• Farewell to Paul Dykzeul: The new leader on the old leader
• Plus Bauer global COO Veit Dengler on Australia’s importance
By James Manning
When asked about management style, Bauer Media’s incoming CEO Brendon Hill told Mediaweek: “Paul and I are very similar in many ways. He’s been a great mentor of mine for a decade.
“I am very keen to let the teams drive the future strategy. I will continue with a lot of the things Paul set up. We do need to push quickly into new revenue areas. Becoming more of a data business is something that is on our radar. We are moving rapidly in that area, taking more care in collecting our first party data and then utilising it in new ways.”
Meeting outgoing Bauer Media CEO Paul Dykzeul for the first time was sometimes daunting for people who could find his honesty and direct manner almost confronting. Would Hill be a similar straight shooter and talk directly? “Absolutely, he’s taught me well.” [Laughs]
Regarding Dykzeul’s management style, Bauer Media global COO Veit Dengler said: “We always knew where Paul stood. That is a good thing. The whole Bauer group is going through a transformation as well and we are changing quite quickly. That requires a lot of communication and more teamwork than may have been used in the past. And that works best if it is direct and there’s not a lot of subtext or unspoken agenda. Being able to speak clearly about your position and what you are thinking is more productive.
“However direct Paul may be, he was always very inclusive and amiable.”
While Bauer doesn’t publish group financials, Dengler said Australia and New Zealand are a significant part of Bauer’s world. “It is the third-biggest publishing market for us after Germany and the UK. It gets a lot of attention. It is also far away so Brendon will get a little bit more autonomy than markets who are closer to us.
“That may or may not be a good thing, but he thinks it’s a good thing.” [Laughs]
Globally, Dengler said there was a return to print, but the rates of change differ dramatically market to market. “Australia had an earlier and faster decline than almost any other market. If you take the magazine share of the total advertising spend it is the lowest of all the Bauer countries.
“But we continue to be bullish about magazines. While men’s magazines have almost totally disappeared, there are other segments that are growing. We have to be smarter to identify where the opportunities are. We have to be good at launching new magazines and we have to be quick to close titles that don’t work any more. Then you can run a good business.”
Network 10 is currently on the road around Australia with a short, sharp, burst about its second half 2019. It’s a pain free quick update about the big-spending broadcaster’s plan after what it claims has been a satisfying start to 2019.
By James Manning
The 10 presentations range from small agency groups to a single presentation for all.
The three major FTA broadcasters are all taking a different approach to their mid-year agency catch-ups.
There is no surprise that Nine in simply pushing ahead with its detailed 2019 plan it laid out toward the end of 2018. Its ratings have been through the roof and most of what it has rolled has worked spectacularly well.
Nine is happy with what it calls a stable of proven content and is now focusing on how it can best show off the returning programs at its 2020 Upfront which is approaching rapidly.
Seven is talking to advertisers in June with an update about its second half content. It is taking the presentations directly to agencies and clients.
At 10’s UpClose event, it featured a range of speakers, maybe more than previously, and a detailed reel.
10’s presenters: CEO Paul Anderson, chief content officer Beverley McGarvey, chief sales officer Rod Prosser with national sales director Lisa Squillace. The network also let two data scientists out of their darkened programming suites – general manager, data, insights and analytics Gareth Tomlin and head of digital audience Josh Slighting
Matt White hosted the event and spruiked the impressive second half sports schedule. And Peter Helliar made a film clip.
10’s mid-year reel featured:
Australian Survivor: Champions v Contenders
The Bachelor and The Bachelorette
Body Hack 2.0
My Life Is Murder
Playing For Keeps
One Born Every Minute
MasterChef: Visits to Queensland, Western Australia and the finals
Just back from the US screenings with some of his team, Anderson again explained how CBS is investing in 10 for the long term.
McGarvey explained the network was also now well advanced on its programming plans for 2020. “We are well ahead of where we were this time last year.”
The sales team said media buyers get something unique with 10 – they said 10 offers a different audience to the very similar audiences you get when buying Nine and Seven. Or to use 10 ad sales terminology – “We complement, they duplicate”.
• Lawson Media, Australian Geographic – sharks & crocs
By James Manning
Kristofor Lawson is a podcast pioneer. He got into podcasting in the medium’s early days. He liked it so much he quit his job and worked out how to earn a living out of his passion.
