• Mediaweek Q&A with new Seven West Media chief executive
By James Manning
He’s only been the new Seven West Media CEO for three business days, but already James Warburton has been talking up the business at length, revealing his plans for revitalising the broadcaster and publisher, and connecting with media agency heads and clients.
On day three Warburton delivered the full year Seven West Media results, a not-so-spectacular performance that revealed a massive write down, but a business with an underlying net profit of $130m.
On day four, Warburton will be in Melbourne to meet with analysts and to address their concerns and reveal more of his vision.
Warburton spoke to Mediaweek at the end of his day three.
You need to be as transparent as you can be in terms of what your objectives are and how you’re going to run the business, and then you’ll be measured on it.
We are only three days in, so let’s not get too carried away in terms of having all the detail. If nothing else, from what people took out today, as our chairman said on Friday, it’s a change of direction. There’s a mandate from the board that is about transforming the company and looking to do things differently. That starts with our content across all the platforms, and leads us on a different journey to where we’ve been.
Any relationship is a two-way street. Ultimately what your staff wants is to feel really proud of the company they’re working for. They want to give everything that they’ve got, and they want to feel valued.
It comes back to clear communication. We had that opportunity first thing on Friday morning, and the chairman and I were able to shoot a video and it went around to the three thousand-odd staff, various town halls, and tied in with the management team. It really helps to come back to an organisation that I spent really good years with. They were really enjoyable years in a job and in a company like ours.
It’s about passionate people really pushing hard for outcomes.
Despite me leaving and going to a competitor [Network 10] in 2011, the fact is, the vast majority of the team I continued to work with. Both as when we had our rights at Supercars, then even as recently as a couple of weeks before I was appointed – working with some new motor sport interests and some other opportunities in the market. The respect has always been there both ways. It’s been terrific to get in there and to work again with some very passionate people.
At Network 10 I didn’t have long enough. Ultimately, a few CEOs later, where it is today, it’s still difficult for 10.
I certainly felt going into APN Outdoor that I had unfinished business in a listed market. The outcomes on everything we were doing were very positive, to get an earnings upgrade and to have the spike in share price that we saw was exactly what you want in terms of dealing with investors. Ultimately JCDecaux came over the top and that deal looks even better today than it did at the time.
The deal was outstanding, but in some ways I was disappointed because I thought we had a very good journey [ahead] at APN.
I’ve been very clear about the areas in which we’re going to operate and work hard in. My point today was, we’ve got a lot of very powerful assets, and we’ve got specific areas that I was completely transparent about in relation to what we’re going to do to improve. The base is there, very clearly there’s some areas of challenge.
The one thing I’ve learned after going into 10 is to be incredibly clear in terms of what your plan is, what your mandate is, and then more importantly the ability to execute.
I was completely transparent with the market in terms of where we are. That Sunday to Tuesday 7.30pm has been an issue. Look across the rest of the schedule, and the fact that we have 52 weeks of sport between the AFL and the cricket, we have an incredible base.
I go back to my good friend David Leckie‘s comments about bricks in the wall, we’ve got a pretty solid foundation. Then what we need to do, is we need to get back to creating, executing and launching original formats, something we were the best at that.
We’ve been outplayed a little bit, but there have been budget cuts because of sport, probably in areas that shouldn’t have been cut.
It’s also about where we’re spending the money as well. There’s a big budget and it’s about making sure we’re maximising every dollar we spend in our budget. It’s not just about spending more money in the mix.
I’m absolutely salivating around the prospect of relaunching the network in July of next year with the entire nation watching us [during the Tokyo Olympics]. When you talk about wrestling back the momentum, we have to work hard to be in a position to really launch out of the Olympics. Whether you have a view on the Olympics, or the cost, I’ll tell you right now, I’m absolutely delighted. I’m a big believer in sport.
We’ve got a bit old in some timeslots, so for us it’s actually about looking specifically at every slot and every opportunity so for us. We are older than 10, and you’ve got to be careful about going too young, but there are some areas of the schedule that need to freshen up that’s for sure.
One of the critical new appointments is potentially a chief operating officer [COO]. I am looking at the over-all structure, looking at our operating efficiencies and who we are.
