• Full results and analysis of the third radio ratings of the year
Up: 104.9 Triple M +0.8
Down: 104.1 2Day FM -0.4
• #1 overall 2GB and #1 FM smoothfm increase their leads
• Triple M the biggest improver as Moonman makes a move
• ARN again controls FM breakfast as Jonesy and Amanda lift
• Kate, Tim, and Marty push past smoothfm to be #1 FM drive
Read full analysis here: Radio Ratings: GfK Survey 3, 2019 – Sydney
Up: KIIS 101.1 +0.9
Down: smoothfm 91.5 -0.7
• Biggest movers this survey: KIIS 101.1 and SEN
• Happy anniversary Christian O’Connell Show – up to 7.7%
• Breakfast on the move: Garry & Tim up, Hot Breakfast down
• Talent time: All music smooth & Gold drive shows FM leaders
Read full analysis: Radio Ratings: GfK Survey 3, 2019 – Melbourne
• Nova #1 as all FM stations lose share, 4BC & 4KQ increase
• Breakfast battle: Alan Jones now outrates Bianca, Mike and Bob
• Up: 4BC +1.5
• Down: 104.5 Triple M -1.9
Read full analysis: Radio Ratings GfK Survey 3, 2019 – Brisbane
• Radio audience votes for Fiveaa plus David and Will
• Nova Entertainment avoids share slide at ARN and SCA
Up: Fiveaa + 1.5
Down: Mix 102.3 -1.7
Read full analysis: Radio Ratings GfK Survey 3, 2019 – Adelaide
• Mix 94.5 holds at #1 as Nova, Hit 92.9 and 6PR all lift share
• Steve and Baz biggest movers at breakfast with 6PR show +0.7
Up: 6PR/Nova 93.7 +0.5
Down: Mix 94.5 -1.1
Read full analysis: Radio Ratings GfK Survey 3, 2019 – Perth
• Seven Studios important, but third party programs key too
• Second series of MKR for 2019 dropped, focus on 2020 season
By James Manning
On his return to the Mediaweek podcast, Seven director of network programming Angus Ross dived straight into the discussion to make sure we understood that Seven is again the #1 network in combined channel share in the current survey year-to-date. (As of the end of 2019 ratings week 22.)
Ross reminded us Seven has been the #1 network for the past 12 years, although he told Mediaweek: “Q1 2019 was a competitive quarter.” He said there was no denying Nine had a great start to the year with Married At First Sight. “But we are not a one show network at Seven. We are always on, there is no Easter or summer [breaks].
“We are driven by our three key pillars – news, entertainment and sport. We are the sum of our parts on not reliant on a single show.”
Ross said he didn’t think Married At First Sight damaged Seven’s important My Kitchen Rules franchise. He said the two shows were the only entertainment programs of significance screened during Q1.
Despite the very competitive Q1 battle, Ross said: “My Kitchen Rules is incredibly important to us and it is coming back in Q1 in 2020. We have a few ideas to reinvigorate and reimagine the show. The good thing about reality formats is that every year you are starting again.”
Ross confirmed that Seven would not be moving MKR.
“We won’t be screening a [second] stunt series at the back end of this year.” Ross confirmed there would be no tenth anniversary special series, which was mentioned at the Allfronts in October last year.
Ross explained: “After how things played out in Q1, the smarter thing to do was to consolidate for Q1 next year.”
As to the performance of the MKR format Ross asked and answered a question: “Would I have liked My Kitchen Rules to have done better numbers? Of course I would.”
Seven’s acquisition strategy
Seven is very keen to make and screen its own programming from the ever-expanding Seven Studios.
“We’re not in the business of renting shows from production companies. We are also in the business of creating our own IP,” stressed Ross.
But that doesn’t mean Seven doesn’t look elsewhere too.
“It is always a battle of ideas. I will go for the best idea whether it is Seven Studios or somewhere else.”
As to whether Ross and Seven Studios might disagree on what is a good idea, Ross grinned and said: “We all get on like a house on fire. Recent changes to the Seven Studios structure with Therese Hegarty now CEO and Andrew Backwell director of production are really making a difference.