Lawson (pictured) is the founder of Lawson Media and host of the award-winning podcast Moonshot. The quirky look at the future has covered startups working in everything from artificial intelligence, to jetpacks, and even 3D printed food.
Before jumping headfirst into the podcast pond, Lawson worked at Australia’s largest media organisations including the Australian Broadcasting Corporation, SBS, News Corp Australia and Network Ten.
“I found I was listening to lots of podcasts and no traditional radio. I wanted to get into the space and I wanted to make something,” Lawson told Mediaweek this week while he was travelling in Europe.
He partnered with a colleague Andrew Moon, who is ex-ABC, and they planned a podcast that looked at “moonshot” ideas.
“We called it Moonshot and pitched it to the Walkley Foundation and they gave us a $5,000 Innovation Grant to make it.” Lawson got the funds in 2016 and it subsequently launched in March 2017.
Lawson said he soon realised to get the quality he wanted, he needed to be all in on it. “I quit my job at the ABC and spent all my time making Moonshot. We started getting featured in various podcasting apps, which then completely changed the game. We had enough of an audience where we could bring in a decent amount of revenue.”
He started to develop a podcast production company, Lawson Media, that focused on a global audience. “Most of our audiences tend to be in the US and Europe.”
Lawson Media revenue streams come from advertising and creating branded podcasts.
A more recent podcast launch was Building A Unicorn, which Lawson said features in-depth interviews with founders of global companies. He also has a couple of other content productions launching in the next six months.
The company is also planning a subscription service with a daily update on the technology sector. The subscription fee will be US$9 monthly, which includes ad-free versions of the podcasts and subscriber events.
Lawson Media works with Whooshkaa for advertising on its shows in Australia. “In other markets we pick out companies who can work with us on ads for our content.”
This podcasting pioneer said it still feels like the early days of the internet.
To help audiences navigate the 700,000 podcast shows, Lawson Media has developed a tool called PodFinder which searchers a database of the best podcast shows in the world. “We think it will be effective for marketing shows in the long term.”
The single best marketing tool they have used so far is other podcasts. “Cross promos with other shows give us really good results.”
Australian Geographic has launched a podcast series Talking Australia. From Valerie Taylor talking about the iconic shark scenes in the breakthrough epic Jaws – to Terri Irwin talking about the Crocodile Hunter and beyond – the weekly episodes are aimed to educate, amaze and inspire.
The podcast series will start rolling out from Monday June 3 on the Australian Geographic website www.australiangeographic.com.au and will also be accessible on leading podcast platforms (such as iTunes, Spotify, Stitcher).
Each episode runs approximately 30 – 40 minutes.
“This is a very exciting development for us and our loyal supporters, coming during the milestone 150th edition of our magazine,” said editor-in-chief Chrissie Goldrick.
“It adds a new dynamic to our established and successful brand, and allows people access to some of Australia’s most interesting people. Our adventurers and eco-warriors are doing incredible things, and it makes for compelling listening.”
• ESPN’s broadcast team of Mike Breen, Jeff Van Grundy, Mark Jackson and Doris Burke return to call this year’s event
• ESPN’s Largest On Site NBA Finals Presence Yet with NBA Countdown, Ball or Nothin’, The Jump, Hoop Streams, SportsCenter, First Take and more
For the 17th consecutive year, ESPN will air the NBA Finals starting Friday, May 31, at 11am AEST. This year, the Golden State Warriors – led by Stephen Curry – return to the NBA Finals for the fifth straight season as they square off with the Toronto Raptors and Kawhi Leonard. NBA Countdown precedes coverage of the games at 10:30am.
ESPN’s record-setting NBA Finals broadcast team of Mike Breen, Jeff Van Gundy, Mark Jackson and Doris Burke return to call this year’s event. Here are broadcasting records this team has set:
• 14th year that Mike Breen has provided play-by-play
• 13th year that Jeff Van Gundy has served as game analyst
• 11th year Mark Jackson has served as game analyst – the most for an African-American game analyst for any major North American sports championship event
• 11th year Doris Burke has been the broadcast reporter for the event, a record for a woman in a prominent NBA Finals on-air role
In addition to the game broadcasts, ESPN will have its largest presence yet at the NBA Finals this year with more shows and personnel on site than ever before. NBA Countdown, Ball or Nothin’, The Jump, Hoop Streams, SportsCenter and First Take will all document the event from Toronto and Golden State.
