MasterChef Australia is back, returning for its 13th season on Monday, April 19th at 7:30 pm on 10.

Jock Zonfrillo, Andy Allen, and Melissa Leong will be entering the MasterChef kitchen for the second time as judges after a wildly successful first foray last year.

Mediaweek spoke to the trio ahead of the season premiere about how they feel now as a trio, how production went, and what to expect from MasterChef when it heats up. 

Do you feel settled as a tandem now?

Leong: “When we walked back on set for this season, it very much felt like the first day back at school after the summer holidays or something. Obviously, this is still new because this is the first season of real home cooks putting themselves on the line and us in the position where we’re sort of mentoring them more than we did perhaps with the Back to Win contestants because they already had established careers within food.

“I think that unless you become severely jaded with something like this, there should always be something new to discover with a show that’s had as long a history as MasterChef has every single time you step foot onto the set for the first day of the season.”

What ingredients do amateur cooks bring?

Allen: “As much as we gave the Back to Win guys everything that we had, this is just different because there’s a different style of nurturing when someone who’s really inexperienced walks through the doors – and we’ve got 24 of them.

“That’s why I’m really excited for everyone to see it because Back to Win was amazing and everyone connected to all the people that they’d seen and loved over the last 11 years back in one season, so they got that re-connection. We were the lucky ones who were able to get a leg up and be part of that show. They’ve had a taster of what we can do in Back to Win, but this is where the OG stuff happens.”

Zonfrillo: “There’s a big difference between the two. Having the Back to Win guys was kind of its own thing, I think it sat outside the remit of MasterChef, to be honest. I think this year we’ve got contestants who – one of them didn’t even have a social media profile at all, on any account. No Instagram, no Facebook, nothing. I like that. I like to see that because they’re not worried about ‘what if my 225,000 followers see me split the mousse?’, it’s not even a thought in their minds. They just don’t care, so they’re all in when they do a challenge, they’re vulnerable. It’s a very different vibe in the kitchen and it’s one that I’m enjoying more, to be honest. 

“I think it’s compelling to have people who are standing in a kitchen who want a career in food, who have had 10 years or more working in a different industry whether it’s lawyers, doctors, landscape architects, boilermakers, that kind of stuff for 10 years. They’ve had a good crack at a different career, and now they’ve decided they actually really want a career in food, and they’ve given up so much so that they are in the MasterChef kitchen.”

Leong: “This is 24 people who truly, truly are putting themselves out there and will have their lives changed by this show. I know that sounds like a tag line, but it really isn’t. These people quit their jobs as doctors, lawyers, med students, the whole gamut of professions. They’re deciding to pull up stumps and go down a different path in life, and there’s a tremendous sense of vulnerability and uncertainty that comes with that. We have a front row seat to that every single day that we go into work, we see how much they want it, we see how much they’re learning along the way, and how as they start to discover who they are in a food identity context, how much that continues to light their path. To be able to be involved in that for the first time, even though technically this is the third season we’ve been in the saddle so to speak, is huge. It’s huge and it’s meaningful.”

How have covid protocols impacted filming?

Zonfrillo: “We love a protocol now, we’re all over it. It’s funny, we started and there was nothing, and then very quickly there was the disaster that was Covid. And then there was a lot of people wandering around with lengths of aluminium that was one and a half meters long trying to distance contestants and us, and then camera angles had to be worked out, and it was a big kerfuffle, to be honest – or it seemed like a big kerfuffle at the time anyway. Then obviously the impact of Covid globally became apparent.

“Endemol and Channel 10 did a phenomenal job of making sure that the production adhered to all government regulations in a way that still made the show watchable, it wasn’t awkward. While we couldn’t hi-five or give contestants hugs, we did a guard of honour when people left. We found other ways. Maybe that in part made us feel like we were taking the show a little bit in our own way. I can’t help but think it is what it was, would we have it any different? Looking back on it, I don’t think I would. It doesn’t feel like we just made the best of it, we made it as good as it was, and it was bloody great.”

Allen: “I’ve got good news for you, we’re doing off-sites again. We’re doing off-sites! We’re out of here, we’re out of the kitchen after close to a year. As much as that place is the home of MasterChef, it’s just so good to be out and about to visit restaurants, visit locations. It was literally like a breath of fresh air after becoming a bit repetitious.”