“They have already come to me with some great ideas for shows for next year including launches out of the Olympics.”
But because of Seven Studios, do all the good Endemol Shine shows go to Nine or 10? “They still work for us and pitch stuff for us. If it doesn’t go to us it means somebody has put in a better offer. They have never left me out of the pitching loop.”
When asked if Seven had a chance to bid on Lego Masters, Ross said “Everybody got a look at Lego Masters.”
Ross reminded Mediaweek as discussion dwelled on the Hamish Blake-hosted show that Seven Network won every week that Lego Masters was on.
When it comes to Seven’s ratings, Ross was asked if Seven commercial chief Kurt Burnette wants the biggest hit shows or to win every week?
“Kurt wants to have the most-watched network and that is a suite of channels and that’s what we are. It’s very important for Kurt to have shows which he can integrate sponsors into. That’s why shows like My Kitchen Rules and House Rules are incredibly important for our sales department.”
While drama has long seen big catch-up and on-demand audiences, Ross said programs like My Kitchen Rules and House Rules are also growing their audiences via 7Plus.
“Home And Away is also massive on 7Plus as well as doing fantastic broadcast numbers this year. It remains an incredibly important show for us.”
Seven has commissioned a large number of relationship reality formats.
“The shows we are bringing back are shows that have worked before. We are brining back The Super Switch, which is an expanded version of Seven Year Switch.”
As to whether that format had really worked before, Ross said: “It has worked every time we have had it on. This will be the third season.
“We are also bringing back Bride & Prejudice which also did great numbers for us in the back part of last year. Both of those shows are produced by Seven Studios.
“Some of these shows are aimed to be counter-programming for The Ashes.” The Australian v England Test Series is on Nine’s 9Gem channel later this year from August 1 until mid-September.
Seven has also commissioned more of another old favourite, Temptation Island, but it returns in 2020.
“We are also bringing back Australia’s Got Talent. Variety shows have always played an important part on Seven. There is none bigger in the world right now than AGT. That will be in the schedule in August.”
As to why Seven dropped the format previously, Ross said after a number of seasons it was due for a rest. “The auditions are finding some great talent and we are really excited about what we are discovering.”
Also coming in August will be The Proposal, a reality romance series hosted by Luke Jacobz. “Around then too will be Ladies’ Night which is the ladies version of The Real Full Monty which will also be back then.
Tomorrow: Part 2 of our Angus Ross podcast highlight – Seven’s drama schedule, The Front Bar, 7Plus, output deals and 7Food.
Can’t wait? Binge the whole interview.
Listen to the complete unedited podcast featuring Seven’s Angus Ross with Mediaweek’s James Manning
The MOVE (Measurement of Outdoor Visibility and Exposure) board has announced a $1.3 million investment into a Neuroscience Project Study (NPS) to inform the development of a new metric to measure digital out of home (DOOH).
In 2018, the MOVE board committed up to $10 million to rejuvenate MOVE to more accurately measure audiences for digital out of home signs, and embarked on an investigation of international models as well as a neuroscience pilot study.
Following the successful Australian neuroscience pilot study last year, MOVE has partnered with leading research firm Neuro-Insight to conduct the NPS, assessing audience engagement with digital and traditional OOH across formats, environments and travel modes.
Outdoor Media Association (OMA) and MOVE CEO, Charmaine Moldrich (pictured) said: “As our industry embraces and invests in DOOH opportunities we are dedicated to developing a new metric to assist in measuring the results and benefits of these innovations for advertisers.”
Peter Pynta, director of Neuro-Insight, the research firm undertaking the NPS, said: “Having completed the pilot study for MOVE, I am excited about this next phase. We have been working globally for many years across the various media channels investigating the role of long-term memory encoding and emotional intensity in driving advertising effectiveness.
“A major study like this will provide undeniable proof about how both traditional and digital signs impact on audiences. Neuroscience is particularly suited to give us answers, tapping into the subconscious and capturing audience response to stimulus during the window of exposure.”