NBA Countdown will once again serve as the pregame show for the NBA Finals, 30 minutes prior to tip off. Michelle Beadle, in her third year as NBA Countdown host at the NBA Finals, will lead the team, including veteran analyst and Fab Five member Jalen Rose, and NBA Finals MVPs Paul Pierce and Chauncey Billups.
The Jump, ESPN’s daily NBA show, will air every game day at 10am on ESPN and will be open to the public while on location at the NBA Finals. Rachel Nichols hosts The Jump with a cast of high profile analysts and reporters. The show will be live from Maple Leaf Square (Jurassic Park) outside ScotiaBank Arena for Raptors home games and Lake Chalet in Oakland when the series shifts to the west coast.
*Please note: Game 2 will not feature The Jump, only Countdown at 9:30am. Game 7 will feature The Jump at 9am and Countdown will air at 9:30am.
Hoop Streams – ESPN’s innovative, new NBA Twitter pre-game show – will also be on site for live, courtside shows during the NBA Finals, generally starting an hour before tipoff. Cassidy Hubbarth hosts Hoop Streams with special guests, including Kendrick Perkins, Gary Striewski and more.
SportsCenter will once again travel for on-site shows throughout the NBA Finals. Several of ESPN’s top NBA analysts and reporters will appear on SportsCenter during the event.
Ball or Nothin’
Ball or Nothin’ will once again continue through the NBA Finals, extending to a 15-minute preshow before Games 2 and 7. Hosted by ESPN’s Nick Metallinos and Freddy Lomeli, this exclusive show produced by ESPN Australia/New Zealand takes a unique look at what is happening around the culture of basketball and the NBA Finals. Filmed from Toronto and Oakland the guys will discuss all the things going on at the intersection of the NBA and pop-culture, fashion, sneakers, music and social media.
Beginning Friday, May 31, ESPN’s popular morning debate show First Take – with Stephen A. Smith, Max Kellerman and host Molly Qerim Rose – will be live from Maple Leaf Square (Jurassic Park) outside ScotiaBank Arena for Raptors home games and Lake Chalet in Oakland when the series shifts to the west coast. From 12am to 2am AEST on ESPN before shifting to ESPN2 for Games 3-6, the First Take team will offer their expert insight and opinions while also welcoming a full lineup of athletes and celebrity guests.
Visit ESPN.com and the ESPN App for the game around the game coverage including: game video highlights, reaction and analysis, as well as written pieces from the biggest names in basketball. Plus, Golden State Warriors Aussie Star Andrew Bogut chats to ESPN as he looks to win a second NBA championship.
ESPN’s networks are available to subscribers on Foxtel, Kayo Sport, Fetch and Sky New Zealand.
Clare Bowen (Nashville) and Bryan Brown (Bloom, Sweet Country, Old School) lead an ensemble cast in the four-part SBS original series Hungry Ghosts, which is currently in production in Melbourne. Set to air on SBS and SBS On Demand later in 2019.
Also in the cast are Catherine Davies (Going Down), Justine Clarke (Dead Lucky, Love My Way), Ryan Corr (Bloom, Holding the Man) and Ferdinand Hoang (Rake, The Quiet American), Gareth Yuen (LA Confidential, Party Tricks), Jillian Nguyen (The True History of the Kelly Gang), Hoa Xuande (Ronny Chieng: International Student), Suzy Wrong (Crownies), Gary Sweet (House Husbands, Janet King) and Susie Porter (Wentworth, Seven Types of Ambiguity).
A Matchbox Pictures production, with investment from Screen Australia in association with Film Victoria, Hungry Ghosts is a supernatural drama that explores the lives of three generations of Vietnamese Australian families, whose lives have been affected by war.
SBS describes the plot of the show as: “When a powerful amulet is broken on the eve of the Hungry Ghost Festival in Melbourne, a vengeful spirit is unleashed, bringing the dead with him. As they wreak havoc across the Vietnamese Australian community, reclaiming lost loves and repaying old grudges, a young woman who’s never taken responsibility for who she could be, must finally step up and accept her destiny.”
