senior Vice President and Managing Director of Games, where he transformed the division from a loss leader to one of their most profitable media units.
Rivera said, “Having enjoyed numerous successes with the BBC, my next move had to be big. The opportunity I have in leading the digital business at Eurosport is an amazing challenge, and working closely with Discovery’s world-class teams at Eurosport and across local markets, I hope to build next generation digital sports products, ensuring Eurosport consumers across Europe can enjoy more action, when and where they choose to view it.”
MUMBAI: Discovery Communications has appointed Ralph Rivera as managing director of Eurosport Digital. He will begin the role on 26 September and will be based in London. Rivera will report to Discovery Communications executive VP of international development and digital Michael Lang. He will also work closely with Eurosport CEO Peter Hutton and his leadership team.
Commenting on the appointment, Lang said, “Recognized as one of the most forward-thinking digital executives in the world, Ralph brings extensive knowledge in the direct-to-consumer space, with a deep understanding of the digital landscape in Europe and a strong reputation for innovation and transformation. His product-centric mind set and technology orientation will help us to grow Eurosport Digital, which is one of Discovery’s top priorities, as we continue our march to making sports and all of our content accessible to viewers across all screens, in a highly meaningful and profitable way.”
Eurosport is the number one sports destination in Europe and connects fans and athletes around the greatest sporting events across all screens. Rivera is charged with leading the aggressive expansion of Eurosport’s digital businesses, which today include Eurosport.com – the continent’s number one sports news website, and Eurosport Player – the leading subscription-based OTT sports platform across Europe giving fans an all-access pass anytime and on any device in 52 countries. He will collaborate with local teams to drive innovation for next-generation digital sports products and make the brand’s content available across all screens, to enhance viewers’ digital sports experience.
With hundreds of millions of mobile data subscribers and growing OTT momentum via connected TVs, Europe provides a significant strategic opportunity to leverage both Rivera’s successful track record of creating immersive digital video products and Discovery’s recent investments in premium sports content. In Asia Pacific, Eurosport reaches more than 10 million fans.
Hutton said, “Eurosport is focused on the further acquisition and delivery of locally relevant, premium sports content that will continue to attract more subscribers to the Eurosport Player. We continue to build momentum through the recent acquisition of premium rights such as Wimbledon across Europe and the Bundesliga in Germany. As we plan the enhanced delivery of these acquisitions and take ownership of the Olympic Rings from January 1, 2017, as the official multi-platform broadcast rights holder for Europe through 2024, we look forward to having Ralph as part of the Eurosport team.”
Rivera joins from the BBC, where he spent six years as Director, BBC Digital and was responsible for all of the BBC’s digital media services, leading on the implementation and operation of BBC iPlayer as it grew by over 300% and delivering the first truly digital Olympic Games for London 2012, setting a new standard for live sports coverage online. Prior to the BBC, Rivera spent ten years at AOL, most recently as Senior Vice President and Managing Director of Games, where he transformed the division from a loss leader to one of their most profitable media units.
Rivera said, “Having enjoyed numerous successes with the BBC, my next move had to be big. The opportunity I have in leading the digital business at Eurosport is an amazing challenge, and working closely with Discovery’s world-class teams at Eurosport and across local markets, I hope to build next generation digital sports products, ensuring Eurosport consumers across Europe can enjoy more action, when and where they choose to view it.”
MUMBAI: Keeping the viewers glued to their television screens on prime time to cheer for their favourite Jhalak star with each new season of Jhalak Dikhhla Jaa, getting them riled up over the closer- to-home love stories in Dil ko phir Aaj jeene ki Tamanaa hai, taking the nation aback with television’s first ever gay relationship in Kaisi Yeh Yaariaan, and breaking the gender moulds with Girls On Top — BBC Worldwide India has had a very busy year and it doesn’t look like it’s slowing down anytime soon.
Girls On Top
While it’s been busy signing a joint venture with Sony Pictures Network to launch Sony BBC Earth, producing local productions of BBC Worldwide formats like Aaj Ki Raat Hai Zindagi (Tonight’s the Night) and exploring interesting partnerships in the digital space with its finished content like Doctor Who, Top Gear and Sherlock, the company’s non-production businesses has driven the revenues significantly in the past year.