In 2010, MOVE revolutionised OOH audience measurement in Australia; it was built in partnership with the Media Federation of Australia (MFA) and the Australian Association of National Advertisers (AANA). MOVE introduced the “Likelihood To See”, or LTS, viewability measure. This measure assesses the actual audience rather than potential audience, ensuring OOH campaigns can be bought with greater assurance that the advertiser’s message is hitting the mark.
“Over the last few years the industry has spent hundreds of millions of dollars building a modern, dynamic channel, with scale to reach Australians en masse. Out of Home audiences have increased, growing 2.2% in 2018 and now reaching 12.7 million Australians each day. We are well positioned to expand this story to include the increased impact and engagement of DOOH,” Moldrich said.
The $1.3 million neuroscience project is part of suite of innovations that the OOH industry will roll out over the coming year.
Australia’s media agency market suffered from significant timing and event-related issues in April 2019 to report a 7.6% decline in underlying advertising expenditure to $522.0 million from last year’s record level of ad spend.
A high level of business caution also impacted April’s results ahead of the Federal Election with more than a third of all SMI product categories reporting lower demand in April, led by domestic banks which reduced ad spend by 35.5% from the abnormal levels evident during the Financial Services Royal Commission last April.
The Commonwealth Games also buoyed advertising expenditure last April, while this month also featured the extended Easter/Anzac Day holiday period which did not feature in April last year.
The resultant demand changes are highlighted in the following graph, which importantly provides the historical context in which to view the latest results. Notably, the value of total April 2019 advertising bookings is 2% above that achieved in April 2017:
But the lead up to the Federal Election at least ensured a strong level of advertising from the political parties/industry associations/union product category this April, with its total soaring by $16.3 million to $18 million.
While television enjoyed the largest share of those dollars, some of the largest category gains were seen in press and radio and those gains ensured those media were the only two reporting year-on-year growth in April.
SMI AU/NZ managing director Jane Ractliffe said SMI’s move to create this category last year provided the market with its first view of ad spend for this specific market, with this ad spend previously included in SMI’s government category.
“This data is fascinating as it shows a significant 20.8% decline in spending from this collective group on major media in the lead up to the 2019 election compared to their ad spend in the four months leading up to the 2019 election,” said Ractcliffe.
“There’s also been significant changes as to where this group allocates its media spend, with television’s total reducing in favour of higher spending on radio, newspapers and the digital media.”
Ractliffe said the extent of lower business confidence in the market in April was highlighted by the fact the two largest categories of retail and automotive were reporting large April declines, with retail ad spend back 7.1% (with the largest decline seen in the digital media) while auto bookings fell 21% with those lower bookings impacting all major media.
April’s lower result has also impacted SMI’s calendar year-to-date results, with that total back 4.3% but with growth evident in radio (+0.3%), digital (+0.1%) and subscription TV direct (+11.8%).
And over the longer financial year-to-date period the market is back a lesser 1.6% with the outdoor media delivering the best results (+5.0%), digital up 2.4% and radio bookings up 2.3%.
More detail on April 2019 ad spend trends across major media is shown below.
• Four months of ad spend prior to 2016 and 2019 federal elections
• TV loses ad share to other mediums in months before voting day
SMI has been tracking the advertising expenditure of all major political parties, unions and industry associations and lobby groups since creating this as a separate SMI product category mid last year.
As all data history came with the new category, this is the first time SMI has been able to clearly show how the collective media shares of these advertisers have changed in the lead up to two federal elections.
Apart from the reduced advertising expenditure, there’s also been a significant change in the category’s media mix, with television losing share to radio (actual category ad spend grew 16.9%), digital (category ad spend up 9.8%) and press (Category ad spend up 79%).
Advertisers included in this data include the state and federal offices of the Liberal and Labor Parties, the Greens, the Nationals, Centre Alliance and various Union campaigns (CFMEU, Change the Rules etc). It does not include ad spend for Clive Palmer’s UAP in either period as that party has purchased all advertising directly from media groups.
SMI will update this detail to reflect the final weeks of election campaigning in May with its May data release.
Three years after its Australian launch, Robb Report Australia & New Zealand has secured the former GQ editor Richard Clune as its new editor-in-chief.