I’ve always had outstanding relationships and I’ve always worked very hard with key clients and the agency people. I’ve always worked on the principle of – do what you say you’re going to do, don’t bullshit to them, and work as hard as you possibly can to give them media firsts and great opportunities. The media community itself has always been very supportive.
I also think they are a valuable source of information to launch and test your plans, and talk a bit about where they see Seven. I’m looking forward to engaging with the market.
I’ve contacted the top tier agencies as quickly as possible, and a number of our clients. I wrote a letter today to all the agencies and all of our top clients, which detailed the results and focused on the strategy. I sent out staff notes. We are very focused on our clients and our advertisers who are very valuable customers.
And I want to say Kurt Burnette [Seven’s chief revenue officer] and the sales team has done an outstanding job, they’ve really expanded across the course of the year. We’ve got an outstanding sales team and we just need to get a better product.
Stan has announced a multi-year output agreement with Paramount Pictures that will give Stan exclusive rights in Australia to a broad selection of Paramount’s new television series and films.
The new Paramount TV Licensing and Distribution deal expands Stan’s range of long-term agreements, which includes existing arrangements with Showtime, Starz and MGM.
Paramount Television’s Looking For Alaska will be the first series to launch, premiering exclusively on Stan in Australia on October 19. Produced for Hulu, the eight-part limited series is based on the book of the same name by John Green (The Fault In Our Stars, Paper Towns) and will star Kristine Froseth (The Truth About the Harry Quebert Affair) and Charlie Plummer (All The Money In The World).
Other projects currently in development from Paramount Television include Made for Love and Station Eleven for HBO Max, the Sexy Beast prequel series for Paramount Channel Network, plus the Martin Scorsese and Leonardo DiCaprio murder mystery Devil in the White City and Anne Rice’s The Vampire Chronicles, both for Hulu.
The hugely anticipated The Great, also produced for Hulu by MRC Television, will premiere exclusively on Stan in 2020. Starring Elle Fanning (Maleficent, The Beguiled) and Nicholas Hoult (The Favourite, Mad Max: Fury Road, X-Men: Dark Phoenix), the drama series follows Catherine the Great and her rise to power after marrying the Emperor of Russia. Australian writer and Academy Award nominee Tony McNamara (The Favourite) is writer and showrunner.
The new deal will also see hundreds of Paramount’s biggest feature films and franchises added to the service in the coming month, including the Mission: Impossible, Transformers, and Star Trek franchises, in addition to celebrated favourites like Top Gun, The Godfather Trilogy and many more.
“Paramount has built a fantastic slate of premium scripted television series in addition to their iconic box office blockbusters, legendary film franchises and library of classics,” said Mike Sneesby, CEO of Stan. “We’re thrilled to expand our relationship with Paramount under this new long-term output agreement as part of our ongoing commitment to bring the world’s greatest TV series and movies to Australians.”
“We are extremely pleased to continue working with Stan with this long term deal to bring some of Paramount Television’s most anticipated new shows exclusively to the service’s discriminating subscribers,” said Jonathan Greenberg, SVP Regional Sales Asia Pacific for Paramount Pictures Television Licensing & Distribution. “These programs, along with films from Paramount’s world-renowned library, further enhance Stan’s impressive lineup of premium entertainment.”
Gravity Media, the global provider of complex live broadcast facilities and production services, has agreed to acquire Chief Entertainment, a Sydney-based provider of live studio and production services, from Telstra.
Gravity Media currently operates in Australia under the Gearhouse Broadcast, HyperActive Broadcast and Input Media brands and this acquisition will complement the existing Input Media production centres in the UK as well as its Melbourne production and Sydney post-production facilities. The transaction has not yet completed and is expected to complete by the end of August, subject to certain conditions being satisfied.
Chief Entertainment will continue to operate under its existing name and branding until it is fully integrated with Gravity Media’s Australia operations.
Hamish Cameron, CEO of Chief Entertainment, will be stepping down as CEO but will continue to work with Gravity Media as it integrates Chief’s operations with those of its existing Australian businesses. Under its new ownership, Chief Entertainment will continue to provide Telstra with production services for its enterprise division, digital sports rights and media services.