“I genuinely feel that we have done so much and have so much more to look forward to this year. The team’s been kept busy between big and small projects. We haven’t taken any breaks,” expresses BBC Worldwide India SVP and GM Myleeta Aga.
Myleeta Aga
As head honcho, Aga wears many hats. She is responsible for creative content development in both the fiction and nonfiction space and for partnerships in the market as well as new business development. She also manages talent and overall growth within the organisation. When asked how she goes about fulfilling these distinct and key roles, she reveals that she is tuned in with everything but isn’t hands-on with each and every activity.
“I run multiple businesses within BBC Worldwide and I have a large team that I look after. My way of managing is by hiring great people and trusting them to do a good job. I don’t interfere in the day-to-day details. Of course, if you ask me about any specific information on a show that’s in production, or any data on a commercial deal in place, I have an answer – thanks to my team that keeps me up to date. We discuss and consult about everything we do. But you can’t scale if you do everything on your own,” Aga says.
The production business within BBC Worldwide in India has evolved in the last 12 months – the amount of fiction content that the organisation has churned out has increased . “This is the first year that we have had as many productions in fiction as we’ve had in non-fiction,” Aga says proudly and rightly so. Breaking assumptions as a corporate company that ‘only produces good nonfiction content’ and sinking teeth in to the highly competitive fiction market didn’t always come easy for the organisation.
To not depend just on co-productions and engage in a larger creative playing field within the market, it was necessary to cultivate the skill sets from within the organisation. And that was what Aga did three years ago when she made the decision for BBC Worldwide India to also operate in the fiction space.
“When we decided to invest in talent in fiction, I knew that it would take us years to change the mind-set in the industry. The industry needed convincing that there really aren’t separate skills needed for fiction and nonfiction. One is ultimately telling a story, whether it is of a reality star or an actor in a soap – the only difference is in the way you execute it.”
It was a heady risk to take. Fortunately, it is one that has paid off.
Today Aga proudly treasures the fact that she has an uncompromising team ready to tackle any kind of content across fiction and nonfiction. Interestingly, BBC’s top production executives in India are all women. Yes, you read it right, all women.
Richa Yamini, creative head for fiction content and production, was the first one to be picked in the fiction category. Her journey with BBC includes shows like Kaisi Yeh Yaariyan and DD’s Dil Ko Aaj Fir Jine Ki Tamanna Hai. “BBC was perceived as a nonfiction company when I joined. We started off with little steps to build awareness for our fiction content. We did a telefilm for Star Plus, followed by some coproduction work with Life Ok and Bindass. Then, we got our first fiction show with MTV. We’ve had a steady flow of productions since then.
Richa Yamini
Yamini works closely with the head of fiction production, Dixitaa Thakar who joined the team almost three and half years ago. With 32 years of production experience under her belt, Thakar is a veteran whose guidance has helped grow the fiction category within the organisation to its current stature. “It was my responsibility to train the existing production team on the specific nuances of producing fiction shows. There was a lot of unlearning and relearning involved in the process.”
Dixitaa Thakar
The problem, as Yamini and Thakar both point out, lay in the general assumption amongst broadcasters that a corporate organization like BBC Worldwide wouldn’t do good job in fiction. “Shows are not given to production houses, but to individual well known writers, irrespective of the production houses he or she works in partnership with. We are changing this practice.” Yamini explained.
The third pillar in BBC Worldwide’s all girl production team is Soniya Kulkarni who heads nonfiction — the company’s stronghold. With a reputation to maintain, Kulkarni naturally works under a lot of pressure to keep up the standards, especially when the nonfiction pie is too thin in any given market.
“The healthiest of broadcasters do two hours of nonfiction programing in a week, as compared to thirty hours of fiction. So to get a new show on or to continue a series on is a struggle year on year. While we have been doing Jhalak for nine years now and in spite of its growing popularity, we can’t depend on just one big format for the business. Thanks to the huge catalogue of formats that BBC has, we have been able to introduce some good shows to India, like, Aaj Ki Raat Hai Zindagi, the Tonight’s the Night format from the BBC. But a lot of the bread and butter of nonfiction lies in developing home grown formats in the market, and we are dedicated to that,” Kulkarni elaborates.
