Voyager Media Awards Recognise RNZ Journalism

Voyager Media Awards Recognise RNZ Journalism

Voyager Media Awards Recognise RNZ Journalism

RNZ excellence in journalism has been recognised at the prestigious Voyager Media Awards announced on 22 May 2020. The annual awards celebrate the very best in print, digital and broadcast journalism on all media platforms across New Zealand.

RNZ journalists have won an unprecedented seven Voyager awards and have received judging commendations as runners-up in two categories.

Guyon Espiner has won the coveted Reporter of the Year Award, with judges noting that he broke one of the biggest political stories of the year and demonstrated a strong commitment to reporting issues of public importance. Espiner’s Voyager award follows his recognition last week as Best News Journalist at the New Zealand Radio Awards.

RNZ podcasts have dominated in Voyager digital categories winning two awards. The RNZ / Stuff production, White Silence, has won Best Narrative Podcast – also backing up from a double success at last week’s New Zealand Radio Awards, and the Voyager award for Best Episodic Podcast is He Kakano Ahau, a collaboration with Ursula Grace Films.

Aaron Smale (Ngāti Porou), is the Voyager Feature Writer of the Year for his longform, hard-hitting, journalism addressing the impact of inequality on Māori. Judges said his work is deeply moving and beautifully written.

Te Aniwa Hurihanganui (Ngāti Porou, Ngāti Tuhourangi, Ngāti Tuwharetoa) receives the Te Tohu Kairangi trophy for Best Reporting – Māori Affairs. She was the inaugural recipient of the Henare te Ua Māori Journalism Internship established in 2017 by Radio New Zealand to support Te reo Māori and foster Māori journalism.

RNZ’s Logan Church won Best Junior Reporter for his insightful and compelling live radio cross in the aftermath of the Christchurch terrorist attack, with judges saying he displayed skills beyond his years.

In video journalism, Luke McPake was recognised as Best Feature or Current Affairs Video Journalist for Death Bed: The Story of Kelly Savage, which was described as captivating, powerful and creative storytelling.

Judging commendations as runners-up have been received by Phil Pennington in the individual Reporter of the Year category and the RNZ team for its investigation of the eviction of Tamaki state house tenants.

RNZ CEO Paul Thompson (pictured) congratulated all RNZ winners and finalists.

“These awards showcase excellence in New Zealand news and current affairs and I am proud to see our staff recognised as finalists and winners for their brilliant work – among such outstanding contenders. RNZ is committed to high quality, independent, and credible journalism and we value the opportunity to celebrate the industry with colleagues who represent the very best in New Zealand”

RNZ Voyager Media Award Winners for 2020:

Reporting

Guyon Espiner – Reporter of the Year

Te Aniwa Hurihanganui – Best Reporting – Māori Affairs

Logan Church – Best Reporter – Junior

Feature Writing

Aaron Smale, Feature Writer of the Year – Long Form

Video Journalism and Broadcasting–

Luke McPake, Best Feature of Current Affairs Video – Single Journalist

Digital

White Silence (RNZ/Stuff), Best Narrative Podcast

He Kakano Ahau (RNZ/Ursula Grace Films) Best Episodic Podcast

RNZ Runners-up are:

Phil Pennington – Runner-up Reporter of the Year RNZ- Runner-up Best Team Investigation

A full list of the 2020 Voyager Media Awards can be found here:

https://voyagermediaawards.nz/winners2020

United Nations launches global initiative to combat misinformation

United Nations launches global initiative to combat misinformation

United Nations launches global initiative to combat misinformation

The United Nations has launched ‘Verified’, an initiative to combat the growing scourge of COVID-19 misinformation by increasing the volume and reach of trusted, accurate information.

“We cannot cede our virtual spaces to those who traffic in lies, fear and hate,” said UN Secretary-General, António Guterres, who announced the initiative. “Misinformation spreads online, in messaging apps and person to person. Its creators use savvy production and distribution methods. To counter it, scientists and institutions like the United Nations need to reach people with accurate information they can trust.”

Verified, led by the UN Department for Global Communications (DGC), will provide information around three themes: science – to save lives; solidarity – to promote local and global cooperation; and solutions – to advocate for support to impacted populations. It will also promote recovery packages that tackle the climate crisis and address the root causes of poverty, inequality and hunger.

The initiative is calling on people around the world to sign up to become “information volunteers” to share trusted content to keep their families and communities safe and connected. Described as digital first responders, the volunteers will receive a daily feed of verified content optimised for social sharing with simple, compelling mes- saging that either directly counters misinformation or fills an information void.