Chief Entertainment is a television and digital production company based in Artarmon on Sydney’s north shore. Chief provides production services and digital media delivery services to leading TV networks, sporting federations, entertainment franchises, agencies and commercial brands. With Telstra fibre connectivity in and out of the building, Chief Entertainment can send and receive content anywhere around the world at a moment’s notice. With around 50 staff, Chief produces short and long-form programs for both live and post-produced, as well as branded content and commercials.
Chief Entertainment’s services include:
• Live studio based short-form and long-form program productions
• 24/7 broadcast TV channel play-out and management (FTA, Pay, IPTV)
• High quality video production services, post-production and motion graphics for branded content and television commercials
• Live Outside Broadcast (OB) television production management services
• Live event streaming and distribution management services
• Catch-up TV encoding and publishing services
• High quality live streaming and Video on Demand encoding for online, IPTV, and apps
• Secure video encoding and digital media content management services
This is the fifth acquisition that Gravity Media has made since securing substantial investment from TowerBrook Capital Partners in September 2016.
In 2017 it took over leading sports production company Input Media, to enable the business to offer end-to-end solutions including high-end production and technical facilities, and Australian communications solutions company Stranger Designs to expand its event communications offering.
In March 2018 it bought Genesis Broadcast Services and immediately rebranded it as Gearhouse Broadcast Germany to serve the production markets of Northern Europe.
In July 2018 it acquired Proshow Broadcast, a leading supplier of mobile production solutions to broadcasters, producers and rights holders throughout the USA and Canada, which has since been successfully integrated into Gravity Media’s Gearhouse Broadcast USA operations.
Chief Entertainment’s key facilities at its Artarmon base include:
• Two 100m2 HD studios and control rooms
• A live event master control and presentation suite
• Live broadcast and data fibre connectivity
• Eleven HD/4K edit and design suites
• An Avid Protools 5.1 audio post production suite
• Make-up and green room facilities
• Production office space
John Newton, founder & CEO, Gravity Media, commented:
“Chief Entertainment has achieved significant external revenue growth over the past three years, has an impressive customer base and is respected for the quality of the work it delivers. Our Gearhouse Broadcast and Input Media businesses have worked with Chief Entertainment for many years and we see it as a natural fit with our existing businesses in Australia.
“Chief Entertainment’s strengths include strong relationships with major Australian national sporting bodies, music and entertainment industries, as well as the creation of multi-platform entertainment and corporate television programmes involving some of Australia’s premier talent. We look forward to working with the Chief Entertainment team to continue to grow our content production capabilities and deliver enhanced services to our clients.”
delicious. has revealed two new brand extensions, as the winners of the 2019 delicious. Harvey Norman Produce Awards, the country’s most prestigious food industry event, were announced overnight at a gala ceremony at the State Theatre in Sydney.
delicious. editor-in-chief Kerrie McCallum said the expansion plans would evolve and enhance the delicious. content offering for both consumers and clients.
“We’re thrilled to announce the launch of delicious. Sydney and delicious. South Australia as they offer us another great way to connect with our audience and grow our lead in the premium food category,” McCallum said.
delicious. is extending its reach in Sydney by partnering with The Daily Telegraph to launch delicious. Sydney on August 29, joining the popular delicious. on Sunday in Stellar every Sunday in The Sunday Telegraph.
The Daily Telegraph editor Ben English said: “Dining out remains a key part of our readers’ lifestyle. They love eating out and being the first to hear about new venues and food trends.
“We influence and also deliver 600,000+ potential diners to advertisers each week.
“delicious. Sydney will be edited by The Daily Telegraph’s Sally Coates every Thursday and these pages will feature the latest industry news, restaurant reviews and Q&As with high-profile chefs plus the in-demand foodies our readers want to know about.
“From high-end restaurants to value-for-money dining, our readers have a keen appetite for food content so we are delighted to partner with delicious. on this.”
delicious. is extending its reach in South Australia, partnering with The Advertiser, SA Weekend and Sunday Mail.
From September 18 the Source SA brand, which has served as a strong marker of South Australia’s growing paddock-to-plate credentials, will shift to a weekly delicious. South Australia lift-out to further this relationship.
