TVNZ staff in new PR offensive
State broadcaster’s plan to cut costs is turning into a messy public set-to with angry newsroom
Tensions between TVNZ newsroom staff and management are set to grow, with the release of a new publicity campaign, taking very public aim at the state broadcaster’s plans to cut profitable and popular shows, and up to 68 jobs.
A number of well-known TVNZ faces, including Miriama Kamo, Jack Tame, Indira Stewart and Anna Burns-Francis, feature in the E tu¯ union’s publicity campaign — all lending support to reinforce the importance of news and current affairs.
The state broadcaster is also facing possible legal headaches, with E tu¯ convinced that TVNZ has breached a clause in the employees’ collective contract, which states the company needs to sit down with staff to discuss any restructuring before proposals are even developed.
TVNZ defended its position and said it would be responding “soon” to a letter that E tu¯ sent this week. “TVNZ’s view is that we’re running a fair and robust process that’s aligned with our collective agreement,” said a spokeswoman.
But there is no denying the state broadcaster’s plans to cut costs — in response to a dramatic drop in advertising revenue and as audiences shift rapidly online — is turning into a messy public set-to, in which staff are openly angry about the process and plans to axe top-rating and profitable shows such as Sunday and Fair Go.
At a staff meeting this week, 1News
Pacific correspondent Barbara Dreaver asked chief executive Jodi O’Donnell if she would apologise to staff — apparently for referring to her watch during an earlier staff meeting last Friday.
“We need really strong leadership and we expect to get it. And I’m quite happy to call out and challenge it [and] my own bosses when we don’t get that, just as I would a politician or any other person who deserves it,” Dreaver told 1News.
On social media, senior TVNZ journalists such as Sunday reporter Kristin Hall have been quick to back Dreaver. “Legend, icon, queen,” Hall wrote on X.
On the new publicity campaign, which also features Dreaver and Fair Go host Garth Bray, a TVNZ spokeswoman said: “TVNZers involvement with the union and any union activity is their choice.”
E tu¯ believes it is also on firm legal ground in its fight to pull TVNZ back from the current proposals.
According to E tu¯ negotiation specialist Michael Wood, the TVNZ collective agreement has “strong requirements” that the broadcaster must engage with employees before any proposals are even developed. The union says that requires TVNZ to discuss issues and possible solutions with employees first.
Wood agreed that was not normally a standard clause in collective contracts but nonetheless, he said, it was one TVNZ and the union had signed up to.
Wood said the relationship between the TVNZ newsroom and management was “very tense”.
“It hasn’t totally broken down — there’s still mutual respect on both sides but people have been very direct at expressing their views.”
He said the aim was to get TVNZ to the table to consider all options.
“We are on the edge of the cliff at the moment — let’s take a step back. There’s a way to get a better outcome.”
He said staff were up for considering all options — he’d heard a good many himself from members in recent days.
Wood said union members were advocating for a proper collaborative process. “To start with, we need to see all the relevant information. We don’t understand how they can cut shows that continue to be a commercial success.”
On the question of why the broadcaster would cut profitable shows, the TVNZ spokeswoman said: “We look at yield for news and entertainment programming to be able to compare content across our slate. Yield takes into account the production costs vs revenue, but it does not consider any overheads.
“This ensures we have a mechanism for comparing what we make internally with external production where we do not shoulder those same overhead costs. Sunday and Fair Go continue to bring in dedicated audiences, however, the yield of these shows has declined significantly year-on-year with both inflation driving up production costs and declines in the TV market impacting available revenue.
“This unfortunately means the historic profitability of these shows is not what it once was.”
Revealed: Secret Newshub lifelines
Newshub may yet survive in some pared-back form as various parties — including rival media companies, private individuals and staff — quietly mull possible options to save the stricken news brand.
Media Insider understands Warner Bros. Discovery is open to saving the brand and retaining the likes of the 6pm news on Three — it will no doubt be considering all internal and external possibilities. Right now, it is in a consultation period with staff — this has been extended to Monday.
One possible option is that Warner Bros. Discovery buys the 6pm bulletin as a news service from another party, rather than continuing to bear the cost of operating a newsroom.
Any possible rescue plan would be still unlikely to avoid dozens of job cuts — resourcing a news bulletin would have to be heavily pared back to ensure its viability for any new operator.
It might be difficult, for example, to continue with two newsreaders.