Leong: “To be able to take the contestants into a restaurant – a real, working restaurant environment, which for some of them that’s their dream, commercial cookery – and to see them take to a commercial kitchen with such great reverence but also such excitement is tremendous to watch.”

How did covid affect guest judges?

Zonfrillo: “There was a promo that went to air last week or the week before and it shows Heston and Nigella and Massimo and Clare Smyth, those guys have Zoomed in in a life-sized example of themselves. Honestly, it just shows you how far technology has come, we were able to have them in the MasterChef kitchen as good as you’re going to get without them physically being there. They were standing in an amazing life-sized LCD screen and they were able to talk to the contestants live without any lag or delay. It’s as good as them being there, the contestants were able to ask them questions and they could answer them. I mean that’s what it’s all about, that connection, it’s about meeting your mentors, meeting people that inspire you. “

Leong: “The magic of television, as they say.”

Did you do anything differently this year?

Leong: “I’ve been learning from the boys many things – many, many things, but one of them being how to be louder, especially when counting down. I’m very happy to say that I have found my inner lioness if you like through the mentorship of these two fantastic brothers of mine.”

Jock: “If there’s one thing that any of your readerships should know is that throughout the season Mel has a thing that has become her own which is the thirty second egg, we call her, where Mel pretty much lays an egg she puts so much force into the 30 second time call. And she really gives it laldy.”

MasterChef Australia returns Monday, April 19th at 7:30 pm on 10.

Nine‘s Lego Masters Australia will return Monday, April 19, for its third season as builders from around the country battle it out to be crowned the Lego Masters for 2021 and win $100,000.

Adrian Swift the head of content, production and development at Nine told Mediaweek that Lego Masters is in a state of constant improvement.

“You have to stay one step ahead of the audience, you got to keep evolving it a little bit every time and changing the schtick a little bit every time.”

Swift said that part of that is that host Hamish Blake is really on the money in season three.

“In the first season he was kind of feeling his way, and in the second season he figured out where he could go with it, and in the third season, he is now really into the competition, really into the builders, and really into his role in the show. He is taking more joy from the competition this year because he isn’t worried about hosting duties, he is just enjoying all the builds and the reveals.”

Bigger and Better

One of the aspects that Swift and his team wanted to continue to improve this year was making sure that the show had better builds.

“We have to have a time constraint, so you never get the ultimate builds, but we have tried to make the builders better. When the show first started your average Lego builder tends to go ‘bloody television it won’t be real’ but I think what happened is people have seen that it’s a genuine competition for people that can genuinely build. We have had a lot more people come out of the woodwork and a lot more applicants which I think leads to better quality.

“The builds this year are more fired by their imaginations, so it is less bridge building and more come up with a crazy idea that you can put in a snow globe. We have let them off the leash a little bit, and it is less mechanistic and more imagination.”

Selecting the builders

Swift said that when finding the right builders for the show, it is a combination of receiving applications and looking for applicants, who then have building challenges during the interview process.

“We know that there are some builders out there that people really like, and we are dialled into the community now.

“We also try to be a little diverse. You could very easily cast this show as lots of 45-year-old blokes who are kind of nerdy into Lego, so we try and cast wider than that. They tend to be very good technically, but we also want people with great imagination.

“This year has a good age mix, a good gender mix, and a good demographic mix with people from all sorts of different backgrounds. It is a good clever, imaginative, diverse cast.”

How Covid affected production

Swift said that production went well but just like every show in the world at the moment, production was affected by Covid.

“We would have done more stuff outside the studio if we hadn’t been in lockdown constantly. It caused a lot of extra expense just in terms of meeting protocols, and flying people in and flying people out, and quarantining them and all that sort of stuff. When you see the series, it doesn’t really make any difference to it on air.”

Lessons learnt heading into season 3

When asked what the biggest learning curve was in the first two seasons, Swift said that it was just letting the show be itself and to get out of its way.

“We tend to do these competition reality shows with a lot of big banging kettle drums and confected drama, with Lego Masters what we learnt is that if we sit back and just get into the imagination and the builds, that we don’t need to force drama, sometimes just clever people doing something amazing is enough. And then you add in the kind of charm and wit of Hamish and it just brings it all to life.”