Every Wednesday, delicious. South Australia will interpret the latest trends for home cooks, offer exclusive content from high-profile chefs, source local produce and highlight the hottest new restaurants. On Saturdays, the delicious. pages in SA Weekend will offer the week’s must-read restaurant review as well as chef recipes and new products. Followed on Sunday by the highlights of the week.
delicious. South Australia will be edited by The Advertiser’s head of food and wine/lifestyle, Jessica Galletly.
Now in its 14th year, the delicious. Harvey Norman Produce Awards celebrate the country’s new, innovative, native and consistently outstanding Australian ingredients grown, caught, sourced or produced with dedication, passion, knowledge and regard for the environment. Some of Australia’s most renowned chefs and food industry leaders joined the delicious. team and finalists at the annual awards ceremony last night.
Seventeen awards, 16 trophies, and 30 gold medals were presented, with each of the State winners across four major categories (From the Dairy, From the Earth, From the Paddock and From the Sea) decided by the National Judging Panel, and considered for the overall Producer of the Year Award presented by Harvey Norman, which was last night awarded to Bruce Collis for his Seasonal Wild Caught Fish (VIC).
Kerrie McCallum said: “The delicious. Harvey Norman Produce Awards not only influence what you may see on restaurant menus for the next year to come, but most importantly give credit to the people who care for the produce that lands on our plates. It has never been more important to get behind our farmers and small producers. They need our help.”
The full list of delicious. Harvey Norman Produce Awards winners and gold medallists is presented in the September 2019 issue of delicious. on sale Thursday, 22 August and on delicious.com.au.
Top Photo: Jessica Galletly, Kerrie McCallum and Sally Coates at the delicious. Harvey Norman Produce Awards (Photography by Esteban La Tessa)
The subscription TV platform will broadcast every game of every nation live and ad-break free across two dedicated Fox Sports channels from Thursday, September 19.
As the nation throws its support behind the Wallabies, Foxtel will become the home of the RWC 2019 with an unrivalled offering as the only broadcaster delivering live and ad-break free coverage of all 48 matches, in HD and 4K Ultra HD across two dedicated channels.
Fox Sports’ has assembled the best commentary team for RWC 2019, led by the voice of Rugby in Australia, Greg Clark, with former Wallabies George Gregan, Drew Mitchell, Phil Kearns, Tim Horan, Rod Kafer, Justin Harrison, Greg Martin and Stephen Hoiles delivering expert insights alongside hosts Kieran Gilbert, Lou Ransome, Nick McArdle and Megan Barnard.
Fox Sports head of television Steve Crawley said: “It feels like Christmas has come early with the time zone and the fact we have all 48 games live in primetime on Fox Sports.
“We’re so proud of our panel of experts and commentary team – arguably the best ever assembled. We’re ready to go.”
From Thursday, September 19 at 7.30pm Fox Sports 503 becomes a dedicated Rugby World Cup channel, being the go to destination for fans through to the Final on November 2.
Foxtel’s RWC 4K Channel (Channel 499) will commence on Saturday, September 20 at 6.00am and will air all of the RWC 2019 matches live in 4K Ultra High Definition.
The Wallabies RWC 2019 campaign will start on Saturday, September 21 against Fiji with coverage from 2.00pm followed by France v Argentina and New Zealand v South Africa.
RWC 2019 COVERAGE on Foxtel:
Fox Sports will provide Fox Minis of every match, providing the fastest way to catch up on extended highlights (10mins).
There will be extensive coverage and video highlights as Australia’s official digital publisher at Foxsports.com.au RWC 2019 dedicated section plus a suite of complementary digital products.
Stranger Things continues its run on top as it now sits at the top of all four charts for the ninth straight week it still sits well above the rest of the chart producing more than three times the average demand expressions than any other show.
By Trent Thomas
In a quiet week for charts newcomers, the most notable new entry is Wu Assasins which has entered the Digital Original charts. The show was released on Netflix released the 10 episode first season on August 8th with the story focusing on a young Chinatown chef named Kai Jin in San Francisco who becomes entangled with the Chinese Triad’s pursuit of deadly ancient powers known as the ‘Wu Xing.’ The show stars Iko Uwais, Byron Mann, Lewis Tan, Lawrence Kao, Celia Au, Li Jun Li, Tommy Flanagan and Katheryn Winnick.