Clune brings more than 20 years’ experience to the role having worked across TV, radio, newspapers and magazines. His recent seven-year stint at GQ Australia was pivotal to the brand’s success and profitability, along with its claim on various national publishing awards.
Most recently Clune has worked as a freelance journalist across a wide range of titles. In 2018 he released his first book, Male Order: Manning Up In The Modern World (New Holland).
“I’ve loved Robb Report for many years and so it’s a tremendous privilege to be appointed editor-in-chief of Robb Report Australia & New Zealand,” Clune said. “Not only is Robb Report the region’s most exciting luxury brand, but it’s the only one to speak directly to Australia’s rapidly expanding luxury sector.
“I’m genuinely enthusiastic about the journey ahead – to elevate and enliven the brand while delivering unique new initiatives that will further develop Robb Report Australia & New Zealand’s standing in what it offers both our audience and our partners.”
Robb Report Australia & New Zealand publisher Freya Purnell added: “We’re excited to welcome Richard on board as he brings strong experience in the luxury sector and a fresh commercial perspective to take the brand into the next phase of its development.”
Optus has launched a marketing campaign to promote greater visibility for women’s sport with an overall aim to change the future Australian school children see.
The TVC, which will be supported by a radio and stills campaign, accompanies Optus’ recently launched FIFA Women’s World Cup 2019 initiative that provides complimentary Optus Sport access to Australian school-aged children throughout the tournament.
Brought to life by Academy Award nominated Australian director Derin Seale and producer Caroline David of The Finch Company, the story aims to reframe how women are perceived in sport while increasing the visibility of women’s sport.
“Optus is really proud to launch this campaign because not only does it highlight the inequality that exists for women in sport, but importantly, we are starting a conversation,” Optus’ head of marketing, Melissa Hopkins, said.
“We believe there have been some important steps forward when it comes to women in sport, but as a community we still have a way to go.”
“By sharing our FIFA Women’s World Cup coverage of all 52 games on Optus Sport to Australian school children, we hope to change the perception of women’s sport.”
“I am inspired by the collaborative efforts of the team from Emotive, Yes Agency and UM that worked tirelessly together on this campaign. They are true champions of change.”
“This film represents a clear expression of what we’re asking Australians to do,” Simon Joyce, CEO and founder of Emotive said.
“Whether you are a mother or father, a girl or a boy, we want you to feast your eyes on the FIFA Women’s World Cup 2019 and be inspired by the incredible athletes competing on the world stage.
“For us this is a fantastic opportunity to drive a positive conversation around the imbalance of gender representation in sport. We feel privileged to be a part of it.”
Watch the TVC:
The creative will run nationally; the radio and stills campaign has commenced, while the TVC commenced June 2, 2019.
Creative Agency: Emotive
Production Company: Finch
Director: Derin Seale
Producer: Caroline David
Post Production: ARC Edit
Post Production VFX: Blackbird
Music and Sound Post: Nylon Studios
Media agency: UM
Creative production: Yes Agency
Client: Optus Marketing Team
Disney has continued its recent dominance with Aladdin holding on to the top spot of the Australian box office over the weekend.
By Trent Thomas
However, while Aladdin’s star burns bright the success of Disney’s Avengers: Endgame is beginning to wane with the film dropping out of the top five for the first time after six weeks, despite making a healthy total of $791,986 (sixth spot).
With a decrease of 48% week on week, Endgames value has almost halved every week since its record breaking release. With this being its first sub-$1m total, it looks like while the film has broken a lot of records it will not be the highest grossing film in Australian history (or second), despite still being likely to sinch the international record.
New entries Rocketman and Godzilla: King of the Monsters both made strong pushes in their opening weeks but they weren’t able to come even within $1m catching Aladdin which suffered only a 24% reduction on its robust total of $7.59m last week.
Joining avengers in the bus ride out of the top five is the horror film Brightburn which made $324,019 after a decline of 57% from its opening weekend.
Overall the box office had another good weekend after snapping three successive weeks of declines last week by posting an increase of 19%, this has been followed up by another increase of 7% after making a total of $17.80m.