DGC will partner with UN agencies and UN country teams, influencers, civil society, business and media organisations to distribute trusted, accurate content and work with social media platforms to root out hate and harmful assertions about COVID-19.

“In many countries the misinformation surging across digital channels is impeding the public health response and stirring unrest. There are disturbing efforts to exploit the crisis to advance nativism or to target minority groups, which could worsen as the strain on societies grows and the economic and social fallout kicks in,” Melissa Fleming, UN Under-Secretary-General for Global Communications, said. “The Verified initiative will also work to address this trend with hopeful content that celebrates local acts of humanity, the contributions of refugees and migrants, and makes the case for global cooperation.”

The initiative is a collaboration with Purpose, one of the world’s leading social mobilisation organisations. It is supported by the IKEA Foundation and Luminate.

Patricia Atkinson, the IKEA Foundation’s Chief Programmes Officer, said: “The COVID-19 pandemic is an unprecedented global health crisis. The IKEA Foundation is proud to be supporting Verified — an initiative aiming to make sure everyone has access to the trusted science and advice they need to keep their family and loved ones safe.”

Nishant Lalwani, Managing Director of Luminate, added: “COVID-19 has provided a stark reminder that access to accurate, trusted information can be the difference between fear and resilience, division and unity, and even life and death. We are proud to be supporting Verified and its work to tackle the coronavirus ‘infodemic’ by rapidly spreading reliable, science-based information to protect people and communities around the world.”

BBC publishes Annual Plan and registers record-breaking performance

BBC publishes Annual Plan and registers record-breaking performance

BBC publishes Annual Plan and registers record-breaking performance

The BBC’s Annual Plan published today reveals people across the UK have turned to the broadcaster in record numbers as a source of news, entertainment and companionship during the Covid-19 pandemic.

 

New figures show that as many as 94% of the UK adult population – and 86% of younger people – have turned to the BBC in some weeks, with the vast majority rating the BBC’s response highly and official figures showing it remains by far the most trusted source of news.

The BBC issued the following statement:

The plan is being published later than originally envisaged because our primary focus in recent weeks has been on keeping services on air and, like other organisations, responding to the significant challenges posed by the pandemic.  Our aim has been to serve the nation to the best of our ability and use all of our resources to keep the nation informed, educated and entertained. We have used our airwaves for everything from exercise classes for older people to religious services and recipes and advice on food for those on low incomes. We have created the biggest education offering in the BBC’s history to help children, parents and teachers get through school closures. And we have launched an essential arts and culture service – Culture in Quarantine – to keep the arts alive in people’s homes and support the arts sector during challenging times.

 

We have had to change and adapt what we had planned for the months ahead. Some of the things we have done during this time – for instance around health and wellbeing – may be things we retain once we are past the pandemic.

 

Our annual plan outlines what the BBC has achieved so far, how we will manage the months ahead, and creates a strong foundation for the future – albeit one which leaves the BBC facing increased financial challenges.

 

Sir David Clementi, BBC Chairman, said:

 

“Like many organisations, the BBC faces some very real financial challenges in the year ahead, but I am delighted that our services are performing so strongly and making a real difference to the public during a challenging time. I am proud of the job the BBC has done informing, educating and entertaining the UK at this unprecedented time and the response from audiences has been humbling. I would like to thank our staff for their performance and for everything they have done.”

 

Tony Hall, BBC Director-General, said:

 

“The pandemic has had far reaching consequences for most organisations. The BBC is no different. In our response, we have always tried to put the public first and deliver our public service remit in its truest sense. The response from audiences has been remarkable.

 

“We have seen a huge leap in the usage of our services, particularly among young people. The digital improvements we’ve made over the past year mean the BBC is well placed to embrace the future. We can now give audiences the BBC they want – a better iPlayer with more quality programmes available for longer, and a BBC Sounds that is innovating and performing.

 

“No organisation from the smallest shop to the largest multinational will be unchanged by this pandemic, but I believe this is a moment where the BBC can do more than ever for the UK and help us out of this crisis.

 

“None of us have all the answers today. But I honestly believe that the BBC has demonstrated its unique value to the country, and future change – in whatever form – should always be guided by the values and principles that founded the BBC. They have more than stood the test of time.”