One show that has slowly been working its way up the Overall TV chart in Australia is Dance Moms which started airing its 8th season on June 4. The new season features the return of Abby Lee Miller who departed the show part two of season seven after being sentenced to prison for concealing her income from her performances on the show in 2012 and 2013. This season also featured a whole new team after several dancers and their mothers left the ALDC to form “The Irreplaceables”. The new season is set around Miller’s battle with Burkitt’s Lymphoma and her new team in Pittsburgh, in the same studio where the show began in 2011.
• The Block and ACA keep Nine in front, but only just
• Seven News and Home and Away key to close contest
• Survivor gives 10 demo win as Andy creates campfire havoc
• Seven’s Sunrise lead pushes to 100,000+ over Nine’s Today
By James Manning
• Seven News 1,051,000/1,010,000
• Nine News 809,000/839,000
• A Current Affair 759,000
• ABC News 585,000
• 7.30 489,000
• The Project 297,000/502,000
• 10 News First 405,000
• The Drum 176,000
• SBS World News 160,000
• Sunrise 298,000
• Today 190,000
Seven narrowly trailed Nine in primary share last night and it managed a bigger combined channel share.
It was a big day from Seven’s news and current affairs starting at breakfast where the lead Sunrise has over its opposition pushed out to over 100,000. Then after 6pm Seven News was well in control with a metro network lead close to 250,000 with wins in each east coast mainland capital and then double the audience in Adelaide and Perth.
Home and Away was on 687,000, up marginally from 672,000 on Monday.
Dogs Behaving (Very) Badly might be an example of what the new CEO is talking about when it comes to lack of product for 7.30pm. The show was well behind the opposition on 519,000.
The 2017 movie Kingsman: The Golden Circle then did 353,000, gathering some late night share for the channel.
A Current Affair was down 150,000 to 759,000 after its massive Monday audience of 913,000.
The Block renos continued but the highlight for many viewers was the appearance of Kylie Minogue. At one point in the show Scott Cam introduced Mitch and Mark to a good friend who turned out to be Kylie. Her connection to the show? Nine explained Kylie’s uncle is a cameraman on The Block. The episode did 852,000 after exactly the same crowd on Tuesday last week.
The third week of SeaChange saw the audience on 557,000 after 520,000 last week.
Guesting on The Project was comedian, podcaster and writer Adam Rozenbachs talking about what sounds like a great new book, Paris and Other Disappointments. (Dave Hughes gave the book an endorsement on the weekend too as he bought 2 copies.) The episode pushed the 7pm audience back over 500,000.
Another compelling episode of Survivor with the audience continuing to grow with 793,000 another series high. The first tribal council since the merge proved to be a cracker with Andy getting all the votes and causing a bit of havoc on the way out. The episode cleaned up in the demos and was #1 for the night under 50.
Two NCIS repeats followed with audiences of 217,000 and 130,000. NCIS also screened on 10 Bold at 7.30pm.
Foreign Correspondent was on 404,000 at 8pm.
Catalyst looked at aging again, this time keeping your brain healthy, with 339,000 watching.
Part two of Miriam’s Deathly Adventure then did 222,000.
Part three of London: 2,000 Years Of History was on 254,000, which could make it the channel’s most-watched show for a third week.
Insight was then on 212,000.
|ABC KIDS/ ABC COMEDY||2.6%||7TWO||2.4%||GO!||2.3%||10 Bold||3.4%||VICELAND||1.3%|
|ABC ME||0.8%||7mate||3.8%||GEM||3.2%||10 Peach||2.5%||Food Net||0.9%|
|7Food||0.4%||SBS World Movies||0.5%|
|ABC||Seven Affiliates||Nine Affiliates||10 Affiliates||SBS|
|ABC KIDS/ ABC COMEDY||3.3%||7TWO||4.2%||GO!||3.9%||WIN Bold||4.1%||VICELAND||1.5%|
|ABC ME||0.9%||7mate||6.6%||GEM||4.8%||WIN Peach||2.3%||Food Net||0.9%|
|ABC NEWS||1.1%||7flix (Excl. Tas/WA)||1.8%||9Life||1.6%||Sky News on WIN||2.5%||NITV||0.2%|
|7food (QLD only)||1.7%|
Shares all people, 6pm-midnight, Overnight (Live and AsLive), Audience numbers FTA metro, Sub TV national
Source: OzTAM and Regional TAM 2018. The Data may not be reproduced, published or communicated (electronically or in hard copy) without the prior written consent of OzTAM
Seven West Media kept a laser-like focus on the wrong operating performance numbers to motivate staff, comments The AFR’s Tony Boyd.
