Michael Lucas and Christine Bartlett are the writers behind 10’s new Australian drama Five Bedrooms. The two first worked together on the second season of 10’s Offspring.
By James Manning
But instead of collaborating with Offspring producers John Edwards and Imogen Banks, this time have teamed up with the busy production house Hoodlum Entertainment for the drama series.
It’s been a busy week for Hoodlum with the second season of Harrow launching on the ABC on Sunday night, and Five Bedrooms premiering on Wednesday.
According to the writers, Five Bedrooms tells the story of a group of very different people. With very different backgrounds. At very different stages of life. All bonded by where they found themselves seated at a wedding. The singles table.
The ensemble cast includes Kat Stewart, Stephen Peacocke, Doris Younane, Katie Robertson, Roy Joseph, Kate Jenkinson and Hugh Sheridan.
The two long-time collaborators first met at a Screen Australia feature script workshop. “We both had feature projects in there,” Lucas told Mediaweek.
“They were the best ones!” added Bartlett. “We found each other across a crowded table and it was pretty magic for me.” [Laughs]
Lucas: “We peeled off at that workshop managed to make each other laugh for the rest of the workshop. I was working on Offspring at the time and we were going into a second season. I thought Christine had the perfect voice for it, so I suggested her to John Edwards and Imogen Banks and they agreed.
“We worked on Offspring together for years and all sorts of other things as well.” Some of the other things they worked on together were 10’s Party Tricks and The Wrong Girl.
Separately, Lucas has worked on Rosehaven (as a producer) and Wentworth (writing). Bartlett has worked on Nine’s House Husbands.
As to the origins of the new Five Bedrooms drama, they told Mediaweek: “It is something we have both talked about legitimately in our own lives. When we met neither of us was in the real estate market. We used to talk about how we could get a group of people together and buy the ‘commune’ as we called it.”
The Five Bedrooms concept was put to Tracey Robertson and Nathan Mayfield at Hoodlum Entertainment who had an idea about long term singles.
“That appealed to me and I instantly thought we could marry the two ideas,” said Lucas.
The writers admitted that 10 wasn’t the only network that talked to Hoodlum about the project. “10 is a very natural home for it and we have a long history with 10,” said Lucas.
“Rick Maier and Sara Richardson at 10 were aware of the project and they were asking Tracey about it. By that stage we had quite a few scripts.
“That is a huge asset because they are falling in love with it, as opposed to falling in love with a pitch that they love.”
Bartlett said it was not unusual, and almost liberating in a way, to write a script before the project is commissioned.
“You think that no one is going to see it anyway, so let’s just have a good time.”
Lucas: “As long as someone is paying you, you just don’t care. You are just so happy to be writing for some money! The advantage is you can let the show find its own voice. I would prefer that rather than going in and handing in a great one pager or a verbal pitch.
“What happens there is you end up submitting drafts about what they loved about what you said, and what you loved about what you said can be a completely different thing.”
Bartlett said in the case of Five Bedrooms, they had scripts for half the series – four episodes.
She explained they were delighted to be involved in the casting for the Hoodlum drama. The two writers are EPs on Five Bedrooms, which means they get their “stinky little fingers in the pie”.
Bartlett: “What was good about Five Bedrooms was that it was not a hero’s journey, but an ensemble where we look at five different characters. The chemistry between all five was a difficult thing to get right and the most challenging part of the process.
“We were so in love with the characters that we wanted to bring them to life in a way that felt true to them.
“We struck gold really.”
Lucas: “The first person aboard was Kat Stewart and we have a long history of writing with her. After Offspring I was very keen to work with her again and we often talked about things and there were a few things we both had in development with Kat.”
Lucas said that once a cast member of the calibre of Kat Stewart is aboard she attracts other cast too.
Bartlett: “Her character already very much existed on the page. Once her part was cast, and the others too, you start to write to the strength of those actors.
“Even though that some of the things that Kat’s character Liz is doing over the course the season are a little bit questionable, Kat has an extraordinary magic she brings and there is nothing she can’t do.”
The writers told Mediaweek they had been working on the idea for this series since 2015.
Lucas: “We didn’t work on it consistently. We would do a script then go away and regroup with notes. We both also had quite a lot of other projects on the go.”