 

Our annual plan shows that:

 

  • The BBC is the most used media organisation in the UK. As a result of our strong performance – and even at the height of lockdown when VOD growth was sharpest – the BBC is roughly 24% of all UK video, audio and online time spent by the average adult in a week – including YouTube, social media, general browsing, shopping and search. By contrast, Netflix is around 3% of that time. Even within linear and on-demand TV, we estimate the BBC is around 31% of time compared to around 9% for Netflix.
  • Viewing of BBC TV has been nearly 50% higher than last year in some weeks, while viewing figures for TV news have hit their highest levels since 2003.
  • 77% of the public think the BBC is currently effective at the moment in informing, educating and entertaining the UK, with a similar percentage for young adults.
  • Investing in digital services means the BBC is better meeting the demands of audiences, particularly younger people:
    • iPlayer has had a succession of record-breaking days, with news programmes, Killing Eve, The Nest and Normal People driving huge numbers of requests
    • BBC Sounds has grown to have significantly more users than iPlayer Radio, hitting 3.6m users in a week.
  • We have improved our performance with young adults in this period – we are reaching as many as eight out of ten young people. Far from “turning their backs on the BBC”, as some have suggested, they have been embracing our news and shows such as Normal People.
  • BBC Three has delivered some of the BBC’s biggest performing programmes, with Normal People now having more than 38m requests to watch it on BBC iPlayer.
  • Record numbers have been using our education offering while schools are closed. Within the first week the number of browsers coming to Bitesize was 5.2m, a new record week for the site and three times the equivalent figure last year.
  • Through Culture in Quarantine we have been hosting regular pop-up ‘festivals’ with partners including Museums from Home, the Big Book Weekend and Get Creative at home, while also supporting independent artists through offering funding for projects across all nations of the UK.

 

What Next

 

It is clear the BBC can help support the country as it emerges from this crisis. Today, we are supporting more parts of the media industry than any other provider. We have joined forces with other broadcasters and the independent production sector to help restart production safely. We will be using our commissioning budgets to invest in creativity across the whole UK and to increase the diversity of our output, led by our plans for BBC Three. We will focus our local and regional portfolio to do more in the Midlands and the North of England. We will offer a platform to new talent, to diverse voices and to artists who cannot reach audiences live. We will be redoubling our efforts to reach the hard-to-reach, the less secure, and the young.

 

While the BBC has been showing live programming, much of our production work has been on hold.  The BBC is now ready to return to programme production within weeks should conditions and government advice allow. Filming on EastEnders and Top Gear is due to start again by the end of next month.

 

We will step up our commitment to better serve young audiences who currently get less value from the BBC.  BBC Three has been a hit machine.  Such is its performance, we will consider the merit of restoring it as a linear channel. While young people would continue to predominately watch BBC Three content online, we believe that with the depth of content we now have available, there are still more people we could reach through a linear channel.

 

While we cannot know our full financial picture, we also hope to double the amount we spend on BBC Three commissions over the next two years.  This money would have to be found from elsewhere in BBC content budgets.

 

While BBC TV news audiences during the crisis are at their highest for many years, our strongest growth has been in digital news where browsers have been nearly 60% higher than the previous record just five months ago. Our new story-led approach to increase the impact and quality of our digital journalism is more important than ever.

 

Local radio has yet again proved its worth during this pandemic, with more than 640,000 interactions with its Make a Difference campaign. But it cannot stay as it is. We need to have an increased focus on areas the BBC has traditionally served less well in the Midlands and North of England, such as Bradford, Sunderland, Wolverhampton, Blackpool and Peterborough. We are still developing these plans. We will continue to shift more activity across the UK, commissioning more content outside London and developing a new tech hub in Newcastle.

 

The financial challenges facing the BBC are real and acute. They cannot be addressed within the context of this annual plan for the simple reason that there are still many uncertainties. We will have a better understanding in the autumn.

 

The report also sets out more detail on plans for the coming year including:

 

  • Developing BBC News Online to promote and amplify fewer, but more relevant and important, stories. BBC News will also use podcasts as a vehicle for investigative journalism, such as increasing Panorama podcasts on their key investigations on BBC Sounds.
  • Celebrating major music events including 50 years since Glastonbury began and programming across the BBC to mark the 250th anniversary of Beethoven’s birth.
  • Launching Tiny Happy People, an ambitious parent-facing campaign to help tackle the UK’s ‘word gap’ by helping build children’s vocabulary.
  • An explosion of comedy from female writers on BBC Two.
  • Reinvigorating what we do over the next year across the nations and regions to ensure we are in touch with diverse communities right across the UK.
  • Building on the progress already made in making the BBC a more diverse place to work, including a Creative Diversity Festival later in the year and a virtual event in July to celebrate and promote talent from Black and Ethnic Minority backgrounds.