Lego Masters spinoffs

When asked if Nine has considered Lego Master spinoffs such as Lego Masters Junior, Swift said that they don’t want to get too cute with their shows.

“We have considered specials and Lego Masters Junior is one of them, but we also have a view, and this applies to all our shows when you are constantly being asked about spin-offs of MAFS and spin-offs of The Block when you have a really good show that you really love, and you can keep evolving don’t try and get too cute.

“We are looking at other things that we can do in that space, Lego Junior or Lego Seniors and Juniors with potentially mother and daughter, father and son type of things, where you have the ideas from the kids and the technical ability from their parents or even celebrities and their kids or celebrities and builders.”

What else is coming from Nine in 2021?

When asked what else can be expected from Nine in 2021, Swift said better versions of the shows that people love and a couple of new ones that he hopes people like.

“I’ve got a little panel show coming that I can’t tell you too much about. I have got a show called Parental Guidance which was previously billed as Parent Jury, which is fascinating.

“I think that Beauty and the Geek is really interesting because the whole world has changed, the geeks are all in power because they think they are Jeff Bezos and the beauties because of social media are much more engaged in the wider world. It’s not just silly giggly dumb girls and blokes with poor personal hygiene it’s actually really interesting blokes and really interesting girls together.

“I am really happy with Celebrity Apprentice, I think Alan Sugar is really good and the cast is really good, and Launa Jane Clarkson and Janine Allis as the advisors are fantastic.

The Sydney Morning Herald will celebrate its 190th anniversary on Monday, April 19, making it one of the oldest continuously printed metropolitan newspapers in the world.

A souvenir wrap-around will mark the achievement, showing how the Herald has forged a connection with generations of Sydneysiders with its unique lens on reporting the life and times of the Emerald City.

Across the week, there will also be special features throughout the paper and its inserts including Good Food, and the milestone will also be celebrated at an event held at the Sydney Opera House. 

Long before the first car drove down Pitt Street, or troops left for the Boer War and both World Wars, and when Sydney’s tallest building was the city’s St James Church, Sydneysiders turned to The Sydney Herald for news of their city and its place in the world. The first edition rolled off the presses on April 18, 1831 when King William IV was ruling the British Empire and 70 years before Federation.

Re-named The Sydney Morning Herald shortly after John Fairfax bought the publication in 1841, its continuous print puts the Herald alongside titles like the UK’s The Guardian (1821), The Daily Telegraph (1855) and The Times (1785), and the US’s New York Post (1801), The New York Times (1851) and Washington Post (1877) as one of the world’s oldest metro newspapers.

The Herald is now read by 9.4 million people across print and digital. Just as Sydney has evolved since 1831, so too has the Herald, with the business now financially driven by digital subscribers. More than 60% of revenue across Nine’s publishing assets now comes from readers digital subscriptions.

The one thing that has stayed consistent over 190 years of delivering news has been the Herald’s dedication to journalism. With countless investigations that have resulted in Royal Commissions, Inquiries, ICAC cases, and police/AFP charges, the Herald has ensured its journalism is key to growing subscribers and keeping Sydney informed.

Lisa Davies, editor of The Sydney Morning Herald, said: “It is mind boggling to reflect on what The Sydney Morning Herald journalists and photographers have witnessed and recorded over the past 190 years.

“The Herald has never been read by more people, from a broader cross-section of Australia. The media landscape is constantly adapting to changing revenue models, global headwinds and digital disruption but through it all we have focused on the stories, on doing our jobs, innovating and ensuring the Herald remains the trusted source of news our readers demand.

“As we celebrate the Herald’s rich heritage; its vital role in shaping Sydney and our voice in the most important national conversations, we want to draw on this history as we look forward. We must continue to drive and inform the future of our city, the direction of our nation and our place on the world’s stage.” 

David Eisman, director, subscriptions and growth, said: “Our successful digital subscriptions and licensing strategy means that the Herald, along with our other mastheads, is well positioned to continue serving our readers with high quality Australian journalism at scale for years to come.”

The Sydney Morning Herald will mark its 190th anniversary with a souvenir wrap around on Monday, April 19.

Nine has named the judging panel for State of Originality, Australia’s richest advertising award, aimed at making the State of Origin the equivalent of Australia’s Super Bowl in advertising terms.