Bartlett: “The idea changed quite dramatically over the course of that development.”
“We have worked on this project completely differently to anything else we have worked on together.”
Top Photo: The homebuyers meet in Five Bedrooms episode one
Southern Cross Austereo (SCA) has announced InStream – an addressable live radio offering enabling the dynamic insertion of personalised and targeted audio ads into live radio commercial breaks across all connected devices including SCA websites, apps and smart speakers.
The broadcaster released these details:
InStream offers SCA’s clients’ access to an addressable live radio streaming environment, in addition to music streaming through the recently announced, exclusive partnership with SoundCloud.
The two will be used in tandem to offer clients addressable digital audio solutions with a combined commercial reach of over three million users in premium and brand safe environments, adding further depth to an already market-leading offering.
SCA’s chief sales officer Brian Gallagher said, “Audio platforms are proliferating and audio as a medium has never been more important in maximising reach of your target audience. This scaled development gives buyers the opportunity to rapidly gain reach of targeted consumers wherever they are. InStream represents the future of audio, available to advertisers now.”
SCA’s InStream product has been in the beta stage for a number of months to ensure that the technology and commercial offering are ready for both clients and listeners.
The digital audio market is seeing significant growth with the recent IAB Audio State of the Nation Survey stating that 84% of buyers intend to invest in Digital Streaming Audio in 2019.
As one of Australia’s leading media companies, SCA reaches 95% of the country with assets in television, radio, digital and podcasts. InStream enables clients all-new sophisticated access to the streaming audience, that chooses to listen through any internet connected device.
• Appointment part of MCN’s new era of innovation and expansion
Multi Channel Network (MCN) has appointed David Roddick as chief sales officer.
Roddick joins MCN after five years as sales and marketing director at out of home (OOH) media owner Adshel, which became part of oOh!media at the end of 2018. He will report to MCN CEO, Mark Frain after starting on June 3.
Roddick was formerly international sales director at Clear Channel Outdoor Global, group commercial director at Northcliffe Media, and digital director at News UK.
He will be responsible for the management of MCN’s over 200 strong salesforce in Australia, and will be tasked with leading and leveraging the Foxtel platform across TV and digital. He will also be responsible for MCN’s newly launched out-of-home division.
MCN CEO Mark Frain says the high-profile hire is a strategic decision for MCN as the business looks to re-fresh its innovation proposition in market.
“David brings deep expertise across the entire media landscape both locally and internationally, so we’re delighted to have someone of his calibre heading up our sales function and continuing our growth trajectory,” he said. “During my time at MCN I have often heard of David’s achievements and leadership qualities, so I am thrilled our paths have crossed and we can bring such an outstanding executive into the business.
“His varied media sales background will also bring a new perspective to an already strong executive team. MCN is packed with TV experience, so David’s appointment is about adding sales diversity to the business during a time of great change and progress for MCN. We are looking to not only invest in new advertising models, but key talent across the business. David’s specialist knowledge, proven accomplishments in the innovation space, and experience in building new advertising propositions will allows us to deliver outstanding outcomes for our agency clients and partners.”
Roddick said the move to MCN is an obvious next step, with the business sharing his goal of innovation and industry evolution.
“I’m very excited to be joining an innovative operation such as MCN, and moreover at such an exciting time of change,” he said. “MCN has a unique position in the market with the breadth of properties we represent, and it’s a great opportunity to re-imagine and drive the future of the industry. I’m also looking forward to working with our agency and channel partners to help re-invigorate how they reach and activate audiences across the Foxtel platform.”
Following Roddick’s announcement, MCN will be releasing a series of additional appointments and promotions in the next few months as the business finalises its strategic integration into Foxtel after the disengagement of Network 10 at the end of 2018.
MCN recently announced the replacement of its traditional annual UpFront showcase of new programming with a new entertainment venue, Foxtel on Oxford. The custom-built facility will operate year-round, and help connect advertisers, agencies and subscribers with the Foxtel platform and its wide range of content.
Peugeot is partnering with News Corp Australia to launch a two-week intensive brand campaign, giving away four of its new, Peugeot 5008 SUVs to the value of $200,000.