Creative producer Palki Malhotra, who had worked nearly six years under an individual producer, joined BBC Worldwide to help build and grow the fiction chapter. She took the job as it offered her the freedom of working within a start-up, as well as the security of a job, as she puts it. “BBC hasn’t restricted me within the fiction and nonfiction boundaries. While I have worked in a show like Bindass Naach, I am also having fun producing a show like Girls On Top.”
Given the legacy of brand BBC, the production house may give off the assumption of a corporate work environment, but Aga paints a different picture, while acknowledging the benefits of working for a large organisation. “I prefer not to think of us as a corporation. Our work environment is informal with an open work space, where we share desks and executives don’t lock themselves in cabins. Yes, we have systems and processes, and we have values that we align ourselves with. All these things empower the team to have a long term vision rather than simply a short term target.”
Soniya, Palki and Deepali
Commercial head Deepali Handa seconds the thought. “The company puts the brand and its image and relations with the stakeholders first. Something as simple as treating your actors well, not upsetting your stakeholders and respecting our work, may sound common sense, but it’s exactly these tenets that have clients coming back to us over and over again.” Handa asserts that BBC’s policies makes it easier for actors, artists, crews and other contractors to have a conducive working experience with the team.
BBC Worldwide has also done some fascinating work in the past in branded content Asian Paints Har Ghar Kuch Kehta Hai which aired for the first time on Colors in 2013 followed by a second season in 2014 with Vinay Pathak as the host, was developed by a dedicated team.
When asked if having a dedicated branded content arm puts her in an advantage to address the emerging requirements of the digital space, Aga answers, “Right now a lot of work on digital does revolve around the branded content category. But ultimately digital is just a platform. An advertiser would prefer to put branded content, a content aggregator would look at straightforward content, while if you partner with a broadcaster, you will look at a catch up service. Each of these OTT players have different requirements and given the fact that we can cater to all of them puts us at an advantage. Eventually people are looking for ideas that work,” Aga explains.
If all this isn’t enough to keep Aga and her team occupied, BBC Worldwide in India also keeps busy, working with broadcasters to put award-winning and highly rated BBC programmes onto their platforms. For example, Doctor Who on FX has performed incredibly well, as has Sherlock, Orphan Black and Top Gear on AXN. It has also worked with OTT platforms like Hungama and Vuclip to deliver award-winning and highly rated shows like Prey, War and Peace and Doctor Foster.
So what’s next for the very busy team at BBC Worldwide in India? Well, in addition to their already hectic schedules, they’re also in talks with several other local OTT players to provide original content on the web including nonfiction shows. Many of these will see the light of day, undoubtedly. And when they do, it will be more power to the BBC top team.
MUMBAI: Keeping the viewers glued to their television screens on prime time to cheer for their favourite Jhalak star with each new season of Jhalak Dikhhla Jaa, getting them riled up over the closer- to-home love stories in Dil ko phir Aaj jeene ki Tamanaa hai, taking the nation aback with television’s first ever gay relationship in Kaisi Yeh Yaariaan, and breaking the gender moulds with Girls On Top — BBC Worldwide India has had a very busy year and it doesn’t look like it’s slowing down anytime soon.
Girls On Top
While it’s been busy signing a joint venture with Sony Pictures Network to launch Sony BBC Earth, producing local productions of BBC Worldwide formats like Aaj Ki Raat Hai Zindagi (Tonight’s the Night) and exploring interesting partnerships in the digital space with its finished content like Doctor Who, Top Gear and Sherlock, the company’s non-production businesses has driven the revenues significantly in the past year.
“I genuinely feel that we have done so much and have so much more to look forward to this year. The team’s been kept busy between big and small projects. We haven’t taken any breaks,” expresses BBC Worldwide India SVP and GM Myleeta Aga.
Myleeta Aga
As head honcho, Aga wears many hats. She is responsible for creative content development in both the fiction and nonfiction space and for partnerships in the market as well as new business development. She also manages talent and overall growth within the organisation. When asked how she goes about fulfilling these distinct and key roles, she reveals that she is tuned in with everything but isn’t hands-on with each and every activity.