SBS Director of Television and Online Content, Marshall Heald said: “Hungry Ghosts continues SBS’s run of making diverse and thought-provoking drama, following Safe Harbour, On The Ropes and the recently announced The Hunting. This series is full of heart and resilience – a captivating drama that will engage audiences. I’m proud that Hungry Ghosts will showcase fresh, diverse local talent, which is something that SBS is incredibly passionate about.”
Matchbox Pictures Managing Director, Alastair McKinnon said: “Hungry Ghosts is a stunningly original story that will shock, haunt and move audiences with its bold examination of how we, as humans, confront the painful stories of our past. In the hands of the immeasurable director Shawn Seet, this series is unlike anything we’ve seen before.”
Producer Stephen Corvini said: “We’re immensely excited to be working with SBS on a drama as bold and imaginative as Hungry Ghosts. A genre-bending series, Hungry Ghosts will reflect the extraordinary lived and spiritual stories of our Vietnamese community and their place in modern Australia.”
Screen Australia’s Head of Content, Sally Caplan said: “Screen Australia is committed to supporting diverse and distinctive Australian stories. What excites us about Hungry Ghosts is that it will take viewers into the rich world of Vietnamese culture, and tell a story that hasn’t been seen before on our screens. Director Shawn Seet and producer Stephen Corvini have a proven track record in delivering thought-provoking dramas and with strong scripts from a mix of Vietnamese-Australian writers including Jeremy and Alan Nguyen, plus an outstanding cast, I look forward to seeing this series premiere on SBS later this year.”
Film Victoria CEO, Caroline Pitcher, said: “We’re thrilled to support Hungry Ghosts, the latest Victorian high-quality television drama. Set firmly within Melbourne’s Vietnamese community and with a strong and diverse creative team behind it, this new series from Matchbox Pictures is a prime example of the unique stories and perspectives we want to see on screens.”
Hungry Ghosts is directed by Shawn Seet (Deep Water) and produced by Stephen Corvini (Safe Harbour), Timothy Hobart (Wanted) and executive producers Sue Masters (The Hunting, The Family Law)and Debbie Lee (The Family Law, Barracuda). The series is written by Timothy Hobart, Michelle Lee, Alan Nguyen, Jeremy Nguyen and John Ridley.
NBCUniversal International Distribution will distribute the series internationally.
The 1982 telemovie The Royal Romance of Charles and Diana used respected thespians like Olivia de Havilland to play the Queen Mum and an actual royal, Catherine Oxenberg, who was the daughter of Princess Elizabeth of Yugoslavia, because she was a dead ringer for Lady Di.
By Andrew Mercado
No such care has been taken with all the other trashy telemovies that have rushed to cash in on the Royal Family. Last year there was Harry & Meghan: A Royal Romance, and now it’s the sequel Harry & Meghan: Becoming Royal (Wednesday on Seven).
It’s great to see Prince Charles being played by the same actor who was once Mr Sheffield on The Nanny. And while The Crown may have Claire Foy and Olivia Coleman playing Queen Elizabeth, this cheap rip-off appears to turn her into a pantomime dame. Her Christmas charades scene, win which Your Royal Highness has to pretend to fart, may well be grounds to send someone off to the Tower.
Seven know this is a stinker, but they should have embraced its awfulness more and turned it into an event. Imagine Kath & Kim hosting chardonnay breaks throughout? And it wouldn’t be disrespectful interrupting Harry & Meghan: Becoming Royal because – no plot spoilers – but it’s a pretty thin plot about them getting married. And then having a baby. In other words, a hell of a lot easier to follow than What/If (now streaming on Netflix).
Aussie director Phillip Noyce helms the first two episodes of What/If and it borrows heavily from 1993’s Indecent Proposal, but now with Renee Zellweger in the Robert Redford role. Stretched out over 10 turgid episodes, it could have you asking Who/Cares rather than What/If, especially with so many other good shows to watch.
Next week, The Handmaid’s Tale returns for its third season (Thursday on SBS) and the Deadwood movie (Monday on FoxShowcase) is here after a 13 year wait. Game Of Thrones tragics may still be whining about their finale, but I suspect Deadwood fans will be satisfied with how it ends this time, especially given a very Aussie ending.
Deadwood fans can console themselves with the ferocious new thriller Perpetual Grace (streaming Monday on Stan), starring Ben Kingsley and Jacki Weaver as religious maniacs and Australia’s Damon Herriman as their scheming son. Don’t miss it.