Launched in News Corp Australia’s Sunday metro newspapers with EGN print ads, the campaign runs from 12 May to 2 June 2019. Consumers of each masthead will have the chance to win a Peugeot 5008 SUV valued over $49,000 when they buy a copy of the newspaper between May 19-26, find the daily code word in the paper and then enter online.
News Corp Australia’s subscriber +Rewards members have double the chance to win if they enter via the +Rewards website.
Amy Slade, General Manager of Marketing for Peugeot Australia said: “We are excited to partner with News Corp Australia for the first time, to highlight the brand with a campaign of this scale. We have no doubt the visibility and exposure of our advertising and marketing will accelerate the reach of our brand and our new Peugeot model to new audiences – readers who value style and wish to stand apart from the crowd.
“We want to dive into the world of News Corp Australia’s readers, inspiring them to immerse themselves in a stylish world celebrating individuality with a Peugeot. An experience which we can then bring to life for four lucky readers.”
Benjamin Keating, general manager of consumer retail sales and marketing at News Corp Australia said: “This partnership with Peugeot is a great example of how we use our trusted publications to grow leading brands, while providing incredible opportunities for our valued readers.
“Peugeot has a very clear understanding about their customer demographic, and we are confident we will reach these targeted consumers at scale through our creative marketing campaign.”
Created by The Works, the creative heroes the chance to win, while positioning the elegant lifestyle embodied by the Peugeot brand. The fully integrated advertising and marketing campaign features:
• 10 second radio credits after traffic and news updates across ATN metro stations
• Full page, half page and medium strip print advertisements in EGN for The Sunday Telegraph and Daily Telegraph, the Sunday Herald Sun and Herald Sun, The Sunday Mail and The Courier-Mail, Sunday Mail and The Advertiser, Body + Soul, QWeekend, Motoring and WATCH
• ROS ads on digital mastheads as well as on WHIMN, Kidspot, Taste, Body + Soul, Escape, GQ Australia, Vogue Australia and on the +Rewards site
• Retail POS across newsagents and Peugeot dealerships in Sydney, Melbourne, Brisbane and Adelaide and on newsagent digital screens
• Direct, digital and social marketing as well as PR.
The four winners of the Peugeot competition will be announced in the relevant metro newspapers in print on Sunday, 2 June 2019.
The new ABC drama Stateless has attracted a multi award-winning cast including Yvonne Strahovski, Jai Courtney, Asher Keddie, Fayssal Bazzi, Dominic West – all who will get to co-star alongside Cate Blanchett.
Additional cast members include Rachel House, Kate Box, Clarence Ryan, Claude Jabbour, Rose Riley and Helana Sawires.
The ABC and Screen Australia have joined forces with Matchbox Pictures and Cate Blanchett and Andrew Upton’s Dirty Films, with production set to begin in South Australia in June, based at Adelaide Studios.
Stateless is a drama about four people caught up in an immigration system that profoundly affects their lives. Each character deals with the contradictions of protection and border control from a unique perspective, offering relevant and timely insight into issues that countries are grappling with around the world.
Stateless received major production funding from Screen Australia and the ABC and is financed with support from the South Australian Film Corporation. It will be distributed worldwide by NBCUniversal.
Co-created by Cate Blanchett, Tony Ayres and Elise McCredie, the series centres on four strangers in an immigration detention centre in the Australian desert.
They are an airline hostess escaping a suburban cult, an Afghan refugee fleeing persecution, a young Australian father escaping a dead-end job and a bureaucrat caught-up in a national scandal.
When their lives intersect they are pushed to the brink of sanity, yet unlikely and profound emotional connections are made amongst the group. Inspired by real events, the series intertwines gripping and devastating personal stories revealing a system struggling with the irreconcilable contradictions of border protection.
Tony Ayres, co-creator and executive producer says, “We have assembled the most extraordinary array of Australian talent to make this show, both in front of and behind the camera. In each case, people were drawn to Stateless because it asks one of the most vexing questions of our times – how do we as a nation maintain control of our sovereign borders whilst retaining our own humanity?”