“I run multiple businesses within BBC Worldwide and I have a large team that I look after. My way of managing is by hiring great people and trusting them to do a good job. I don’t interfere in the day-to-day details. Of course, if you ask me about any specific information on a show that’s in production, or any data on a commercial deal in place, I have an answer – thanks to my team that keeps me up to date. We discuss and consult about everything we do. But you can’t scale if you do everything on your own,” Aga says.
The production business within BBC Worldwide in India has evolved in the last 12 months – the amount of fiction content that the organisation has churned out has increased . “This is the first year that we have had as many productions in fiction as we’ve had in non-fiction,” Aga says proudly and rightly so. Breaking assumptions as a corporate company that ‘only produces good nonfiction content’ and sinking teeth in to the highly competitive fiction market didn’t always come easy for the organisation.
To not depend just on co-productions and engage in a larger creative playing field within the market, it was necessary to cultivate the skill sets from within the organisation. And that was what Aga did three years ago when she made the decision for BBC Worldwide India to also operate in the fiction space.
“When we decided to invest in talent in fiction, I knew that it would take us years to change the mind-set in the industry. The industry needed convincing that there really aren’t separate skills needed for fiction and nonfiction. One is ultimately telling a story, whether it is of a reality star or an actor in a soap – the only difference is in the way you execute it.”
It was a heady risk to take. Fortunately, it is one that has paid off.
Today Aga proudly treasures the fact that she has an uncompromising team ready to tackle any kind of content across fiction and nonfiction. Interestingly, BBC’s top production executives in India are all women. Yes, you read it right, all women.
Richa Yamini, creative head for fiction content and production, was the first one to be picked in the fiction category. Her journey with BBC includes shows like Kaisi Yeh Yaariyan and DD’s Dil Ko Aaj Fir Jine Ki Tamanna Hai. “BBC was perceived as a nonfiction company when I joined. We started off with little steps to build awareness for our fiction content. We did a telefilm for Star Plus, followed by some coproduction work with Life Ok and Bindass. Then, we got our first fiction show with MTV. We’ve had a steady flow of productions since then.
Richa Yamini
Yamini works closely with the head of fiction production, Dixitaa Thakar who joined the team almost three and half years ago. With 32 years of production experience under her belt, Thakar is a veteran whose guidance has helped grow the fiction category within the organisation to its current stature. “It was my responsibility to train the existing production team on the specific nuances of producing fiction shows. There was a lot of unlearning and relearning involved in the process.”
Dixitaa Thakar
The problem, as Yamini and Thakar both point out, lay in the general assumption amongst broadcasters that a corporate organization like BBC Worldwide wouldn’t do good job in fiction. “Shows are not given to production houses, but to individual well known writers, irrespective of the production houses he or she works in partnership with. We are changing this practice.” Yamini explained.
The third pillar in BBC Worldwide’s all girl production team is Soniya Kulkarni who heads nonfiction — the company’s stronghold. With a reputation to maintain, Kulkarni naturally works under a lot of pressure to keep up the standards, especially when the nonfiction pie is too thin in any given market.
“The healthiest of broadcasters do two hours of nonfiction programing in a week, as compared to thirty hours of fiction. So to get a new show on or to continue a series on is a struggle year on year. While we have been doing Jhalak for nine years now and in spite of its growing popularity, we can’t depend on just one big format for the business. Thanks to the huge catalogue of formats that BBC has, we have been able to introduce some good shows to India, like, Aaj Ki Raat Hai Zindagi, the Tonight’s the Night format from the BBC. But a lot of the bread and butter of nonfiction lies in developing home grown formats in the market, and we are dedicated to that,” Kulkarni elaborates.
Creative producer Palki Malhotra, who had worked nearly six years under an individual producer, joined BBC Worldwide to help build and grow the fiction chapter. She took the job as it offered her the freedom of working within a start-up, as well as the security of a job, as she puts it. “BBC hasn’t restricted me within the fiction and nonfiction boundaries. While I have worked in a show like Bindass Naach, I am also having fun producing a show like Girls On Top.”