This allowed its primary competitor, Nine Entertainment, to get the jump on it and own the industry’s advertising momentum.
For more than a decade, Seven West’s culture was driven by the strategic imperative of being the most watched free-to-air TV network. Until recently, this brought with it leadership in advertising revenue share.
But new chief executive James Warburton has found the corporate culture, which has delivered 13 consecutive financial years as the top network, to be seriously flawed.
While Seven was boasting about being No. 1 at breakfast Nine was winning the key 25-to 54-year-old demographic, which accounts for three-quarters of all TV advertising.
It is a mystery why Seven is suffering from the failure to come up with new programs to beat the competition in prime time given it owns a thriving global production company with earnings before interest and tax of $59 million.
Facebook is making good on a promise the company made following last year’s Cambridge Analytica scandal: It finally finished a feature that will let users separate their internet browsing history from their personal profiles, reports Bloomberg.
The move is a risk for the world’s largest social media company because it could make Facebook advertising less accurate and potentially less valuable for marketers. Indeed, the executive leading the project, David Baser, said Facebook expects it to “decrease top-line revenue to some degree.”
The company is unveiling “Off-Facebook Activity” on Tuesday, a feature it previously called “Clear History,” and one that chief executive officer Mark Zuckerberg first announced in May 2018. The tool enables users to disconnect their Facebook profile from web browsing data and other information the company collects from outside apps and sites.
Concert promoter Phil Rankine’s failed companies owe more than $20m to Adelaide identities including Mark Ricciuto and members of the Kidman family, while his $1 million Tranmere home has five caveats lodged over it, reports News Corp’s Cameron England.
A creditors’ report into three of Rankine’s failed businesses shows that companies associated with the great-grandson of Sir Sidney Kidman, William Abel-Smith, are owed $2 million, while Ricciuto is owed $250,000.
Ticketmaster is owed $2 million, which the administrator of the three companies, Andrew McCabe of Wexted Advisors, said was an advance on the money raised by selling tickets for December’s two Elton John concerts in Adelaide.
Rankine, who won the inaugural season of The Block with former wife Amity Dry in 2003, has been a concert promoter in Adelaide for many years.
He recently brought Phil Collins, The Prodigy and Florence + The Machine to Adelaide, and had been raising money from wealthy investors to stage the shows.
Apple is getting ready to overload consumers with subscription services, and without a bundle, signing up for all of them won’t be cheap, reports the US edition of The Week.
The company is set to launch its Netflix competitor, Apple TV+, this fall, and a new report from Bloomberg suggests a US$9.99 per month price point is being targeted. This is just one of a number of monthly services Apple is set to offer or already is, including one for music, one for news, and one for games, plus a monthly subscription for more iCloud space.
To put the ever-expanding collection of monthly services in perspective, a person signing up for Apple’s music, news, TV and movies, and game services, as well as the 200GB iCloud storage option, would currently be spending about US$38 a month, or US$455 a year, although there is also a cheaper iCloud option.
Facebook plans to hire a team of editors to work on a news initiative called News Tab, which is its latest venture into the world of publishing, reports The New York Times.
The Silicon Valley company said that journalists would help curate News Tab, a new section inside of the company’s mobile application that will surface the most recent and relevant stories for readers. Facebook said it planned to hire seasoned journalists from various outlets for the roles and would put up job postings on its employment board on Tuesday.
News Tab is part of the company’s effort to highlight real-time journalism and news. It will exist outside of the News Feed, Facebook’s never-ending stream of status updates and friend requests.
“Our goal with the News Tab is to provide a personalized, highly relevant experience for people,” said Campbell Brown, Facebook’s head of news partnerships. “To start, for the Top News section of the tab we’re pulling together a small team of journalists to ensure we’re highlighting the right stories.”