• The Front Bar, Britain’s Got Talent help Seven to Thursday win
• MasterChef wins again under 50, but Kyle on his way home
• Escape From The City: Is everyone moving to Orange?
By James Manning
• Seven News 1,012,000/988,000
• Nine News 871,000/852,000
• A Current Affair 733,000
• ABC News 646,000
• 7.30 506,000
• The Project 256,000/436,000
• 10 News First 378,000
• The Drum 197,000
• SBS World News 135,000
• Sunrise 298,000
• Today 192,000
Home And Away slipped a little to 638,000 after three nights close to or well over 700,000.
The Front Bar had a metro audience of 479,000 with 302,000 in Melbourne – both numbers down marginally on last week’s bumper crowd.
Britain’s Got Talent then did 430,000 after 389,000 a week ago.
A Current Affair was on 733,000, a good number for this deep into the week.
The NRL featured Penrith defeating Manly in a close game. There were 347,000 watching after 390,000 a week ago.
The Cricket World Cup launched on 9Gem with 142,000 watching England claw its way to a winning 300+ score.
Tim Ferguson was a guest on The Project with 436,000 on board at 7pm.
MasterChef featured the second elimination of the week with Western Australian brewery sales manager Kyle Lyons being sent home. The last episode of the week did 633,000 after 680,000 on Thursday last week.
The final of Ambulance Australia then did 370,000.
Is every one moving to the NSW regional city of Orange? We’ve lost count of the number of episodes of Escape From The City set in the region, but there’s been a few. The audience was 418,000 after 416,000 a week ago. An interesting footnote at the end of last night’s episode was the Hatchs, after buying a property, found the city too cold, and later moved to the NSW north coast.
The UK media drama Press then did 178,000 after 212,000 last week.
Walking Britain’s Lost Railways was in Dartmoor with 187,000 watching.
|ABC KIDS/ ABC COMEDY||3.0%||7TWO||4.6%||GO!||2.0%||10 Bold||3.5%||VICELAND||1.2%|
|ABC ME||0.9%||7mate||3.2%||GEM||4.5%||10 Peach||2.4%||Food Net||1.2%|
|ABC||Seven Affiliates||Nine Affiliates||10 Affiliates||SBS|
|ABC KIDS/ ABC COMEDY||3.7%||7TWO||6.8%||GO!||2.7%||WIN Bold||3.6%||VICELAND||1.5%|
|ABC ME||1.1%||7mate||3.7%||GEM||4.1%||WIN Peach||2.3%||Food Net||1.5%|
|ABC NEWS||1.2%||7flix (Excl. Tas/WA)||2.7%||9Life||1.5%||Sky News on WIN||1.7%||NITV||0.2%|
|7food (QLD only)||1.1%|
|THURSDAY 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
Sensis has taken aim at Darrell Lea after the chocolate company imitated its iconic “Not happy, Jan” advertisement and has called for the new ad to be taken off the air, reports News Corp’s Alex White.
The original creators of the iconic “Not happy, Jan” advertisement are unhappy with Darrell Lea for ripping off the idea in its latest TV advertising campaign.
Sensis, which was responsible for the Yellow Pages “Not happy, Jan” ad in 2000, has issued a cease and desist letter to chocolate maker Darrell Lea for their new campaign, which began airing this week.
The latest remake of the ad made by the chocolate company replaces the iconic last line with “No worries, Jan” and features a large block of chocolate on screen.
“We are flattered that Darrell Lea has used our iconic yellow pages advertising, featuring ‘Not happy, Jan’,” said Yellow Pages executive general manager James Ciuffetelli.
“However, it has been used without our consultation or approval. To see the Yellow Pages brand, which is iconic and trusted by many Australians, and our beloved character Jan, used by another company for commercial gain is a total shock to us and our customers.”
Darrell Lee has indicated it will be cancelling the ads.
The share price of the company that owns the Daily Mail has risen more than 9% after a strong performance from Mail Online more than offset a decline in newspaper advertising revenues, reports The Guardian.
Daily Mail and General Trust (DMGT) reported a 25% year-on-year increase in ad revenues to £76m at Mail Online in the six months to the end of March, a period in which print ad revenues fell 12% to £57m at the Daily Mail and Mail on Sunday.