Co-creator, executive producer and actor Cate Blanchett says of the story, “Whilst this story centres on Australia, the dilemmas that it explores through four absorbing characters will resonate globally: the desire for personal freedom, the need for social stability, an escalating lack of faith in the political process and the deeply unsettling impact this has on individual lives.”
Sally Riley, head of scripted production at the ABC says, “The ABC is proud to be collaborating with such a high calibre of home-grown talent to create this thought-provoking, ambitious and gripping series that is sure to connect with Australians and audiences around the world.”
Sally Caplan, head of production at Screen Australia says, “Emma Freeman and Jocelyn Moorhouse are two directors at the top of their game, and combined with this immensely talented cast I look forward to seeing this remarkable story on screen.”
Alastair McKinnon, managing director of Matchbox Pictures says, “Stateless is at once both intimate and epic in its scope and ambition, and this stellar cast is testament to the power of this story. Thrilling, courageous and intensely relevant, this is certain to be an unmissable drama series.”
Courtney Gibson, chief executive of the South Australian Film Corporation says, “We were so pleased to support the development of this landmark series, with its all-female writing and directing team including some of Australia’s leading key creatives. We look forward to full production and post at Adelaide Studios and locations in South Australia, with SA producer Paul Ranford working alongside the team at Dirty Films and Matchbox, together with Matchbox SA’s Kirsty Stark, who is a co-producer on this major series.”
Stateless is written by Elise McCredie and Belinda Chayko and will be directed by Emma Freeman and Jocelyn Moorhouse, produced by Sheila Jayadev and Paul Ranford for Matchbox Pictures with Cate Blanchett, Andrew Upton and Tony Ayres as executive producers. Elise McCredie is showrunner and executive producer and Liz Watts will serve as executive producer. ABC executive producers are Sally Riley and Andrew Gregory. The series will be distributed worldwide by NBCUniversal International Distribution.
Who reps who in the cast: Emmy and Golden Globe nominated Yvonne Strahovski is represented by Paradigm, McKeon/Myones Entertainment and Sue Barnett and Associates, Jai Courtney by Morrissey Management, Silver Lining Entertainment and UTA, Asher Keddie by United Management and Independent Talent Group, Fayssal Bazzi by Shanahan, BAFTA winner and two-time Golden Globe winner Dominic West by WME, Tavistock Wood Management and Narrative PR and two-time Academy Award winner Cate Blanchett is represented by CAA, Wolf-Kasteler PR and RGM.
Rachel House is represented by Kathryn Rawlings Actors Agency, Kate Box by Shanahan, Clarence Ryan by RGM, Claude Jabbour by Marquee Management, Rose Riley by United Management and Helana Sawires by Smith&Jones Management.
Production Credit: Stateless is a Matchbox Pictures and Dirty Films production for the ABC. Major production investment from Screen Australia and the ABC. Financed with support from the South Australian Film Corporation. Matchbox Pictures is an NBCUniversal International Studios company.
Lego Masters first season came to a conclusion on Nine after three weeks which saw Henry and Cade named the inaugural champions after a 28-hour grand finale free build, taking home the LEGO trophy along with $100,000 in prize money.
Henry, a property valuer from Sydney, and Cade, a video game designer from Brisbane created an incredibly detailed diorama of Poseidon rising out of a wave to fight a giant sea serpent.
Their model attracted praise for the “NPU” (nice part usage) in Poseidon’s head, as did their incorporation of impressive mechanical techniques in his arms and torso. Their amazing “sculpted” wave and Greek ship moving through the water at an angle, full of Minifigure detail, were equally impressive. This design was able to edge out David and G’s theme-park build and Jordan and Miller’s space battle designs.
Competition judge Ryan “Brickman” McNaught said of the win: “As our most consistent team across the whole series, Henry and Cade exhibited a unique building style and were able to really deliver on some wildly ambitious builds. For mine, their builds were of the highest standard, and they really didn’t falter at any of the crazy challenges we threw at them.”
The final three masterpieces were judged by Brickman and Fenella Charity, a Senior Design Manager from LEGO’s Denmark headquarters, plus 250 members of the general public who all voted.
Host Hamish Blake said: “Probably like a lot of Australia, I wasn’t expecting to get sucked in as deep as I did, and that’s because of the amazingly high quality the teams delivered, particularly the final three.