Given the legacy of brand BBC, the production house may give off the assumption of a corporate work environment, but Aga paints a different picture, while acknowledging the benefits of working for a large organisation. “I prefer not to think of us as a corporation. Our work environment is informal with an open work space, where we share desks and executives don’t lock themselves in cabins. Yes, we have systems and processes, and we have values that we align ourselves with. All these things empower the team to have a long term vision rather than simply a short term target.”
Soniya, Palki and Deepali
Commercial head Deepali Handa seconds the thought. “The company puts the brand and its image and relations with the stakeholders first. Something as simple as treating your actors well, not upsetting your stakeholders and respecting our work, may sound common sense, but it’s exactly these tenets that have clients coming back to us over and over again.” Handa asserts that BBC’s policies makes it easier for actors, artists, crews and other contractors to have a conducive working experience with the team.
BBC Worldwide has also done some fascinating work in the past in branded content Asian Paints Har Ghar Kuch Kehta Hai which aired for the first time on Colors in 2013 followed by a second season in 2014 with Vinay Pathak as the host, was developed by a dedicated team.
When asked if having a dedicated branded content arm puts her in an advantage to address the emerging requirements of the digital space, Aga answers, “Right now a lot of work on digital does revolve around the branded content category. But ultimately digital is just a platform. An advertiser would prefer to put branded content, a content aggregator would look at straightforward content, while if you partner with a broadcaster, you will look at a catch up service. Each of these OTT players have different requirements and given the fact that we can cater to all of them puts us at an advantage. Eventually people are looking for ideas that work,” Aga explains.
If all this isn’t enough to keep Aga and her team occupied, BBC Worldwide in India also keeps busy, working with broadcasters to put award-winning and highly rated BBC programmes onto their platforms. For example, Doctor Who on FX has performed incredibly well, as has Sherlock, Orphan Black and Top Gear on AXN. It has also worked with OTT platforms like Hungama and Vuclip to deliver award-winning and highly rated shows like Prey, War and Peace and Doctor Foster.
So what’s next for the very busy team at BBC Worldwide in India? Well, in addition to their already hectic schedules, they’re also in talks with several other local OTT players to provide original content on the web including nonfiction shows. Many of these will see the light of day, undoubtedly. And when they do, it will be more power to the BBC top team.
MUMBAI: CNN International Commercial commissioned new research that shows huge demand from worldwide audiences in following the story of this year’s U.S. Elections. The study also confirms CNN as the leading international media covering the U.S. Election – building on the network’s agenda-setting coverage and record TV and digital ratings during the Presidential race so far.
To understand how the world views and is following one of the biggest stories of 2016, CNN commissioned independent research company Toluna to assess* the viewing habits and opinions of adults in 23 countries across Europe, Middle East, Africa, Latin America and Asia Pacific, plus Canada. The findings of this research were released ahead of CNN International launching a new nightly U.S. Election show – State of the Race. From May 17, the show will be anchored from CNN’s New York bureau by Kate Bolduan and give international audiences 30 minutes of insight and analysis into the story that the world is watching with intense interest.
In the research findings released today, 51 per cent of all respondents select CNN as the #1 international news provider for following the U.S. Election – a figure higher than all other news organisations combined and dwarfing any preference for other media such as BBC (19 per cent), Reuters (5 per cent and Sky News (4 per cent). 78 per cent of respondents say they have viewed or read CNN coverage, with 83 per cent of these people consuming CNN’s political content within the last week. The majority of people getting their news fix about the U.S. Election are doing so through CNN International’s linear channel – 50 per cent say they consume via TV, 31 per cent on the CNN website, 14 per cent on social media and 8 per cent via the CNN app.
Outside of news consumption habits, the study found huge interest amongst international audiences for the U.S. Election. 85 per cent of people view the election as important for the world at large, with 73 per cent of respondents saying they are personally interested in U.S. Election news.
The top reasons that people state as why they are interested in the U.S. Election are: importance for the world at large (68 per cent); importance for their country (47 per cent); potential to affect individuals economically (38 per cent); insight into the US political system (35 per cent); shows how Americans view the world (34 per cent); and the personalities of the competing candidates (33 per cent). Asked why they think the U.S. Election is important to the world at large – respondents say it is due to: the US’s significance to the global economy (64 per cent); implications for international relations (63 per cent); US’s role in global security and counter-terrorism (57 per cent); trade prospects and potential for a shift to more hardline US foreign policy (both 43 per cent).