Media industry sources have pointed to the tens of millions of dollars of advertising revenue that Newshub’s 6pm news hour continues to draw each year. While that’s fallen heavily in recent years, it’s still hugely significant. And despite all the financial woes facing Warner Bros. Discovery, the Newshub brand is still strong.
By not having a 6pm news bulletin to attract early evening audiences, Warner Bros. Discovery’s primetime advertising revenue could completely disintegrate after June 30 — revenue that might flow to the likes of TVNZ but is more likely head overseas and into the coffers of the tech giants.
Potential new owners or operators of the Newshub brand would undoubtedly need to ensure any contract was lucrative enough for them to be able to hire any additional journalists from the likes of the existing Newshub team, and that they had the production capability.
An RNZ spokeswoman said: “We are not currently in active discussions with WBD. As a cornerstone media provider in a difficult environment we do of course remain open to talking to all our media partners.”
Neither NZME nor Sky wished to comment and Stuff did not respond last night.
I asked a Warner Bros. Discovery spokesman for comment on various possible rescue packages and scenarios.
“As promised on the announcement on 28 February, we committed to listening to all internal and external feedback and ideas, and we will continue to do so as we work through our consultation process,” he said.
“This consultation process is confidential, and will remain so until its conclusion.”
The consultation period, originally scheduled for two weeks, has been extended to Monday.
AP’s NZ ‘exit’ — legal notice
Journalists love it when a PR person starts an email, “I want to be clear”. And then muddies the water by refusing to answer a basic question.
All the more bizarre and frustrating, in my opinion, when it’s an international news agency.
The Associated Press is one of the world’s most reputable news agencies, with reporters stationed around the globe including — until very recently — New Zealand.
In December, the long-established and highly-respected New Zealandbased AP reporter, Nick Perry, announced that he was moving overseas with the agency.
In a friendly but brief farewell email to colleagues, Perry — who spent 12 years in the New Zealand press gallery for AP — wrote: “I’m moving to New Hampshire and will have a new role with AP as New England reporter. If you are ever up Boston way, do drop me a line, I’ll be keeping the same email.”
Perry’s work covering New Zealand would have been read by hundreds of thousands of international readers over more than a decade — his reportage and commentary an important insight into New Zealand’s political and domestic affairs.
In another age, it might safely be assumed Perry would be simply replaced with a new New Zealandbased reporter.
But lo and behold, a legal notice was recently published on the Government’s Gazette page.
It reads: “The Associated Press is an Overseas Non-ASIC Company registered on the New Zealand Companies Register.
“Notice is hereby given, pursuant to section 341(1)(a) of the Companies Act 1993, that The Associated Press (New Zealand branch) intends to cease carrying on business in New Zealand and will give notice to the Registrar of Companies, on or after three months from the date of publication of this notice, for the branch to be removed from the Overseas Register.”
It’s not in the same realm as the closure of Newshub or the axing of shows and staff at TVNZ, but an international news agency’s seeming departure from New Zealand is still another blow for local journalism.
So we went to the top to ask about it.
“The AP has not pulled out of New Zealand,” wrote Lauren Easton, vicepresident of corporate communications, based in New York.
“Our correspondent based there has transferred to another country.
“It is a top priority to hire another journalist to cover New Zealand, Australia and the vast South Pacific.
“The legal notice you shared has no bearing on our plans to continue covering the region. The Associated Press remains committed to covering New Zealand and the surrounding countries.”
So that was clear, as far as it went — yes, AP would still be covering New Zealand (and Australia and the vast South Pacific).
But it didn’t answer the question about whether AP would actually station the new reporter in New Zealand, just as Perry was for many years, or whether perhaps they might be somewhere else (like Australia or the vast South Pacific).
I put this directly to Easton, firstly over the phone and then via another email.
“I want to be clear — there is no intention to stop covering New Zealand,” she replied.
AP was only in this position because Perry had chosen to transfer, she said.
“The legal notice should not be read as indicative of our plans. It is not,” Easton wrote.
“Our Australia and New Zealand reporters are on the same reporting team and frequently step in to cover for each other. Nick frequently helped cover Australia, for example, when he was based in New Zealand, as I mentioned on the phone.
“To address your last point: This is neither an audience issue nor a cost issue. It was solely an employee wanting a transfer, and we’re working on next steps. I hope this helps.” It didn’t help at all.
We asked outright, again. Will the new AP reporter be based in New Zealand?
Easton has not responded.