Mail Online has bounced back after revenue growth dropped to 2% during the first half of last year, following a move by Facebook to deprioritise news appearing on users’ timelines.
Revenues at the Daily Mail and Mail on Sunday, including income from newspaper sales, fell 5% to £208m.
Mail Online’s performance helped push the revenues of the combined print and online DMGT businesses up 1% to £284m. The Metro reported a 12% rise in ad revenues to £41m, benefiting from the integration of its previously standalone advertising operation into that of its stable mates.
The shares of both Viacom and CBS Corp. were trading up midday Thursday in the US following a report that the companies are set to resume merger talks in June, reports The Hollywood Reporter.
Viacom’s stock got the biggest boost from the news.
Chatter about a long-discussed merger between the two entertainment companies, both majority owned by controlling shareholder National Amusements, was renewed in April after CBS said it would suspend its search for a permanent leader to replace ousted CEO Leslie Moonves and, instead, extend its contract with interim CEO Joseph Ianniello. Observers speculated that Ianniello would shepherd CBS through the merger before making way for Viacom CEO Bob Bakish to run the combined company.
On Thursday morning, CNBC reported that the two companies plan to begin merger discussion in mid-June with Bakish the likely candidate to run the business.
ABC reporter Ashleigh Raper believes she benefited and suffered from the #MeToo movement, claiming she and many other women were “collateral damage” in the ousting of high profile men, reports Future Women’s editor Emily Brooks in an item republished in The Sydney Morning Herald.
Hosting an event and panel discussion in Sydney for Future Women, Raper spoke publicly for the first time after she was unmasked as the reporter at the centre of an incident leading to the resignation of former NSW Labor leader Luke Foley in October 2018, although he denies the allegations.
“This is an event I never wanted to be invited to,” she said. “Yet here I am… I know I’m here because I’m Ashleigh Raper, the ABC reporter who was groped. And that fact sits very uncomfortably with me.
“Many of you know me because a man put his hand down the back of my dress. Eighteen months later another man took it upon himself to talk about it in State Parliament. And then another man decided to talk about it in Federal Parliament,” she said.
Veteran Melbourne film & TV critic Jim Murphy, who wrote for The Age and co-hosted Australia’s first movie review program, has died, aged 80, reports TV Tonight’s David Knox.
Friends report he passed away due to a heart attack.
Murphy was editor for The Australian Video Review for Syme Publications and a long-time Green Guide and Listener-In TV contributor.
With Ivan Hutchison he co-hosted Australia’s first movie review program Two on the Aisle (1971–1974) on Seven.
He later hosted video reviews for Graham Kennedy’s Coast to Coast and contributed to TVTV on ABC. He was an avid collector of films and cast recordings, boasting his own screening room at his home.
In 2006 for TV’s 50th anniversary he wrote about readers’ passion for the small screen and how they connected with TV shows.
“Eventually, no doubt, somebody will be waxing nostalgic about the likes of Dancing with the Stars, Kath and Kim, Big Brother and The Footy Show,” he noted.
The ABC was the first FTA broadcaster with a comprehensive catch-up and streaming platform – iview. Now the manager, iview and internet broadcasting at Australian Broadcasting Corporation, Sally O’Donoghue is leaving her role.
She revealed the news on Twitter, reports TV Tonight.
“My time at the ABC has ended. The past eight years building #iview and the teams shaping it have been among the most rewarding years of my career so far. It’s been a great privilege to have worked with such dedicated, talented and interesting people, helping to provide a service enjoyed by so many Australians,” she wrote.
“To (Mark Scott) the finest leader I’ve ever been inspired by, (Rebecca Heap) the most energetic and talented exec I’ve ever worked with, and @bruceyeah, for the longest and strongest work partnership I’ve ever enjoyed, my particular thanks and admiration.”
Another veteran birthday this week with industry legend Pete Smith turning 80, reports TV Tonight.
This week he enjoyed a small celebration with wife Jackie and close friends, including Peter Hitchener.
Smith began at Nine’s “Television City” in 1964 and has been part of the family for 55 years, but he started out with ABC Radio in Melbourne.
At various stages, he has been the voice of the network, a variety show regular on In Melbourne Tonight, The Graham Kennedy Show, The Ernie Sigley Show, The Don Lane Show, the sound of Sale of the Century, ‘Mr. Copperart’ a genial warm-up host and a pal to The Late Show team.