In Asia Pacific:
•52% of respondents select CNN as the #1 news source – ahead of BBC (16%), Reuters (7%) and CNBC (5%)
•80% of people have followed the U.S. Election story on CNN – of these 46% have done so via TV, 35% on the CNN website, 19% on social media and 12% via the CNN app
•The top reasons that Asia Pacific audiences list are interested in the U.S. Election are: its importance for the world at large (68%); its importance for my country (50%); its potential to affect me economically (44%); the insight it gives me into the US political system (38%); shows me how Americans view the world (37%); and the insight it gives me into the US political system (37%)
•This research follows the recent Ipsos Affluent Survey Asia Pacific which confirmed CNN as the leading international news brand, TV channel and digital platform across the region in all metrics. Ipsos found that every month, 35% of the region’s affluent audiences consume CNN at a multiplatform brand level, and both CNN’s TV and digital audiences are at least 50% ahead of BBC, and more than twice the level of CNBC and Bloomberg
Specifically commenting on CNN’s coverage of the U.S. Election, 66% say the network’s coverage is informed and intelligent, 64% expertly presented, 64% comprehensive, 62% engaging, and 60% as setting the standard.
These findings follow record-breaking TV and digital ratings in CNN US for the network’s coverage of the election. With CNN leading the way in exclusive interviews, townhalls and debates, the network had its most watched quarter in seven years in January-March 2016 – a performance that saw CNN as the fastest growing Top 40 cable network in primetime, up triple-digits in total viewers and adults 25-54. In September 2015, CNN broadcast the most-watched programme in its history as its GOP debate was watched by an average 23.1 million people. On digital, CNN Politics posted its highest ever traffic in February 2016 – in its 12th straight month as the US’s #1 source for political news online, it had a record 36 million unique multiplatform visitors.
Rani Raad, President, CNN International Commercial, said: “This research shows the unprecedented interest in this year’s U.S. Election – it has global reach and a mix of policy debates that have the potential to affect the world at large. In a world where consumers have more access to news and information than ever before, CNN continues to lead the way as the world’s news leader and the trusted source that audiences turn to more than anyone else. This study builds on CNN’s record-breaking ratings and traffic in the US and is the type of insight that shows us the level of demand there is for coverage of this race.”
*CNN U.S. Election Global View Study, conducted by Toluna, surveyed 4,792 adults in 23 countries across Europe, Middle East, Africa, Latin America and Asia Pacific (+ Canada). The study was conducted in March 2016. For Europe, there were 1,260 interviews in six markets; for Middle East and Africa 827 interviews in four markets; for Latin America 839 interviews in four markets, and in APAC 1,656 Interviews in eight markets.
*Ipsos Affluent Survey Asia Pacific Q1-Q4 2015: The Ipsos Affluent Survey Asia Pacific represents the top 18% of adults aged 25-64 by income across the following 10 markets: Australia (Sydney + Melbourne), Bangkok, Hong Kong, India (Delhi + Mumbai + Bangalore), Jakarta, Kuala Lumpur, Manila, Seoul, Singapore, Taipei.
MUMBAI: CNN International Commercial commissioned new research that shows huge demand from worldwide audiences in following the story of this year’s U.S. Elections. The study also confirms CNN as the leading international media covering the U.S. Election – building on the network’s agenda-setting coverage and record TV and digital ratings during the Presidential race so far.
To understand how the world views and is following one of the biggest stories of 2016, CNN commissioned independent research company Toluna to assess* the viewing habits and opinions of adults in 23 countries across Europe, Middle East, Africa, Latin America and Asia Pacific, plus Canada. The findings of this research were released ahead of CNN International launching a new nightly U.S. Election show – State of the Race. From May 17, the show will be anchored from CNN’s New York bureau by Kate Bolduan and give international audiences 30 minutes of insight and analysis into the story that the world is watching with intense interest.