Stripe Studios: Hoff, All Blacks shows now hit by receivership
Three more companies attached to troubled Auckland production company Stripe Studios have been placed in receivership, Media Insider can reveal.
And the three companies are behind the biggest Stripe shows that have been filmed but yet to be produced or screened — one features David Hasselhoff, another features former All Blacks Israel Dagg and Stephen Donald and the third features American comedian Iliza Shlesinger.
In a statement this week, BDO partner Rees Logan said: “Following a request made by the Companies Director, Rees Logan and Andrew McKay of BDO Auckland were initially appointed receivers over certain Stripe Media Group companies including two holding companies and six special purpose vehicles.
“Subsequent to the initial eight receivership appointments, the receivers have now been appointed over a further three special purpose vehicles.
“Each of the special purpose vehicles relates to shows that are in various stages of production. The receivers are undertaking an urgent assessment of the status and financial position of each of the entities before determining their next steps in relation to each of the productions.”
Promotional material for the three new shows — Hoff the Beaten Track, Izzy and Beaver’s Australian Adventure and Iliza Shlesinger: This Tastes Funny — has been removed from Stripe’s website, amid a raft of financial and legal issues.
All three television series have been shot, but face an uncertain future.
The Shlesinger show is the subject of a court hearing in Auckland, after the American comedian and actress applied in December to have Stripe Studios (Comedy) Ltd liquidated — usually a legal manoeuvre to seek any outstanding payment.
Last week, eight Stripe companies were placed in receivership — Stripe Media Ltd, AM Media Corporation Ltd, Stripe Studios (Circus 4), Stripe Studios (France), Stripe Studios (Gold), Stripe Studios (Rich Listers 2), Stripe Studios (Snow 2) and Stripe Studios (Snow).
Media Insider revealed the troubled plight of Stripe Studios last month, with allegations at least two major production houses were owed six-figure sums — including one of them for work on the Hasselhoff show.
All references to the Hasselhoff show have been removed from Stripe’s website; there is no confirmed release date.
Media Insider also revealed Shlesinger’s legal action — all references to her show, a 10-episode series of her travelling around New Zealand, have also been removed from the website. There is no confirmed release date.
Attempts to contact Stripe Studios managing director Alex Breingan have been unsuccessful.
All Blacks change stripes
Meanwhile, a teaser for the third Stripe show, featuring Israel Dagg and Stephen Donald touring Queensland, has also been removed from Stripe’s website. It is not known when it might screen.
Earlier, Stripe produced a series featuring Dagg and Donald touring France — this screened on Bravo and ThreeNow during the Rugby World Cup in 2023.
Two former Stripe contractors, Hamish Dodd and Sebastian Boys, have set up a new production company, Critical Mass Productions, and have teamed up with Dagg and Donald to produce a new, third series featuring the pair.
Dodd was involved in the former All Blacks’ excursions to France and Queensland and built a strong rapport and friendship with the pair.
He says with the Queensland series all shot and delivered, his contract with Stripe has been completed.
Dodd said he could not comment on anything about Stripe, given he was under an NDA, but he had no animosity and was not owed any money.
He’s now seeking funding and support to take the two former All Blacks to Asia for a proposed eightepisode travel series, tentatively titled Izzy and Beaver Go Wild in Malaysia.
It’s in the early development stages.
Dodd has built a strong reputation both in front and behind the camera — as well as the travel shows with Dagg and Donald, he’s perhaps best known for his work on a swag of home renovation shows including Dream Home Dilemma, The 100 Day Bach, The Bach That JK Built, Ground Force, 100 Day Renovation and My House My Castle.
“I’m trying to look after myself and the people that I care about greatly who I work with,” says Dodd, of his new business.
“I need to feed my family so I did the smartest thing I could, which is trying to secure a project for the people who’ve worked on it [previously] — we know it’s a good one. We know how to make that show. We’re not trying to do anything new.”
The new company was also looking at a separate, domestic New Zealand travel show.
Dodd knows it’s a challenge, especially in light of the cutbacks at Warner Bros. Discovery and TVNZ.
“Unfortunately, we all now completely understand how bad the TV landscape is in our country. There’s now a lot of people who are going to be looking for a very small pool of jobs.
“So I’m going to go out there and have a go at doing it myself. But only inside my wheelhouse. I really hope that I can get something up and running and be able to offer some work to people I know who have families. There’s a whole lot of pressure.
When contacted several weeks ago, Israel Dagg did not wish to comment. Donald could not be reached for comment.