Holding on to the top spot of the Australian box office for another week the film has made an impressive total of $15.71m in just two weeks, moving past the $12.06m made by Disney’s last redo Dumbo. The film also had the highest average per screen this past weekend making $11,998 on 479 screens.
The biopic of Elton John has received a warm welcome from Aussie crowds as it debuts in second spot after its first weekend in theatres. The music-heavy flick was the most shown film in Australian theatres this weekend being shown on 521 screens for an average of $8,678.
The 35th entry in the Godzilla franchise and the third American made incarnation had a strong opening weekend despite debuting in third spot of the Australian box office. The film was shown on 379 screens for an average of $7,000.
John Wick was once again the least screened film in the top five (261) for the third week in a row, but at least this week it increased in volume receiving three extra screens compared to last weekend. Probably, more importantly, the other key thing in its favour is the strong average per screen it has continued to produce, making $6,210 per screen in its third week in theatres bringing its total to $10.97m.
The longest screening film in the top five Detective Pikachu’s total has gotten to a nice $12.99m as it continues to draw an Australian audience after four weeks. Despite a 42% decline on last weekends revenue, the film averaged $3,634 over 272 screens.
• The Voice: Talent quest still #1 with 2 more Blind Audition eps
• House Rules: Owners give Tim & Mat the edge, avoid 3-way tie
• MasterChef fall: After winning an early immunity, Tim exits
By James Manning
• Seven News 1,231,000/1,189,000
• Nine News 997,000/986,000
• A Current Affair 869,000
• ABC News 772,000
• 7.30 610,000
• The Project 365,000/534,000
• 10 News First 477,000
• The Drum 199,000
• SBS World News 143,000
• Sunrise 286,000
• Today 192,000
Home And Away began its new week on 744,000 after an average of 684,000 last week.
After starting its week on a season high of 805,000, House Rules drifted to 743,000 as home owners Shayn and Carly gave Tim and Mat the edge with a perfect 10 out of 10 for their secret hallway. Monday last week was 735,000.
9-1-1 followed with 401,000 after 433,000 last week.
Leila McKinnon was on duty at A Current Affair as the show closed in on a serial scammer. The Monday episode was on 869,000 after a week 22 average of 763,000.
The Voice was backing up after a season high of 1.105m on Sunday night to 1.008m for the third last Blind Audition episode. Self-trained singer Burcell Taka was one of the highlights last night.
The screening of Brits Icons: Elton John was well timed for the wave of celebration accompanying the biopic Rocketman and its soundtrack. The special did 410,000.
The footy shows didn’t go to air until around 10.30pm. 100% Footy did close to 50,000 and Footy Classified was on 113,000.
Peter Helliar with Chris Hemsworth was the highlight on The Project with a much stronger 534,000 watching after 7pm.
It was a tough night for Tim Bone on MasterChef. The talented cook won the first immunity pin this season, but it wasn’t available for him last night and a poor attempt at a difficult dessert saw him eliminated.
After starting its week on 621,000, the Monday episode was on 681,000 after 651,000 a week ago.
Have You Been Paying Attention? collected the biggest audience for the channel with 707,000 after 741,000 a week ago. Guests joining Ed, Sam and quizmaster Tom were Amanda Keller, Gen Fricker and Pete Helliar.
The second episode of Kinne Tonight had a tribute to Tim Tams with an audience of 276,000, down from its debut last week with 392,000.
Australian Story chronicled the fall and rise of Debbie Kilroy, from high security prisoner to a high profile lawyer. The episode did 584,000 after 592,000 last week.
Former ABC correspondents Trevor Watson and Max Uechtritz featured during the episode of Four Corners remembering the tragedy of Tiananmen Square 40 years ago.
Media Watch was 475,000.
Q&A featured Jimmy Barnes on the panel and he deserves a regular guest spot after his performance last night. The audience was on 382,000, close to last week’s 374,000.