In the research findings released today, 51 per cent of all respondents select CNN as the #1 international news provider for following the U.S. Election – a figure higher than all other news organisations combined and dwarfing any preference for other media such as BBC (19 per cent), Reuters (5 per cent and Sky News (4 per cent). 78 per cent of respondents say they have viewed or read CNN coverage, with 83 per cent of these people consuming CNN’s political content within the last week. The majority of people getting their news fix about the U.S. Election are doing so through CNN International’s linear channel – 50 per cent say they consume via TV, 31 per cent on the CNN website, 14 per cent on social media and 8 per cent via the CNN app.
Outside of news consumption habits, the study found huge interest amongst international audiences for the U.S. Election. 85 per cent of people view the election as important for the world at large, with 73 per cent of respondents saying they are personally interested in U.S. Election news.
The top reasons that people state as why they are interested in the U.S. Election are: importance for the world at large (68 per cent); importance for their country (47 per cent); potential to affect individuals economically (38 per cent); insight into the US political system (35 per cent); shows how Americans view the world (34 per cent); and the personalities of the competing candidates (33 per cent). Asked why they think the U.S. Election is important to the world at large – respondents say it is due to: the US’s significance to the global economy (64 per cent); implications for international relations (63 per cent); US’s role in global security and counter-terrorism (57 per cent); trade prospects and potential for a shift to more hardline US foreign policy (both 43 per cent).
In Asia Pacific:
•52% of respondents select CNN as the #1 news source – ahead of BBC (16%), Reuters (7%) and CNBC (5%)
•80% of people have followed the U.S. Election story on CNN – of these 46% have done so via TV, 35% on the CNN website, 19% on social media and 12% via the CNN app
•The top reasons that Asia Pacific audiences list are interested in the U.S. Election are: its importance for the world at large (68%); its importance for my country (50%); its potential to affect me economically (44%); the insight it gives me into the US political system (38%); shows me how Americans view the world (37%); and the insight it gives me into the US political system (37%)
•This research follows the recent Ipsos Affluent Survey Asia Pacific which confirmed CNN as the leading international news brand, TV channel and digital platform across the region in all metrics. Ipsos found that every month, 35% of the region’s affluent audiences consume CNN at a multiplatform brand level, and both CNN’s TV and digital audiences are at least 50% ahead of BBC, and more than twice the level of CNBC and Bloomberg
Specifically commenting on CNN’s coverage of the U.S. Election, 66% say the network’s coverage is informed and intelligent, 64% expertly presented, 64% comprehensive, 62% engaging, and 60% as setting the standard.
These findings follow record-breaking TV and digital ratings in CNN US for the network’s coverage of the election. With CNN leading the way in exclusive interviews, townhalls and debates, the network had its most watched quarter in seven years in January-March 2016 – a performance that saw CNN as the fastest growing Top 40 cable network in primetime, up triple-digits in total viewers and adults 25-54. In September 2015, CNN broadcast the most-watched programme in its history as its GOP debate was watched by an average 23.1 million people. On digital, CNN Politics posted its highest ever traffic in February 2016 – in its 12th straight month as the US’s #1 source for political news online, it had a record 36 million unique multiplatform visitors.
Rani Raad, President, CNN International Commercial, said: “This research shows the unprecedented interest in this year’s U.S. Election – it has global reach and a mix of policy debates that have the potential to affect the world at large. In a world where consumers have more access to news and information than ever before, CNN continues to lead the way as the world’s news leader and the trusted source that audiences turn to more than anyone else. This study builds on CNN’s record-breaking ratings and traffic in the US and is the type of insight that shows us the level of demand there is for coverage of this race.”
*CNN U.S. Election Global View Study, conducted by Toluna, surveyed 4,792 adults in 23 countries across Europe, Middle East, Africa, Latin America and Asia Pacific (+ Canada). The study was conducted in March 2016. For Europe, there were 1,260 interviews in six markets; for Middle East and Africa 827 interviews in four markets; for Latin America 839 interviews in four markets, and in APAC 1,656 Interviews in eight markets.
*Ipsos Affluent Survey Asia Pacific Q1-Q4 2015: The Ipsos Affluent Survey Asia Pacific represents the top 18% of adults aged 25-64 by income across the following 10 markets: Australia (Sydney + Melbourne), Bangkok, Hong Kong, India (Delhi + Mumbai + Bangalore), Jakarta, Kuala Lumpur, Manila, Seoul, Singapore, Taipei.