“I would love to have won the $100.000 myself and truly made history on TV as the first host to win, but I understand that rules are rules. Plus Henry and Cade’s build was incredible, so they are more than deserving. It was a total joy to stand by, yelling finishing times at them.”
Nicknaming themselves #teamdadbod, Henry and Cade seamlessly united their building styles throughout each challenge, melding Cade’s artistry and Henry’s love of LEGO Technic at every turn.
Cade said: “What an amazing adventure. It’s such an honour to win the title of LEGO Masters. Henry and I had so much fun with every crazy build along the way and were so pleased with our final build. Thanks to every fan of the show, with a special shout out to our friends and family, without whom we would not have been able to do this.”
Henry added: “It’s been the greatest creative binge of my life!”
Closing the first chapter on the blockbuster comes the news that a second series of Lego Masters has been commissioned, with applications now open.
Although Australia has managed to secure a spot as a competitor at the Eurovision Song Contest since 2015, the Australian delegation hasn’t (yet) been able to negotiate automatic qualification for the Grand Final.
That honour is reserved for the host country, this year Israel, plus the “big five” European countries – France, Germany, Italy, Spain and the United Kingdom.
Australia’s 2019 entrant Kate Miller-Heidke competed for a place in the Grand Final this morning and the fan favourite was a stand-out performer among a field from all corners of Europe.
There were 17 competitors in the First Semi-Final with 10 qualifying for the Grand Final.
Bookmakers had already identified Miller-Heidke as a threat, ranking her third favourite behind Netherlands and Sweden.
Miller-Heidke delivered another flawless performance of Zero Gravity. She towered above the stage with two dancers floating beside her with a backdrop of a galaxy of stars.
This morning she performed 12th in the First Semi-Final, wedged between competitors from Georgia and Iceland. Iceland also qualified for the Grand Final, Georgia did not.
Although there was never any doubt that Miller-Heidke would make the Grand Final, she and the Australian delegation had to wait until her name was read out as the seventh qualifier for the Grand Final.
The 10 qualifiers for the Grand Final rom the First Semi-Final are:
• Czech Republic
• San Marino
The 2019 Eurovision Song Contest has returned to Israel this year after it won in 2018.
SBS is the broadcaster of the contestant with Myf Warhust and Joel Creasy returning this year as hosts.
The Second Semi-Final airs live early on Friday morning with the Grand Final live early on Sunday morning.
Jimmy Barnes will perform an exclusive acoustic performance with his band in an intimate concert setting filmed live in Studio MAX at Foxtel studios, playing his classic hits as well as songs from his latest album ‘My Criminal Record’.
Barnes said: “It’s great to play in an intimate setting where the songs are stripped back so that the audience get to hear the lyrics a little more and get a feel for what the band was emotionally trying to do when we made the record. I look forward to playing new and old songs and let the viewers hear the essence of the songs in the rawest form,”
Barnes’ seventeenth solo studio album release, My Criminal Record, is his first rock album since 2010’s Rage And Ruin and was written by Barnes, with significant assistance from his oldest sparring partner, Cold Chisel’s Don Walker. Contributions also come from close friends Troy Cassar-Daley, Mark Lizotte (aka Diesel) and The Living End’s Chris Cheney, as well as Rodgers, Harley Webster and Jade MacRae.
Fraser Stark, Group General Manager, Foxtel’s Entertainment & Music channels said: “MAX is all about Great Music and, in addition to our classic playlists and countdowns; we are thrilled to get some of the greatest artists in music into the MAX Studio to record exclusively. On a wish list of Australian music greats, Jimmy Barnes’ name is uppermost. The man is as Australian as Vegemite and now, from within a highly-successful reflective phase in his career, delivers fantastic new work with his trademark vocals that fearlessly nail the note every time. His performance is powerful, personal and fans will delight in the material – old and new – given the hard touch that has made this icon so well loved for so long.”
Studio MAX with Jimmy Barnes screens Saturday June 1 at 12pm on Foxtel’s MAX channel and available to stream through Foxtel On Demand.
To qualify for a Telstra TV customers had to have a Telstra home broadband connection to take advantage of owning the set top box.