 

 

MBC Group in world’s Top 20 media companies with 2.5bn social video views in 4/2020

MBC Group in world’s Top 20 media companies with 2.5bn social video views in 4/2020

MBC Group in world’s Top 20 media companies with 2.5bn social video views in 4/2020

Achieving yet another milestone, MBC Group has entered the Top 20 leaderboard for social media video views, as per Tubular Labs’ latest released results for the month of April 2020.

According to the just released report, MBC Group has achieved significant growth compared to the month of March 2020, jumping 13 positions, from number 32 to number 19 on the leaderboard for global media and entertainment entities. Tubular Labs’ top 5 currently comprises: The Walt Disney Company, ViacomCBS, Comcast, WarnerMedia and TheSoul Publishing. 

Over the month of April 2020, MBC Group in the Middle East achieved a total of 2.5 billion social video views, compared to 1.6 billion views in March 2020 – resulting in a month-on-month (MOM) growth of +58%.

As per April’s Tubular Labs result, MBC Group has seen a video view growth in each tracked platform:

  • YouTube: Views growth of +37.5%
  • Facebook: +76.6%
  • Instagram: +94.8%
  • Twitter: +53.8%

 

The mentioned total viewing figure for the month of April does not include the other considerable ones registered by MBC on both Snapchat and TikTok, platforms which are not tracked by Tubular Labs

Clearly, growth rates reflect the peak season and a few days sample of the strong performance of MBC TV channels in the Middle East during the holy month of Ramadan with, for example, over 50% audience share achieved in the Kingdom of Saudi Arabia, coupled with on-going audience leadership in the Gulf (GCC), North Africa (Egypt) and other key markets.

Tubular Labs is the leading global video measurement and analytics platform that powers broadcasters, publishers, and brands to create successful content and scale audiences faster. Its software tracks over 4 billion videos, 1 trillion views, 10 million influencers, 90K brands, 40K media, and 48 billion sponsored video views, with data gathered from YouTube, Facebook, Instagram, and Twitter.

It’s worth noting that in 2019, the group was the 37th top media company among 3,200 around the world – and number one in the Middle East – for digital video, as per the annual VideoAces Awards by Tubular Labs.

Figures can be found publicly via the web page: tubularlabs.com/property/712/MBC-Group?tab=summary

(Source: MBC press release)

Beating the virus – how broadcast production has responded

Beating the virus – how broadcast production has responded

Beating the virus – how broadcast production has responded

As the global pandemic continues, broadcasters and production companies have had to find new ways of working to ensure that programmes can still be made. At the same time they are looking to the future to ensure that output can be maintained as the virus persists in posing a threat to people’s health. The AIB takes a look at some of the solutions broadcasters have adopted and at the way production guidelines for the coronavirus era are being developed. We’re focusing on the UK for much of this article; if you’d like to share experiences from other parts of the world, please do send us your stories: editorial [@] aib.org.uk.

The need to provide safe working environments for staff has led to innovation in production techniques for both live and recorded shows. In radio, many presenters are working from home, contributing via IP-based systems from makeshift studios in front rooms, studies and basements, with clever use of home furnishings to provide sound deadening (our picture shows Nick Robinson, one of the presenters of BBC Radio 4’s Today current affairs programme, in his home). Presenters have come to realise that working from home can be good (access to one’s own kitchen is a particular benefit), but have had to adapt to cope with the arrival of refuse collectors who can be clearly heard through windows and dogs and children that demand attention. These are distractions that simply don’t exist in the usual studio environment. Occasional drops in Internet connections have also proved challenges with other presenters having to cover as links stubbornly refuse to connect. One BBC Radio 3 presenter due on air from home at 0900 was all set to go live when his router decided to disconnect from the Internet. After much shouting, swearing and cursing, he decided the only thing to do would be to dash from his home in North London to Broadcasting House to fire up a studio there to get on air, all the while ensuring social distancing was maintained. Definitely dedication, but perhaps not so good for the heart

It can be argued that radio is better placed to instigate remote production than TV. That has not stopped TV broadcasters from innovating successfully, with complex productions moved from broadcast studios into the homes of staff across the country. One example is BT Sport. It has developed a production system that has staff working from home in all parts of the country. From audio in a garage to an EVS operator in his front room and presenters building make-shift studios in their homes, the system harnesses VMix – a system developed by an Australian software company – to bring the production team and all remote sources together. You can see a short video about the way the system works above.