The 2019 Eurovision Song Contest (ESC), the world’s biggest live music event, was seen by 182 million viewers across 40 markets, reports the European Broadcasting Union. Included in that total are YouTube views.
The Grand Final achieved, on average, a one percentage point higher TV audience share year on year of 36.7% – more than double the average prime-time viewing share for the same group of channels (16.7%).
In the winning country, the Netherlands, the ESC delivered its largest audience for NPO/AVROTROS since 2014. An average of 4.5 million viewers watched the Grand Final, accounting for 73.4% of TV viewing in the country.
Host broadcaster KAN’s audience for the Grand Final was up 24% on 2018, with 1.3 million viewers tuning in. This made it the country’s biggest ESC audience since it last hosted in 1999, accounting for 63.2% of TV viewing in Israel.
RAI in Italy delivered its second-best audience since re-joining the Contest in 2011 with 3.4 million viewers, up 5% on 2018.
Germany’s ARD saw the highest average viewing figures of any market for the 9th consecutive year (7.6m).
Iceland continues to deliver the largest viewing share of any market at 98.4%. With the country making it to the Grand Final for the first time since 2014, RUV enjoyed their best viewing share in 5 years (98.6% in 2014).
Switzerland also made it to the Grand Final for the first time in 5 years. RTS, RSI and SRF more than doubled their audience year on year. The German speaking part of the country delivered its best audience since 2006 with 0.7 million viewers watching, accounting for 49.6% of viewing.
In the UK, an audience of 7.7m were watching.
In Australia, SBS recorded an audience of 412,000.
Online, the Eurovision Song Contest had 40 million unique viewers on YouTube from 225 territories, during the week of the event.
Online bookmaker BetEasy has signed a new partnership with streaming service Kayo Sports, adding to its list of exclusive content, reports The Australian’s Sarah-Jane Tasker.
The Australian bookmaker majority-owned by Canada’s The Stars Group said the deal would see it become the exclusive wagering partner of Kayo.
“Kayo is at the forefront of improving Australians’ consumption of sport in this new digital age,” BetEasy chief executive Matt Tripp said.
BetEasy, which includes the combined assets of the former CrownBet and William Hill Australia, has been aggressively bulking up its exclusive sport content for customers. It is the official wagering partner of the NBA and AFL, and has a streaming deal with Sky Racing.
It is understood that through the Kayo partnership, BetEasy would look to deliver more engaging and tailored content to its customers, including statistics and previews.
As the current chair of the Indigenous Player Alliance I was privileged to see the Adam Goodes documentary, The Final Quarter, at the Indigenous All Stars Summit in February, writes Des Headland in The Sydney Morning Herald.
The film was introduced by the director, Ian Darling, and the AFL’s Tanya Hosch, who organised the screening for about 50 players who were in Adelaide.
As the documentary rolled, the emotion in me started to rise up. It was like a punch to the face.
I know football has been a vehicle for many great things in our society, but it is also where issues like racism have been laid bare, and this film about the last three years of the career of the great Adam Goodes touched a very raw spot for me.
Des Headland is the chair of the Indigenous Player Alliance that advocates on behalf of the Indigenous men and women who have played in the AFL and AFLW.
Port Adelaide’s move into China has grown beyond expectations to have the AFL seeing the same vision.
Five years ago Port president David Koch saw opportunity in China. As the Power prepares for its third game in Shanghai, the AFL is fully behind the strategy that has exceeded expectations, reports The Advertiser’s Michelangelo Rucci.
The AFL and Port Adelaide are opening an office in Shanghai with three staff – two for the league and one for the Power – to advance Australian football’s search for new markets, new television partners and new commercial returns to invest in the sport’s grassroots at home.
Port Adelaide on Sunday will play its third AFL match for premiership points in Shanghai. This time the opponent is Victorian rival St Kilda – that is carrying the Victorian State government’s flag to connect with Victoria’s biggest trade partner – rather than Gold Coast. The Saints are committed to being the Power’s rival for the next three years.
Koch measures the success of the “China Strategy” in the $6 million added to Port Adelaide’s financial books. This is 10% of the Power’s $60 million annual revenue – and money he is certain could not have been found in a crowded and ultra-competitive Australian market where Port Adelaide has to work against 17 AFL rivals in a limited economy.