Now, with more than 1.4 million Telstra TVs in living rooms around the country, Telstra is sharing the love with eligible mobile customers (consumer postpaid mobile or mobile broadband service), regardless of their internet service provider.
Customers will be able to take-up Telstra TV outright or on a 24-month plan.
Telstra TV allows users to stream movies, TV shows, live sport, music and more. Plus watch free-to-air TV, all in one place.
Telstra TV is claiming to have Australia’s first integrated live TV, catch-up, and on-demand search function. With Telstra TV Smart Search, users can search simultaneously for specific movies, TV and people. This includes free-to-air, catch up TV, Foxtel Now, Netflix, Stan, Kayo Sports, Telstra TV Box Office, Hayu, Animelab, Garage Entertainment and DocPlay.
The current Telstra TV now includes voice control built into the Wi-Fi-enabled remote. Users can now control, play and search with their voice – just ask to search, play and pause movies and TV shows, plus change channels, apps and much more.
Bonus $125 Telstra TV Box Office Credit
Buy a Telstra TV and customers will receive a $125 Telstra TV Box Office credit, providing up to 20 new release movie rentals.
Customers can own a Telstra TV for $216 outright, or if they can pay off the device for a monthly fee of $9/mth over 24 months (min cost $216).
Telstra TV FAQs
Telstra TV requires compatible TV, minimum internet speed of 3.5Mbps. Antenna required for live TV. $9.95 delivery fee may apply. Subscription and data charges apply.
Telstra TV Box Office Credit: Must activate new Telstra TV and complete Telstra TV Box Office registration before 26/08/19. Credit expires 24 months after registration. Up to 20 movie rentals example based on standard definition movies.
Hardware Repayment Option (HRO): Only customers with an existing fixed or post-paid mobile service are eligible. Maximum 5 HROs per customer at any one time. If you cancel an HRO early or cancel your existing fixed or post-paid mobile service(s), your HRO will also terminate and you will be required to pay out the remainder of your HRO.
• After epic build, two Lego Masters gold bricks go to Henry & Cade
• Series final builds massive audience: #1 all demos in all capitals
• Lego Masters only 2019 program with 1m+ metro for ever episode
By James Manning
• Seven News 1,041,000/967,000
• Nine News 933,000/918,000
• A Current Affair 810,000
• ABC News 700,000
• 7.30 520,000
• The Project 381,000/473,000
• 10 News First 441,000
• SBS World News 148,000
• Sunrise 271,000
• Today 198,000
• 7News 1,041,000
• 9News 933,000
• Celebrity Name Game 248,000 (Mon: 314,000)
• The Drum 222,000
• Mastermind 99,000
The channel had its lowest Tuesday share since January.
The 7pm soap slipped to 638,000 after Home And Away started the week on 699,000.
House Rules was not much over 500,000 after successive Tuesdays of 534,000 (last week) and 533,000 (last night).
Andrew Denton’s Interview then did 378,000 with Steve Martin and Martin Short. The episode was down from 447,000 last week. Liz Hayes also interviewed the US comedians last month on 60 Minutes.
Nine’s winning share of 25.5% was the best on the channel since the final two nights of Married At First Sight.
The Lego Masters Finale drew a massive audience to Nine which caused some mayhem for some of the competition.
Nine split the final into two parts with both dominating their timeslots and most demos. The Lego Masters franchise is the only program so far this year with a metro audience over 1m for every episode.
Brickman called the winning construction from Henry and Cade “epic” several times and he was right. The team share a $100,000 first prize and might have just built themselves a career competing in Lego competitions and spruiking the product around Australia and the world.
The Finale started with a metro audience of 1.249m metro, which didn’t quite manage to outperform the series’ launch episode of 1.372m.
The Winner Announced though set a new high for Lego Masters with 1.493m.
The Melbourne audience was more invested than anyone else with over 500,000 watching the Winner Announced with 394,000 in Sydney.
Elsewhere on Nine last night A Current Affair lifted to 810,000 after 794,000 on Monday.
A final season episode of The Big Bang Theory did 703,000 followed by a repeat on 461,000.
Share dropped less than 1.0 week-on-week.