Announced at Nine’s Upfront last September, the winning campaign will take home more than a trophy – there’s $1 million in advertising inventory up for grabs across Nine’s television, radio, digital, and print assets.

The 2021 State of Originality, launching in June, will be overseen by a judging panel of some of Australia’s most experienced advertising minds. On the panel will be Australia’s most awarded creative, Tara Ford, CCO of The Monkeys; Ant White, CCO from newly minted agency Howatson+White; former adman, Gruen panelist and 3AW Breakfast co-host Russel Howcroft; and former CEO of BBH, founder of MakeLoveNotPorn and all-round advertising legend, Cindy Gallop.

Nine has also confirmed that the final judges would be the Australian viewing public, with 20 per cent of the voting going to votes cast via the Wide World of Sports website.

“America’s Super Bowl ad breaks really took off with Apple’s blockbuster ‘1984’ ad,” said Liana Dubois, director of Powered. “Australia now has the opportunity to create its own moment in time for brilliant advertising to shine.

“2020 challenged us all and yet we play on. This is Nine’s way of now encouraging and rewarding big, bold creativity – the way we differentiate brands. The State of Origin is our Super Bowl moment, where Australia comes for the game and stays for your ads.

“The winning work will not only capture the hearts and minds of millions of Australians but also have one of the great launchpads for a campaign that any brand could hope for.”

Tara Ford, chief creative officer, The Monkeys, and board member of the Advertising Council of Australia said “This is going to be super-interesting. I hope to see some truly bold and entertaining work, fitting of such a unique challenge.”

Ant White, chief creative officer at Howatson + White said “It’s a good time for Australian advertising. Clients and brands seem to have come out of the last 12 months with a newfound and much needed ambition to stand out again. Stand for something. Entertain people again. I’m looking forward to seeing what comes out at this year’s games.”

Russel Howcroft, 3AW Breakfast presenter said “There’s nothing more important than big ideas for Nine to invest in. An initiative like this can only be brilliant for the creative and client world. I am so excited to be involved.”

Cindy Gallop, founder of MLPN said “I’m thrilled to be judging the State of Originality, because I see a huge opportunity for State of Origin to match the US Super Bowl in an advertising context – because of, literally, originality. Australia has the opportunity to set the agenda for a new post-pandemic standard of innovative, disruptive creativity in a world and an advertising industry where everything’s changed, and I can’t wait to see the entries that will define the new world order of creativity.”

Advertising market conditions have continued to improve for commercial radio stations in 2021, with metropolitan advertising revenue reaching $153.418 million in the March quarter, a 3.76% decline compared to the same period a year ago.

Victoria, the largest radio market, recorded only a 0.12% year-on-year fall in revenue to $52.157 million according to the figures compiled by Deloitte and released by industry body Commercial Radio Australia.

NSW metro radio stations reported a 5.06% fall in ad revenue to $44.963 million, while Queensland was 9.10% lower to $23.017 million.  Western Australia was relatively steady at down 0.34% to $19.752 million, while South Australia was 7.87% lower to $13.529 million.

“The figures are moving in the right direction and we’re hopeful momentum will build through the year as small business confidence grows and we see them coming back into the market and utilising the reach of radio,” said CRA chief executive officer Joan Warner.

The Deloitte figures report revenue received by metropolitan commercial radio stations in the five major capital city markets and include agency and direct ad revenue.

For the nine months of the financial year to date, metropolitan ad revenue was down 14.48% to $452.345 million. 

See also:

Sydney Radio Ratings: Survey 2
• Ben, Kyle and Jackie O lead, Jonesy & Amanda go boom

Melbourne Radio Ratings 2021: Survey 2
• Melbourne: Ross, Russ and Christian on top, as Chrissie, Sam & Browny rise

Brisbane Radio Ratings 2021: Survey 2
• B105 #1, 4KQ takes off! Laurel, Gary & Mark #1 Brissie brekky

Adelaide Radio Ratings 2021: Survey 2
• Mix 102.3 and Cruise 1323 share spoils, as Nova 91.9 climbs

Perth Radio Ratings 2021: Survey 2
• Nova holds #1, Mix steady, improvement at 96FM & Triple M

Seven has announced the launch of a new partnership with Unpacked by Flybuys, the data division of the loyalty program.