VMix is also being used by AIB Member BlackRook Media for production of factual programmes for a number of its clients. They have developed a demonstration programme that can be seen here and the system has been deployed for a range of live programmes around the world.

Inevitably with programmes that rely on contributions over the public Internet there can be problems. Audio goes out of sync and video quality can suddenly fall and in the worst case, the contributor’s link fails altogether. This means that producers must have contingency plans in place and flexible scripts to allow for these drop-outs to be covered, particularly in live programmes. Of course, these problems can occur in the gallery in studio complexes when outside sources suddenly disappear but it’s less common than faults that develop in the current environment when broadcasters are relying on home routers and Internet connections that can be throttled by ISPs.

This level of innovation demonstrates what is possible in challenging circumstances and the viewing and listening public is becoming more tolerant of on-air problems as an increasing number of broadcasters turn to new ways of producing output.

Moving beyond lockdown

As, thankfully, the number of COVID-19 cases starts to decrease in many countries, the media industry is looking for ways to return to some level of normality. In Germany, football matches kicked off for the first time in many weeks over the weekend of 16/17 May, albeit played behind closed doors with no more than 300 people allowed into the stadia. Broadcasters were able to take the first matches with OB trucks deployed, with extensive social distancing in place using perspex screens between individual production teams’ positions and a reduced number of staff in the trucks (see photo, via SVG Europe).

The German football leagues published an extensive health and safety document setting out the rules for everyone involved in matches, from players to broadcasters. Pages 30-37 of the document set out the way OB units would need to function with extensive social distancing. The measures included in this document show how any live broadcast needs to be operated in the new era and can be employed equally well in studio production areas as well as OB trucks.

In the UK, broadcasters published guidelines on 18 May for how productions need to cope with the challenges of coronavirus. These set out six areas that need to be considered for productions during COVID-19, including:

  • Specifically consider people at higher risk of harm
  • Heighten precautions for everyone at work
  • Reduce the number of people involved
  • Consider editorial ‘on camera’ requirements
  • Consider mental health and wellbeing
  • Feedback loop

The protocols also set out key points for assessing risk or considering controls, including travel, working patterns, equipment, first aid and mental health.

Tony Hall, BBC Director-General, said:

Everyone across the TV industry wants to get production back up and running. Recent weeks have shown just how important shows are to the public. But we can only move forward with the right safety measures in place. This guidance is an attempt to get that right. Clearly we will keep it under review. We have, as an industry, already learnt a lot about how we can deliver programmes and we will all put that into practice.

Gary Davey, CEO Sky Studios, said:

This guidance provides production companies and broadcasters with a shared set of principles to keep staff, cast and crew safe across a range of productions. We will continue to work closely with our international partners, share best-practice and continuously review and evolve the guidelines as we return to production.

Anna Mallett, CEO, ITN said:

Our teams in ITN have pioneered new ways of working to keep the news on-air and crucially, to keep staff, freelancers and contributors safe during this time.

We’ve been able to share our experiences and protocols to help draw up these guidelines for the wider industry. Our documentary team have found ways to ensure safety and creatively maintain production on a number of programmes filmed in contributors’ homes and on location.

The UK Secretary of State for Digital, Culture, Media and Sport, Oliver Dowden, said:

Great British television is keeping us company throughout the crisis, and I’m keen to get cameras rolling as soon as it is safe to do so. This is a significant step forward in getting our favourite shows and soaps going again.

Our creative industries are Britain’s global calling card, and I want to see them get back to doing what they do best safely.

AIB supporting its Members

The Association for International Broadcasting has been supporting its Members throughout the pandemic, producing one of the earliest briefings for broadcasters on the situation and implementing a WhatsApp information exchange for Members to share intelligence and ask questions of one another. The AIB will continue to assist its Members in these challenging times on issues around coronavirus while maintaining its work on all other areas that help its Members operate across the world.

 

Main image: ITV News report on filming of four-part drama series Isolation Stories

UN SDG Media Compact reaches 100 members

UN SDG Media Compact reaches 100 members

UN SDG Media Compact reaches 100 members

Growing alliance of news and entertainment companies brings focus on socio-economic impact of COVID-19 crisis to its two-billion-strong audience

The SDG Media Compact, an alliance of news and entertainment companies convened by the United Nations to drive coverage and mobilise action for the Sustainable Development Goals (SDGs) and of which the Association for International Broadcasting is part, has welcomed its 100th member.