An immunity challenge on MasterChef Australia drew the biggest audience with 592,000 after 654,000 a week ago. Simon made it through to the challenge by presenting Nigella with the best custard dish, although he never looked like beating professional chef Coskun.
Earlier in the night The Project 7pm was on 473,000 after 511,000 on Monday. George Calombaris was among the guests.
The second week of Mr Black clashed with the end of Lego Masters, which might help account for the drop to 278,000 after launching with 471,000. Tough crowd.
Earlier in the night, the new 6pm game show Celebrity Name Game also stumbled. After launching Monday with 314,000 it was down to 248,000.
After ABC News and 7.30, the third episode of Joanna Lumley’s Silk Road Adventure was next best with 286,000.
The Recording Studio preceded it with 257,000.
Nine and SBS were the only channels to lift Tuesday share week-on-week.
SBS did it with help from 331,000 watching Marta Dusseldorp on episode three of Who Do You Think You Are?
Insight then did a very healthy 294,000 as it paid tribute to women who migrated to Australia during the 50s, 60s and 70s. It was followed by Dateline on 146,000.
|ABC KIDS/ ABC COMEDY||2.6%||7TWO||2.3%||GO!||3.1%||10 Bold||3.7%||VICELAND||1.3%|
|ABC ME||0.6%||7mate||3.3%||GEM||2.7%||10 Peach||2.6%||Food Net||0.9%|
|ABC||Seven Affiliates||Nine Affiliates||10 Affiliates||SBS|
|ABC KIDS/ ABC COMEDY||2.8%||7TWO||3.5%||GO!||3.9%||WIN Bold||3.9%||VICELAND||1.5%|
|ABC ME||1.1%||7mate||5.2%||GEM||4.3%||WIN Peach||2.2%||Food Net||0.7%|
|ABC NEWS||0.9%||7flix (Excl. Tas/WA)||1.8%||9Life||1.7%||Sky News on WIN||1.9%||NITV||0.2%|
|7food (QLD only)||0.5%|
|TUESDAY 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
Lachlan Murdoch was defiant Tuesday when he declared that advertising boycotts – like ones against shows hosted by Tucker Carlson or Laura Ingraham – will not dictate the content on Fox News, reports The Hollywood Reporter.
“The boycotts themselves are not having a financial impact of any significance,” said the CEO of Fox Corporation, the parent of Fox News.
Murdoch, speaking to Wall Street analysts, then launched into a story involving himself as a teenager watching his father, Rupert Murdoch, speak to a large advertiser at one of the newspapers he owned.
The advertiser warned the elder Murdoch that if he didn’t call off an investigative reporter about to reveal something negative about the business, he’d yank his advertising.
“Without a pause or taking a breath, my father said, ‘fine, pull your advertising.’ He ended up not pulling his advertising and we ended up continuing our investigation into what was real fraud in the business,” said Murdoch. “I learned a lesson…advertisers don’t tell our journalists what they can say or what they can write.”
Only a month ago Rupert Murdoch’s News Corporation pulled its 65% owned Foxtel out of the financial fire. It lent Australia’s largest pay television operator $300 million it owed to its creditors, reports The Sydney Morning Herald’s Elizabeth Knight.
In just two weeks Foxtel needs to repay additional borrowings of $200 million. Whether Murdoch will come to the rescue again remains to be seen. Even if he does, the challenges don’t stop there.
In two months Foxtel will need to stump up another debt repayment, then rinse and repeat in September.
Foxtel’s rapid-fire debt repayment schedule is gruelling over the next two years.
Perhaps the biggest challenge for Foxtel is the enormous cost of securing big ticket sporting rights.
Typically Foxtel had teamed with free to air broadcasters to pitch for the large sports contracts but there are early signs that the TV networks have a finite expenditure appetite. Last year Nine let go of the cricket and opted instead for tennis rights which provided it with a better return on investment.
While most of the big sport contracts have years left to run, it will be a rude shock to sporting codes now used to raking in billions in revenue if television and pay TV operators are forced to curb spending.
The Coalition has rolled out ads at over 12,000 petrol stations across the country, as part of its bid to target undecided voters and circumvent the media blackout on political advertisement that kicks in on Wednesday night, reports The Australian’s Alice Workman.
