Whether it’s breaking news, the antics of sport, politics and social causes, people come to Twitter to see and talk about what’s happening in the world. These are some of the brands that won in 2019 according to the social media platform.

Best Creative Short Form

Criteria: The brand that showed a story can be told even in the shortest formats

Winner: @Apple

As users scroll through their Twitter timeline at speed, they don’t often hang around to watch long-form content from a brand (unless the creative is truly compelling).

2019 was yet another huge year for @Apple, as they launched a suite of new products and innovations. They truly recognise the value of thumb-stopping short form content in engaging consumers, and we saw that first hand with the iPhone XR launch this winter.

With the longest battery life in an iPhone ever, you’ll lose power before your iPhone XR will.

— Apple (@Apple) June 13, 2019

Best Connection to Culture

Criteria: The brand that was able to connect to a big cultural events and drive rich conversation during a launch

Winner: @ANZ_AU

Every year Sydney’s Mardi Gras glitters, both on Oxford Street and on Twitter. A long time sponsor of Sydney’s Mardi Gras and supporter of Australia’s LGBTQI+ community, ANZ Bank was able to connect with this audience more closely to the event by amplifying conversation on Twitter.

But how? ANZ drove these messages of diversity and inclusion via pre-roll video in front of SBS’s LIVE stream of the Mardi Gras 2019 Parade on Twitter.

The result? ANZ were able to inject an authentic voice around live culture, but also increase their purpose marketing to engage with the local community through Twitter.

Spreading a Bit of Mardi Gras everywhere across Australia 🌈 #OxfordSt #Bunbury #EastBunbury #EqualFuture @ANZ_AU @sarah_l_lang @carasmith6230 @larissa_beeson @CityofBunbury1 #pride @sydneymardigras pic.twitter.com/cskBhQb13O

— Lee Waters 🚜 (@lee_waters_sbb) February 20, 2019

Best Brand Voice

Criteria: The brand that has consistently and strategically been able to define its own Twitter voice

Winner: @sportsbetcomau

When it comes to a distinctive brand voice on the platform, SportsBet is among those leading by example. With a brilliant reactive content strategy, it has mastered the technique to engage in playful conversation and contemporary memes.

Having a clear, authentic brand voice is always important but on Twitter, where brands have 280 characters to make their point, it’s essential to success. SportsBet have nailed defining its personality — sharing opinions on topics true fans care about in every post.

When you’re a top #AFLDraft prospect and spot the Gold Coast talent scouts nearby… pic.twitter.com/25O8vz4SSY

— Sportsbet.com.au (@sportsbetcomau) November 27, 2019

Best Way to Fuel Fans

Criteria: The brand that was able to reward their most devoted fans with exclusive content, to drive conversation when launching something new

Winner: @OptusSport

Twitter is home to millions of devoted fans across every possible topic you could imagine. This year we saw more brands than ever leverage Twitter to reward their fans with exclusive content to drive conversation and excitement like this Tweet.

Optus brought fans closer to the Women’s World Cup by creating an easy way for them to get snackable recaps from every game. It also fueled excitement by encouraging fans to provide their match predictions. It’s fair to say, there were many views on who would take out the title.

What a month.

What was your favourite moment?

Here are 24 reasons we’ll never forget the #FIFAWWC https://t.co/opykNubrKW pic.twitter.com/ZQ61Knp3S6

— Optus Sport (@OptusSport) July 8, 2019

Great use of videos, gifs and humour: @BacheloretteAU

Carlin may have stolen Angie‘s heart but Bachelorette Australia stole ours with its cheeky brand voice and perfectly matched gifs this year during the latest season of the show. The program receives a notable mention for consistently engaging with Australians on Twitter in the lead up to, during, and after the show in a fun and genuine way.

Check out Angie’s secret weapon:https://t.co/SF4UZlFlr8

— #BacheloretteAU (@BacheloretteAU) November 16, 2019

The global economy has weakened in 2019 and will remain similarly soft in 2020. In this environment, it is predicting deceleration in advertising growth at a global level despite solid growth from the US and UK.

The forecast reports 2019 appears set to grow globally nearly a percentage point slower at +4.8%, and growth is expected to slow by another percentage point in 2020 and 2021.

“We forecast +3.9% growth next year and +3.1% growth the following year. Growth is expected to range between +3–4% through 2024. Although much worse than recent years, we note that this would amount to a similar pace of growth to what was observed during 2012–2014. We estimate that the total global advertising market during 2020 will amount to US$628 billion as we define advertising here, but would likely approach US$700 billion on a broader definition that includes spending on direct mail and directories around the world.