From large broadcasters and established print media, to news agencies, radio stations and newer digital publishers, the SDG Media Compact spans 160 countries on five continents, reaching a combined audience of about two billion people through well over one hundred outlets owned by Compact members. 

“Media play a crucial role in countering misinformation and galvanising action for a sustainable recovery from the COVID-19 crisis based on science, solidarity and our common roadmap, the Sustainable Development Goals,” said Melissa Fleming, UN Under-Secretary-General for Global Communications. “We are proud to have one hundred SDG Media Compact members from across the globe, committed to covering the critical issues of our time and driving progress toward a healthier and more peaceful world.”

The Sustainable Development Goals (SDGs), adopted by world leaders in 2015, are a universal call to action to end poverty, protect the planet and improve the lives and prospects of everyone by 2030. UN expert voices, data, reports and stories are regularly shared with SDG Media Compact members, inspiring coverage of the Goals without interfering in editorial freedom. As part of the UN’s new Verified initiative, Compact members will also be receiving trusted and accurate content about COVID-19 to counter misinformation and flood the internet and airwaves with content on science, solutions and solidarity.

For Sky Group, Europe’s leading media and entertainment company, being part of the SDG Media Compact means acting on the big global issues that matter. “We’ve aligned our strategy with the Sustainable Development Goals because they provide clear purpose to ensure business drives the change that is crucial to improving our world,” said Jeremy Darroch, Sky Group’s CEO. 

Shanghai Media Group, one of the newest members, joined the Compact to be part of a global alliance working toward common goals. “It is our sincere wish to work closely with global media organisations to jointly build a community of shared future for mankind,” said Chairwoman Jianjun Wang.

For ATTN:, a digital publisher based in the United States, “partnering with the United Nations and having the ability to tap into their expert voices and data helps us ensure that our storytelling is well-sourced and informational, giving human interest stories the power to have real impact,” said Charlie Goldensohn, Senior Strategist at ATTN:.

“In a digital world full of misinformation and fake news, credibility is vital, and that is what we have greatly gained through our partnership with the SDG Media Compact and the rich editorial content shared,” said Maikem Emmanuela Manzie on behalf of Ndefcam radio in Cameroon. “The free flow of information on current issues, especially on COVID-19, has helped in building our stories on how the community can better fight this new virus.” 

Many members have already played a crucial role in countering misinformation, disseminating science-based information to fight the virus, and covering the socio-economic impacts of COVID-19 in the context of the broader sustainable development agenda. 

SBS Australia examined how and why conspiracy theories related to the coronavirus are spreading so quickly. Sky News debunked the conspiracy theory linking 5G radio antennas to the coronavirus. Noticias Positivas reported on the issue of fake news related to the pandemic. ATTN: launched a digital literacy series focused on helping young people distinguish fact from fiction on COVID-related content. And the Asahi Shimbun explained why antagonising the World Health Organization won’t bring the world closer to containing the virus.

On the socio-economic front, Euronews, in an interview with the UN Secretary-General, called attention to the need for global solidarity for the world to emerge stronger from the crisis. CGTN published a number of pieces calling for debt relief for the poorest nations. The Nikkei reported on the need for mental health services as an essential part of the COVID-19 response. And Prensa Latina disseminated the Secretary-General’s call to protect the well-being of children.

On environmental matters, the Jakarta Post was among the outlets that amplified the UN Secretary-General’s call for a green recovery from the pandemic, SBS looked at how COVID-19 could be a chance to green our economies, In Depth News explained how ecosystems and human health intersect, and Scientific American reported on the crisis’ impact on CO2 emissions and implications for a green recovery. 

Looking at the gender dimensions, the Mainichi amplified the UN Secretary-General’s call to address the pandemic’s consequences for women and girls. Devex, in an interview with UN Women, highlighted the outsized impacts of the crisis on women’s work, health, and livelihoods. And Sky aired the UN Secretary-General’s message urging governments to prioritise the prevention and redress of violence against women in their COVID response plans.

About the SDG Media Compact

Launched by the UN Secretary-General with 31 founding members in September 2018, the SDG Media Compact seeks to inspire media and entertainment companies around the world to leverage their resources and creative talent to advance the Sustainable Development Goals. It currently includes 100 members from Africa, Asia, the Americas, Australia, Europe and the Middle East. By disseminating facts, human stories and solutions, the Compact is a powerful driver for advocacy, action and accountability on the Sustainable Development Goals.

More information, including the full list of members: www.un.org/sustainabledevelopment/sdg-media-compact-about