ABC Radio’s AM presenter Sabra Lane was unable to hide her emotions on Tuesday morning after the program broadcast a heart-wrenching story about a little girl who was allegedly abandoned in Ukraine by her US surrogate parents, reports Guardian Australia’s Amanda Meade.
The ABC Canberra veteran broke down live on air and struggled to read the finance report immediately after airing the Ukraine story.
The response to Lane’s raw emotion was supportive, with many listeners contacting Radio National’s Breakfast program to offer support. The host, Hamish Macdonald, thanked readers for their concern.
Broadcaster Alan Jones is on the ropes tonight fighting for his job at 2GB as more and more advertisers pull sponsorship from his top rating show, reports Nine News’ Mark Burrows.
Jones told 9News he doesn’t have a problem with women and he doesn’t care if advertisers walk.
When asked if he had a problem with women, Jones said: “I think you better ask women that”.
“I don’t go around pumping up my own tyres, but on my desk in the last 48 hours have been letters from people whom I have helped infinitely women more than my critics.”
When asked about the backlash from businesses, Jones said: “There will be others that take their place”.
“I’ve got no comment about the advertisers, they can make their own judgement if they go,” he said.
Actor Ben Unwin, best known for playing Jesse McGregor on Home and Away, has died, reports The Sydney Morning Herald’s Laura Chang.
NSW Police said in an August 14 statement that the death was not being treated as suspicious: “Police attended Minyon Falls, Whian Whian, responding to a concern for welfare. The body of a 41-year-old man was located.”
Unwin was on Home and Away between 1996 and 2000 and reappeared again from 2002 to 2005. He also appeared in the TV shows Eggshells and G.P., and directed several short videos.
“Cast and crew from Home and Away are saddened to learn of the passing of former castmate, Ben Unwin,” a Seven spokeswoman said in a statement. “Ben’s work in the role of Jesse McGregor is remembered with much affection Ben’s family and friends are in our thoughts and prayers.”
The new SBS drama The Hunting achieves something that’s sadly rare right across scripted Australian television: it treats teenagers as complex and complete characters, capable of the best and worst their lives allow for.
Too often the teens on our screen are seen through the lens of another character, such as the wise beyond her years daughter who offers her harried cop/doctor/lawyer dad words of advice, or they’re pigeonholed by the genre, as happens to the high school students adorning the plots of soaps such as Home and Away. They’re just handy outlines, pasted in and out of storylines.
Situated at the intersection of sexuality and digital privacy, The Hunting isn’t afraid to depict a generation maturing online. In the first scene two high school students, Zoe (Luca Sardelis) and Andy (Alex Cusack), are sharing an online chat via webcam that has moved into mutual masturbation. But the tone is not fearful, and no parents intrude to cut the interaction short. The two teenagers are excited by the consensual moment, and neither has power over the other – at least until in the aftermath you see that Andy has recorded Zoe.
That makes SBS a good fit for The Hunting. The public broadcaster is deeply focused on contemporary issues, even if that means the result is a misfire such as the 2018 crime drama Dead Lucky, which ticked off so many boxes that it forgot to address any of them. By contrast The Hunting’s casting doesn’t just reflect the make-up of contemporary Australia, it feeds into the plot – the burden and response that Amandip and Nassim carry and receive is tied to being the children of immigrants raised in different cultures.
Long-running US soaps Days of Our Lives and The Young & the Restless are returning to the Nine Network, reports TV Tonight.
Days of Our Lives ran for 45 years on Nine before being dumped in 2013, sending fans into a spin.
Several months later it resumed in free streaming at Crackle.com before Foxtel’s Arena fast-tracked the series in 2014 “day and date” with the United States.
Both Days and Y&R will continue to be fast-tracked by Arena, which retains a 90 day exclusivity on all media. There is no change to Foxtel’s deal.
But after a six year absence free to air viewers will pick up on recent storylines through 9GEM and 9Now, from September.
Nine program director Hamish Turner told TV Tonight: “Both Young & the Restless and Days of our Lives were a huge part of Nine’s daytime heritage for over 45 years.”