The “Pump TV” ads are currently playing at petrol stations across five states and will continue across the final week of the campaign, right until polling day.
Filling up with petrol is one of the rare times Australians are without their phones and the Coalition are hoping to catch the eyes of voters who are unsure about Labor.
Staff at The West Australian and Sunday Times newspapers in Perth have been warned that more jobs may go following the departure of 33 journalists as part of its voluntary redundancy program, reports The Australian’s Lilly Vitorovich.
Senior editor Anthony De Ceglie, who took the helm in January, has told staff that there could be “involuntary redundancies” as part of Seven West Media’s ongoing review of its newspaper operations, which are shifting to a seven-day newsroom.
“Our ambition to evolve into a truly seven-day newsroom is still an ongoing process. And I think it’s important that management is transparent about this transformation,” De Ceglie said in an email that was sent to staff late yesterday, which has been seen by The Australian.
“Therefore I think it’s only fair that management is upfront about the fact that as part of this review there still could be a requirement for involuntary redundancies in certain areas. Of course, we may also find that some areas need more resources.”
They are the newest champions in Australian reality TV — the duo who took home the trophy on the surprise smash hit show, Lego Masters, reports News Corp’s Fiona Wingett.
Henry Pinto and his brick-building buddy, Cade Franklin, said they were “totally pumped” to learn on Tuesday after a nerve-racking five month wait, that they would be taking home the trophy and $100,000.
The show which features grown men and women making weird and wonderful Lego sculptures, has averaged more than 1.5 million viewers each episode in its short run, with those watching online or on catch up bringing viewing figures up to an average of 2.25 million each episode and sending Lego sales soaring.
The two were paired by Channel 9 and teamed up after one phone call – and have become firm friends.
The sports gravy train in Australia will slip most of its carriages following recent filings, both here and in the US by News Corporation, signalling spending cuts by Foxtel on “non-marquee sporting content”, reports The Sydney Morning Herald’s Roy Masters.
The subscription TV service, owned 65% by News Corporation, funds approximately 80% of broadcasting fees paid to Australian sports, with its most recent $1.2 billion cricket deal with Seven West Media the catalyst of the coming train wreck.
Foxtel’s cost-cutting represents an immediate challenge for Rugby Australia, a crisis for FFA in two years time and a problem for Supercars.
Even the major winter codes, such as NRL and AFL, will flatline revenue wise and be forced to increase attendance, sponsorships and membership sales if they want to sustain players’ salaries at current levels.
The record attendance for an Australian football grand final could be broken on Sunday with a massive demand for tickets for the first decider held in Perth in the A-League era set see a full house at Optus Stadium, reports The Sydney Morning Herald’s Dominic Bossi.
Just one hour after going on sale to the general public, more than half the available seats at Optus Stadium had been taken-up for Perth Glory’s clash against Sydney FC at the new 60,000 capacity arena.
As of 6pm AEST on Tuesday, more than 35,000 tickets had been purchased for Sunday’s grand final. At the current rate of sale, the “house full” sign could be on display well before kick-off on Sunday evening for a match that could break the previous attendance record of 55,436 for an Australian football grand final. That was set in 2007 when Melbourne Victory beat Adelaide United in Docklands.
Brian Taylor hopes he has ended a five-day storm over one of his signature commentary lines, reports News Corp’s Al Paton.
Taylor has explained why he pronounces Orazio Fantasia’s name in his now famous style – and the answer is simple.
Debate erupted over the weekend after Essendon captain Dyson Heppell said on Friday night that the livewire forward’s surname was pronounced “Fanta-sia”, and Channel 7 commentators adopted that pronunciation during the Bombers’ loss to Sydney.
Taylor said on radio the next day he would be sticking with his trademark “Fant-aysia” pronunciation, drawing criticism from figures including state Sport Minister Martin Pakula, who labelled Taylor disrespectful.
On Tuesday BT described the reaction as “unbelievable”.
“This was cleared up a couple of years ago,” he said on the SuperFooty podcast.
Taylor said Saturday’s discussion on Triple M, when he said he would continue to pronounce Fantasia’s name the “Australian” way, was part of a jokey conversation in which callers were “taking the P-1-SS” out of each other.