The partnership will connect Flybuys’ aggregated audience segments with 7plus’ connected TV audiences. It marks the first time targeting will be possible across connected TV, giving marketers the ability to reach 7plus audiences on the biggest screen in their home with tailored advertising messages based on previous purchases.  

Seven and its strategic data partner TEG Analytics will connect Seven’s 6 million unique first-party audience identifiers, SWM-iDs, with the data of more than 8 million Flybuys members.

Seven’s SWM-iDs – coupled with its second-party partnerships with TEG, Carsguide, Mastercard and others – sit at the core of the audience insights, activation and measurement solution in 7REDiQ, the audience intelligence platform Seven launched in October 2020.

Seven West Media chief revenue officer, Kurt Burnette (pictured), said: “We set up 7REDiQ with one simple aim: to bring brands closer to their desired audiences than ever before. Connecting Flybuys’ data to our SWM-iDs for activation is an Australian first and an exciting development for marketers.

“Our new partnership with Flybuys means 7REDiQ has taken a giant leap forward to connect deterministic second-party data at an identity level, making it even easier for brands to reach their key audiences across our market-leading content and to achieve stronger results.”

Harley Giles, chief product officer of Flybuys, said: “Through this partnership with Seven West Media, we are providing insights into our more than 8 million members’ shopping baskets. Unpacked by Flybuys arms brands and media agencies with data, insights and measurement into their audiences based on real-world behaviour and provides unrivalled ROI on marketers spend.”

Andrew Reid, general manager at TEG Analytics, said: “We are thrilled to be able to bring TEGA’s new data partnership with Flybuys to our long-standing partnership with Seven West Media. This is the first time in Australia that a TV network will be able to offer brands FMCG data against connected TV viewing.”

Singles

Justin Bieber claims a second week at number one on the ARIA singles chart with Peaches featuring Daniel Caesar and Given. Of the Canadian artist’s previous number one singles, What Do You Mean? spent four weeks on top, Love Yourself was there for seven weeks, and I Don’t Care with Ed Sheeran spent one week topping the chart.

The highest ranking Australian artist this week is Sydney rapper Masked Wolf with Astronaut In The Ocean at number five. He overtook fellow Sydneysider The Kid Laroi last week, but not by much – The Kid Laroi’s Without You comes in at number seven this week.

Notching up its third week in the Top 50, Lil Nas X’s Montero (Call Me By Your Name) continues its climb, moving up one spot to a new peak at number two. The track (and its controversial video) has given the rapper a second number one in the UK, US, Canada, and Ireland – the first being Old Town Road.

As Fearless (Taylor’s Version) debuts at number one on the albums chart, Taylor Swift scores three singles chart entries from the album. The highest ranking single is Mr. Perfectly Fine (Taylor’s Version), an unreleased song (and a musical time capsule) from Swift’s 2008 album Fearless. It debuts at number 19.

Love Story (Taylor’s Version) re-enters the charts at number 36, and Forever & Always (Taylor’s Version) debuts at number 45.

Other new entries to the chart this week are Rapstar by Polo G at number four, Kiss Me More by Doja Cat featuring SZA at number ten, Anywhere Away From Here by Rag’N’Bone Man and P!nk at number 43, and Bed by Joel Corry, RAYE, and David Guetta at number 48.

Albums

Taylor Swift takes out her eighth number one on the ARIA albums chart as she debuts in the top spot this week with Fearless (Taylor’s Version). The album is a re-recording of Swift’s second album, Fearless, and is the first of six re-recorded albums Swift plans to release in response to the master recordings of her back catalogue being sold.

It becomes Swift’s third number one album in Australia in the last year after folklore in August 2020 and evermore in December 2020. This makes her the first artist to have three different albums top the ARIA charts in a twelve-month period. 

The 17 weeks between evermore first hitting top spot and the debut by Fearless (Taylor’s Version) breaks the record for least amount of weeks between different number one albums that Swift previously set with the 20 weeks between folklore and evermore.

Swift’s eight number one albums now places her second for the record for most ARIA topping albums by a female solo artist, sitting behind Madonna, who has eleven. She also now sits one release behind the record for the most consecutive number one studio albums, with Eminem having nine.