“Notably, a substantial share of global advertising is now accounted for by digital-first brands that are endemic to the internet. Based upon their securities filings, we can see that Alibaba, Alphabet, Amazon, Booking.com, eBay, Facebook, IAC, JD.com, Netflix and Uber are each now US$1 billion+ advertisers, accounting for US$36 billion in spending during 2018, up by a quarter over 2017 levels; growth in 2019 was presumably very similar. Adding a couple dozen companies from the next tier of comparable marketers would easily add tens of billions of dollars of additional activity. Combined, this small group of companies accounts for a majority of the world’s growth in spending on advertising. To the extent that these companies tend to take shares of consumer spending from others and do not directly cause the global economy to expand, at some point their growth converges with global averages, resulting in slowing growth in spending as well.”

In its report, GroupM notes the similarities between the ad markets of Canada and Australia. But adds: “They are growing in different directions. Canada and Australia round out the world’s US$10 billion+ ad markets in 2019, with Canada expected to grow slightly faster over the next five years and growth likely largely tied to the health of its southern neighbour.

“Australia’s trends will likely differ, as we see at the present time with that country’s economy soft and facing a real risk of recession for the first time in decades. The Australian ad market was likely only stable in 2019 versus 2018 and probably grows only slightly in 2020, for a +2.0% gain expected next year.”

Read the GroupM Global Media Forecast here.

During her time, Masters honoured SBS’s tradition of commissioning daring and distinctive drama, with the focus on telling stories of diverse Australia, giving a voice to communities rarely featured on Australian screens, and supporting the development of the next generation of Australian creative talent.

The current local drama commissions are receiving widespread critical acclaim and international recognition, including Safe Harbour winning Best Movie/Mini-Series at the recent International Emmy Awards, Robbie Hood securing an AACTA Award for Best Online Drama or Comedy and The Hunting,  for Best Screenplay in Television and Best Guest or Supporting Actor in a Television Drama.. The Hunting, starring Asher Keddie and Richard Roxburgh, is the most successful home-grown drama in SBS’s history.

Sue is departing SBS at the end of the year to pursue independent drama development. However, she will continue to work across some key SBS initiatives. These include The R.I.D.E Feature Film Fund and Digital Originals. 

Director of TV and Online Content, Marshall Heald said: “Sue has had a lasting impact on SBS, and I’d like to thank her significant contribution to our network, but also to all of our screens. Sue’s genuine love for and understanding of powerful Australian stories, her passion and advocacy for diversity, and unparalleled talent and tenacity are second to none. She has been instrumental in building on SBS’s strong reputation for local drama, with an enviable slate of highly distinctive and award-winning shows. We wish Sue all the best for the future and look forward to our paths crossing through her work with the independent production sector, as well as consulting for SBS.”

Masters said: “I fell in love with the Charter soon after joining SBS, it’s the heart and soul of everything we do. I’m thrilled with what we’ve achieved over the past five years and the success we’ve had in introducing new faces and voices to Australian screens. It’s been a privilege to work here and I will remain a lifelong advocate of the beautiful work they do.”

Until recruitment for the position commences in 2020, Amanda Duthie has joined SBS as Acting Head of Drama. Duthie, said: “I am thrilled to be working on the dynamic fiction slate at SBS, led by Marshall Heald and nurtured by the Queen of scripted drama, the legendary Sue Masters. I’m looking forward to welcoming a new wave of projects in development and working on the unique and highly acclaimed SBS production slate.”

Boost Juice founder Janine Allis is stopping by for an interview with Ticker founder Ahron Young.

Lick Inc. is not your ordinary business show. Hosted by entrepreneurs Nick Bell and Lisa Teh, there will be a strong focus on helping start-ups, or those wanting to start a business. The duo will focus on sharing advice from some of the world’s top business people as well as learnings from their own careers.

Nick Bell is recognised as one of Australia’s leading entrepreneurs under the age of 40. Nick has built a personal fortune of $217 million in only 10 years.

Lick Inc hosts Lisa Teh and Nick Bell

Lisa Teh is the founder and director of digital marketing company CODI Agency which specialises in social media management, content creation and influencer campaigns. CODI Agency has worked with small to large businesses including Uber Eats, L’Oreal and Adairs.

Lisa Teh said: “We created Lick Inc to give us the opportunity to share our business learnings with the ever-growing start-up community in Australia. We are really excited to be a part of the revolutionary new business platform Ticker TV which is changing the way the business world consumes media.”

Lick Inc airs 9am Tuesdays on Ticker.

Radio host and social media influencer Ryan Jon begins his new program On the Download. Every week he’ll delve into the digital media industry. On the Download will cover media industry headlines, create its own original content and interview podcasters, Youtubers, social media stars, musicians and industry experts.