More potential remedies were presented to the panel on Medicine Or Myth with 271,000 watching after 316,000 last week.
|ABC KIDS/ ABC COMEDY||2.2%||7TWO||2.7%||GO!||2.0%||10 Bold||3.7%||VICELAND||0.9%|
|ABC ME||0.5%||7mate||3.9%||GEM||3.7%||10 Peach||2.9%||Food Net||0.6%|
|ABC||Seven Affiliates||Nine Affiliates||10 Affiliates||SBS|
|ABC KIDS/ ABC COMEDY||2.6%||7TWO||4.7%||GO!||2.9%||WIN Bold||3.7%||VICELAND||0.8%|
|ABC ME||0.7%||7mate||4.5%||GEM||3.4%||WIN Peach||2.7%||Food Net||0.8%|
|ABC NEWS||0.7%||7flix (Excl. Tas/WA)||1.5%||9Life||1.6%||Sky News on WIN||1.5%||NITV||0.1%|
|7food (QLD only)||0.5%|
|MONDAY METRO ALL TV|
16-39 Top Five
18-49 Top Five
25-54 Top Five
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
News Corp is set to axe 50 jobs across its Australian business, including editorial roles from major metropolitan mastheads, reports The AFR’s Max Mason.
The journalists’ union, the Media, Entertainment and Arts Alliance, said on Twitter there would be about 50 jobs to go, about a third of which would come from the Herald Sun and Weekly Times in Victoria.
Cuts were flagged by News Corp Australasia chairman Michael Miller in a series of interviews in Nine and News Corp papers on Monday, however he did not specify the number of staff who would be affected.
Miller said cuts would come from across the business, not just editorial and are not in just one geographic location.
“As we get more data, we probably need some new skills journalistically into the business and we’re increasingly bringing in audio, video, social,” he said.
Top Image: Michael Miller with Mediaweek’s James Manning
It was a rough day on the ASX for media stocks yesterday, in particular recent market darling Nine Entertainment, whose shares lost more than 5 per cent, reports The Australian’s Leo Shanahan.
All major media stocks were down in the worst day of trading for the ASX in five months, as global nervousness over a China-US trade war bled into the local bourse.
Nine Entertainment fell 5.28 per cent to $1.97 after a turbulent day of trading. Nine last week hit a six-month high of $2.11 and all up the shares rose 7.19 per cent last week.
Scott Phillips, chief investment officer at The Motley Fool, said Nine was “working hard to do a few things at once” including integrating Fairfax and “the on-again, off-again possibility of acquiring 100 per cent of Macquarie Media”.
“So far so good – ratings are strong. Nine is swinging the cost-cutting axe with gusto, and the online business is delivering good results,”
News Corp Australasia chairman Michael Miller has ruled out a long-speculated move by Rupert Murdoch’s media conglomerate to acquire a free-to-air broadcaster in Australia, reports The AFR’s Max Mason.
“We are focused on Foxtel and we’ve been pretty public on that as being the priority,” he said. “In terms of free-to-air, which is probably the only other area we can enter into, we don’t see that as being a market at the moment [that we want to get in to].
“To have a choice between Foxtel or free-to-air, [we’d] definitely choose Foxtel. It’s earning good money and we’re confident, we’ve got a plan there – we just need to focus on executing.”
President Donald Trump raised a familiar complaint – “unfair” coverage by CNN – in a pair of Monday morning tweets. But this time he called on supporters to boycott the cable news network’s corporate parent, AT&T, to drive the point home.
“I believe that if people stoped [sic] using or subscribing to AT&T, they would be forced to make big changes at CNN, which is dying in the ratings anyway,” Trump tweeted. “It is so unfair with such bad, Fake News!”
The president has repeatedly taken aim at the news network, which he routinely derides as “fake news,” and many of its on-air personalities over their coverage of him and his administration. Trump was vocal in his opposition to AT&T’s $85 billion ($122b) acquisition of Time Warner – “too much concentration of power in the hands of too few,” he has said. But critics contend his position is intrinsically linked to his ire at CNN.
With the new macOS Catalina operating system, Apple is replacing iTunes with its popular entertainment apps – Apple Music, Apple Podcasts and the Apple TV app.
Apple summarised the changes this morning:
macOS Catalina replaces iTunes with three all-new apps that greatly simplify and improve the way Mac users discover and enjoy their favourite music, TV shows, movies and podcasts.