The highest ranking Australian album this week comes from the legendary Richard Clapton. Clapton scores his highest charting album ever in Australia, coming in at number three with the covers collection Music Is Love (1966-1970). The album features the ARIA Hall Of Fame member taking on tracks made famous by the likes of The Byrds, Neil Young, The Band, The Doors, The Lovin’ Spoonful, and more.

Ariana Grande’s Positions returns to the top ten following its issue on vinyl. As a result, Positions is number one on this week’s ARIA vinyl albums chart and number five on the main albums chart. It previously peaked at number two when it was released in November 2020.

This week marks the 70th week that the album Fine Line by Harry Styles has been in the charts. It’s also the 40th week for both 14 Steps To A Better You by Lime Cordiale, and the posthumous release Legends Never Die by Juice WRLD.

Other new entries to the chart this week are Roadrunner: New Light, New Machine by Brockhampton at number six, and Nearest Misses (Live) by Lachlan Bryan & The Wildes at number 38.

2021 ARIA Chart Toppers

Singles
January 4 24Goldn Mood
January 11 24Goldn Mood
January 18 Olivia Rodrigo Drivers Licence
January 25 Olivia Rodrigo Drivers Licence
February 1 Olivia Rodrigo Drivers Licence
February 8 Olivia Rodrigo Drivers Licence
February 15 Olivia Rodrigo Drivers Licence
February 22 Olivia Rodrigo Drivers Licence
March 1 Glass Animals Heat Waves
March 8 Glass Animals Heat Waves
March 15 Glass Animals Heat Waves
March 22 Glass Animals Heat Waves
March 29 Glass Animals Heat Waves
April 5 Glass Animals Heat Waves
April 12 Justin Bieber ft. Daniel Caesar & Giveon Peaches
April 19 Justin Bieber ft. Daniel Caesar & Giveon Peaches

Albums
January 4 Taylor Swift Evermore
January 11 Taylor Swift Evermore
January 18 Barry Gibb Greenfields: The Gibb Brothers’ Songbook
January 25 Illy The Space Between
February 1 Bluey Bluey The Album
February 8 The Kid Laroi Fuck Love (Savage)
February 15 Foo Fighters Medicine at Midnight
February 22 The Rubens 0202
March 1 Tash Sultana Terra Firma
March 8 Architects For Those That Wish To Exist
March 15 Kings Of Leon When You See Yourself
March 22 Dua Lipa Future Nostalgia
March 29 Justin Bieber Justice
April 5 Skegss Rehearsal
April 12 Justin Bieber Justice
April 19 Taylor Swift Fearless (Taylor’s Version) 

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Nine was again the clear leader in TV ratings Week 16 with its best primary share since February and its third-best primary share of the year.

Seven was more competitive thanks to Dancing with the Stars: All Stars with its best primary share since January.

The Funeral of the Duke of Edinburgh, Prince Philip, pulled over 1m metro viewers late on Saturday night. The audience was split across all networks which carried the event with either BBC or ITV feeds. Seven had the biggest audience with 430,000.

Nine: Primary share 20.3% Network 30.9%

Four episodes of Married at First Sight were again over 1m with The Final Dinner Party on Wednesday pulling the biggest audience of the season – 1,134,000. It is also the second-biggest non-sport audience of the year after 1,366,000 watching Oprah’s Megan and Harry interview. In BVOD Married at First Sight continues to dominate the rankings with the most-watched episode so far being episode four with a BVOD audience that has now grown to 522,000 (live + catch up).

60 Minutes had a huge week with 830,000 watching another Nick McKenzie investigation which was the show’s biggest audience this year.

A Current Affair had a second successive average audience of 705,000, just short of its best this year of 712,000.

Nine was able to claim leadership in the key demos.

Seven: Primary share 20.3% Network 29.2%

The primary channel was much more competitive this week in the TV ratings thanks to the arrival of Dancing with the Stars: All Stars. The first episode performed best with 744,000 on Sunday which then dropped to just under 600,000 for the Monday and Tuesday episodes.

Seven News was again the champ at 6pm Monday to Friday and on Sunday.

The AFL was on 542,000 on Friday and had audiences of 472,000 Saturday and 469,000 Thursday.

7mate was equal most-watched multichannel on 3.8%.

10: Primary share 8.3% Network 15.4%

The start of MasterChef Australia 2021 can’t come quick enough for 10. The network’s flagship should guarantee three months of improved TV ratings performance. Its arrival comes after 10’s lowest primary share since Week 1, 2021.