MUMBAI: 2016 has seen several key movements in the television news industry. The latest addition to that is Dinesh Akula who has joined Telegu news channel TV5 as its editor. He joins the news channel from Hyderabad based channel Express TV where he was senior VP-editorial and operations. Akula will be responsible for the channel’s overall editorial content that goes on-air for TV5, which is run by Shreya Broadcasting P ltd.
When asked about his new role, Akula said, “At present I am trying to the understand the system and then will work on the new packaging for the channel. There are lot of ideas which the managing director B.Ravindranath has and it will be my main job to implement it smoothly and successfully.”
The move has come after he spent one year in Express TV and close to seven years in TV9 where he was responsible for the on-air content, the look and feel, planning and execution of content strategies for TV9 Telugu and was earlier handling national news desk for all the six TV9 channels.
With 22 years of experience in media, Akula has worked with BBC in Bristol, Sky News in London, Star News (Now ABP News) and Hindustan Times in India among others.
MUMBAI: 2016 has seen several key movements in the television news industry. The latest addition to that is Dinesh Akula who has joined Telegu news channel TV5 as its editor. He joins the news channel from Hyderabad based channel Express TV where he was senior VP-editorial and operations. Akula will be responsible for the channel’s overall editorial content that goes on-air for TV5, which is run by Shreya Broadcasting P ltd.
When asked about his new role, Akula said, “At present I am trying to the understand the system and then will work on the new packaging for the channel. There are lot of ideas which the managing director B.Ravindranath has and it will be my main job to implement it smoothly and successfully.”
The move has come after he spent one year in Express TV and close to seven years in TV9 where he was responsible for the on-air content, the look and feel, planning and execution of content strategies for TV9 Telugu and was earlier handling national news desk for all the six TV9 channels.
With 22 years of experience in media, Akula has worked with BBC in Bristol, Sky News in London, Star News (Now ABP News) and Hindustan Times in India among others.
MUMBAI: Television entertainer and magician Paul Daniels breathed his last today at the age of 77. Daniel was diagnosed with a brain tumor in February and passed away peacefully at his residence in Berkshire with his wife Debbie McGee at his side in the early hours of this morning.
Famous for his long-running BBC programme The Paul Daniels Magic Show, which ran from 1979 to 199, Daniels was known for a string of catchphrases, including the line: “You’ll like this… not a lot, but you’ll like it.”
At the time Daniel’s illness was confirmed, a statement from his publicist said, “We can confirm that one of our greatest magicians and entertainers of all times, Paul Daniels, has sadly been diagnosed with an incurable brain tumor.”
Martin Daniels, his son, said at that time: “He has said before, ‘When it’s your time it’s your time’ and that’s how he is trying to face up to things.”
Daniels was famous for his close-up magic and entertainment shows, but was less known for his special effects work. He designed the special effects for the stage productions of Cats and Phantom Of The Opera, and was commissioned by the English National ballet to create magical effects for The Nutcracker.
MUMBAI: Television entertainer and magician Paul Daniels breathed his last today at the age of 77. Daniel was diagnosed with a brain tumor in February and passed away peacefully at his residence in Berkshire with his wife Debbie McGee at his side in the early hours of this morning.
Famous for his long-running BBC programme The Paul Daniels Magic Show, which ran from 1979 to 199, Daniels was known for a string of catchphrases, including the line: “You’ll like this… not a lot, but you’ll like it.”
At the time Daniel’s illness was confirmed, a statement from his publicist said, “We can confirm that one of our greatest magicians and entertainers of all times, Paul Daniels, has sadly been diagnosed with an incurable brain tumor.”
Martin Daniels, his son, said at that time: “He has said before, ‘When it’s your time it’s your time’ and that’s how he is trying to face up to things.”
Daniels was famous for his close-up magic and entertainment shows, but was less known for his special effects work. He designed the special effects for the stage productions of Cats and Phantom Of The Opera, and was commissioned by the English National ballet to create magical effects for The Nutcracker.