The new Music app for Mac is lightning fast, fun and easy to use. Apple Music will help users discover great new music with over 50 million songs, playlists and music videos. And users will have access to their entire music library, whether they downloaded the songs, purchased them or ripped them from a CD. For those who like to own their music, the iTunes Music Store is just a click away.
The all-new Apple TV app brings together different ways to find and watch movies and TV shows into one powerful app. The Apple TV app features Apple TV channels, personalised recommendations and over 100,000 iTunes movies and TV shows to browse, buy or rent – so users can enjoy 4K HDR and Dolby Atmos-supported movies. The Watch Now section features Up Next, where viewers can keep track of what they are currently watching and resume on any screen. This fall, Apple TV+, Apple’s original video subscription service, will be available in the Apple TV app.
The popular Apple Podcasts app offers more than 700,000 shows in its catalogue and the option to automatically be notified of new episodes as soon as they become available. The app also features new categories, curated collections by editors around the world and advanced search tools that can find episodes by host, guest or even discussion topic.
Eight Aussie celebrities from across many genres will star in a new Channel 7 show that will revisit iconic 1980s movie Dirty Dancing’s most memorable dance moves and moments, reports News Corp’s Jonathon Moran.
Reality star Anna Heinrich, TV host Jessica Rowe, comedian Anne Edmonds and former Olympic swimmer Stephanie Rice will all take turns playing Frances “Baby” Houseman in new Channel 7 show The Real Dirty Dancing.
Playing Johnny, who was brought to life for 1987 film Dirty Dancing by Patrick Swayze, will be TV reno man Jamie Durie, retired AFL player Jude Bolton and actors Firass Dirani and Hugh Sheridan.
The stars will fly to the United States to film in Virginia at Mountain Lake Lodge, which was the location for fictional resort Kellerman’s in the Hollywood movie.
Former Dancing With The Stars judges Kym Johnson and Todd McKenney will guide celebrities through the choreography.
House Rules and Better Homes & Gardens host Johanna Griggs has taken to Instagram to lambast Woman’s Day over an article, reports TV Tonight.
The magazine story headlined “House Rules’ Joh Griggs and Jamie Durie’s bitter rivalry EXPOSED” cited an unnamed “insider” who claimed, “There have been secret crisis meetings at Seven,” and that “Joh is ‘furious’ that the network appears to be promoting Jamie and sidelining her.”
Griggs, who has taken to social media to debunk mag stories in the past, wrote on Instagram:
“Woman’s Day – you have done it again. Don’t you ever get sick of writing such fantasy rubbish??? One thing’s for sure, you clearly don’t get sick of rehashing pics from a thousand years ago! It was about this time last year or was it was it the year before where you used the same pap pic you’ve recycled this week (bottom article)… Back then it was about how I’d apparently ‘snapped.’ Of course that didn’t happen then, nor are there any secret crisis meetings behind closed doors at Seven about Jamie and me happening now. In actual fact – Jamie and I just finished a great week away on the road together shooting for Better Homes and Gardens. We had an absolute ball! So sorry to have to explain to everyone yet again… how you fill your pages with complete and utter untruths. I can’t wait for the day that NO-ONE buys your trashy mag!!!”
Griggs added a number of private pics with Durie to prove her point.
The turf war that has seen NSW reinvent the spring carnival and lay down a challenge to Victoria’s grip on the racing calendar has intensified with $45 million to be won by horses competing across eight successive Saturdays, reports The Australian’s Brendan Cormick.
In a challenge to Melbourne spring racing, Sydney will host an expanded Everest carnival over six weeks with a race worth at least $1m every week. The $14m Everest (1200m) on October 19 is the centrepiece with new races in the weeks either side of the world’s richest turf sprint and others with increased stakes.
The driven management of Racing NSW, not content to rest on the mega-million-dollar races initiated in recent years, have added key lead-up events to The Everest (1200m) at Randwick, the nation’s richest race worth $14m, and the $7.5m Golden Eagle (1500m) for four-year-olds at Rosehill on November 2.