The primary channel’s best this week was again Gogglebox which had 540,000 viewers on Thursday night.

The next best offerings were the weeknight episodes of The Project 7pm on 406,000 and then weekday instalments of 10 News First at 5pm on 342,000.

The only other program to crack 300,000 viewers was The Living Room with 309,000.

10 Bold was equal most-watched multichannel on 3.8%.

ABC: Primary share 12.2% Network 16.9%

Hard Quiz was the most-watched program with 681,000. There was then a procession of programs that cracked half a million starting with The Weekly (552,000), Old People’s Home for 4 Year Olds (544,000), Fisk (533,000), Australian Story (522,000) and Vera (505,000).

SBS: Primary share 4.4% Network 7.5%

The doco Hindenburg: The New Evidence was the channel’s best on 217,000. Also over 200,000 was a repeat episode of Who Do You Think You Are? on 209,000. Not far behind was Secret Scotland on 195,000.

See also: Week 15 TV: Three Marrieds enough to win for Nine in second Easter week

Primetime News
Seven News 1,038,000
Nine News 1,021,000
ABC News 622,000
10 News First 309,000 (5:00 pm)/ 258,000 (6:00 pm)
SBS World News 209,000/159,000

Daily current affairs
Insiders 356,000
The Project 283,000 (6:30 pm)/ 311,000 (7 pm)

Breakfast TV
Sunrise 268,000
Today 235,000
News Breakfast 162,000

Nine

Nine haad a sensational evening last night with a primary share of 33.3% and a network share of 40.4% which was both 15 points clear of its closet competition, and the largest TV shares of the year for any network.

This big win was thanks to Married at First Sight which aired its season finale last night to a robust audience of 1.398m. This was the highest rating program of the year, knocking off Meghan and Harry‘s interview with Oprah Winfrey on 10. However, this was down on last year’s finale of 1.478m.

The finale ended with three couples still together, but the main talking point of the evening was the revelation that when Bec left the experiment temporarily to tend to her sick dog, that she cheated on Jake. When the video was revealed she initially claimed it was her brother before coming clean that it was an ex.

This was followed by 60 Minutes with 647,000.

Earlier in the day, the NRL coverage had 241,000 viewers as the North Queensland Cowboys defeated the Canterbury-Bankstown Bulldogs, leaving the dogs winless for the season.

Seven

Dancing with the Stars had 621,000 viewers as Manu Feildel, Luke Jacobz, Jamie Durie and Ada Nicodemou revisited dances from their previous seasons, while wildcards Renee Bargh and Jessica Gomes recreated a past contestants’ favourite performance.

Dancing the rhumba, Jacobz won the night scoring a total of 38, including three 10s, with Helen Richey acknowledging the bold choice of dance took “huge courage”.

Jessica Gomes’ rock’n’roll jive didn’t quite land with the judges, scoring just 19, and she found herself in the bottom two with Jamie Durie. While Durie survived another round with Gomes being eliminated.

This was down on the season’s launch episode last Sunday, which had 744,000.  

10

On the eve of MasterChef, 10 aired the documentary Lion Queen, which followed Malika’s journey from a young lion cub, to a Queen. The special had 108,000 viewers.

The Sunday Project had 283,000 (6:30 pm) and 311,000 (7 pm) viewers as the show covered the future of the royal family following Prince Philip’s funeral, a potential $10 billion boost to the aged care sector, and the backlash to Netflix’s Byron Baes reality show.

ABC

On the ABC, Spicks and Specks returned with 655,000 viewers. For the first time since 2014 this will be a full series, with ten episodes airing on Sunday nights at 7.40pm.

The original lineup of Adam Hills, Myf Warhurst, and Alan Brough will team up with some of Australia’s brightest music stars including The Teskey Brothers, Alice Skye, G-Flip, Vika and Linda, and Missy Higgins. There will also be a lineup of some of Australia’s most well known comedians including Anne Edmonds, Nazeem Hussain, Luke McGregor, and Spicks and Specks stalwarts Dave O’Neil and Denise Scott.

This was followed by the Aussie drama Wakefield with 309,000.

SBS

The top show on SBS last night was 1000 Years of History with 247,000.