Ryan Jon said: “Those who know me know that I love to roll my sleeves up and create, I love to innovate and I love to learn and it feels like the possibilities are endless working in a small start-up like Ticker.”

On the Download airs at 11am on Wednesdays.

Experienced public relations expert Trevor Young will help start-ups find their feet with his program Brand Builders. Young is the founder of Digital Citizen, a content-led communications agency. He recently released his second book Content Marketing for PR.

On the Download host Ryan Jon

Trevor Young said: “I’m rapt to be part of the Ticker crew, especially at such an early stage of its development. The first time I saw Ticker in action, it resonated immediately, so it will be great to watch first-hand as it establishes itself as a genuine media channel of the future.”

Brand Builders airs 1pm Wednesdays on Ticker.

On Tuesday’s Morning Express program, Ticker’s Ahron Young will interview Boost Juice founder Janine Allis about her career and tips for startup founders.

Ticker CEO Ahron Young said: “In three short months, Ticker has grown from a 20-minute show on a Monday morning into 21 shows a week, spanning six hours a day, five days a week.

“We can’t wait to get these guys and girls on the air. Australia is calling out for this sort of smart, edgy and local business content. Everyone has that great idea, we want to be the place where you can come and get tips on how to turn that idea into a successful business.

“A few years ago I was waiting for my Boost Juice when I saw Janine’s book on the counter. I bought it and couldn’t put it down. Her business journey is inspiring to so many founders, and I can’t wait to hear about her future plans.”

The Ticker App available from the Apple App Store, and viewers can find the latest videos on the Ticker website, Youtube, Facebook, Twitter, Instagram and LinkedIn.

—

Top Photo: Brand Builders host Trevor Young

Premiering on Monday 27 January at 7pm AEDT, the new program will combine the resources of Sky News and WIN, bringing viewers the stories that really matter to regional Australia, and explore the big issues facing communities outside of the big capital cities.

Broadcasting live weeknights on Channel 53 in Northern NSW and Channel 83 across WIN’s regional network, the hour-long program will cover the issues affecting Australia’s heartland. This includes drought, water security, jobs, infrastructure, population and health.

Media commentator and former newspaper editor Peter Gleeson will host the program out of the Sky News Brisbane studio, holding Federal and State politicians to account on behalf of regional Australia.

Andrew Lancaster, CEO WIN Network said: “WIN’s commitment to local news in regional Australia is unmatched. We are proud to be taking that one step further and working with Sky News to create a bespoke one-hour program that will be only about regional Australian issues, weather and keeping conversations going on matters of importance to people in our viewing areas.”

Paul Whittaker, CEO of Sky News said: “We’re proud to be partnering with WIN to continue investing in news and current affairs coverage in regional Australia. More than ever it’s so important that there are resources dedicated to sharing news updates and informing regional communities. This new program will speak specifically to our viewers outside our metro cities and provide them with the latest news they need to know.”

Launched in February across Bauer’s 36 media brands, Financially Fit Females set an ambitious goal to increase understanding and educate women around the key issues of super, salary, financial abuse, investing, divorce and separation.

The corporate commitment was made to deliver one million actions by the end of 2019 by publishing curated content for its audience.

To date a total of 1,009,157 actions have been achieved, which include attending an event, listening to a podcast, watching a video, downloading resources or engaging with content.

To reach the milestone, 159 social posts, 91 digital articles, 52 print articles, 47 print ads, 18 advertorials, 15 videos, five podcasts, three events, one content hub and more were created across Bauer’s brands.

Nicole Byers, editor-in-chief of The Australian Women’s Weekly said: “Across our portfolio of brands we’ve consistently created content which will help equip women across the country to take action and make informed decisions about their finances and ensure they are financially fit. It’s been a company-wide commitment and we’re delighted with the success we’ve seen so far.”

Brendon Hill, CEO of Bauer Media, added: “As Australia’s leading female-focussed media company, we made a commitment at the start of the year to empower and educate the nation’s women about their personal finances. Reaching one million actions is a step closer to creating a nation of wealthy, woke and wise women. We are thrilled to lead such positive action.”

Bauer Media, in partnership with the Australian Banking Association (ABA) has also secured a major victory as part of its Stop Elder Financial Abuse campaign, which is an issue that disproportionately impacts women. The Attorney-Generals from State and Territory governments agreed on November 29 to create a mandatory Power of Attorney register. This builds on Bauer’s participation in the successful push last year to have the GST on female sanitary products removed, known as “The tampon tax.”

Commonwealth Bank is the 2019 headline partner supporting Financially Fit Females. Financial literacy campaigner and author Effie Zahos hosted a podcast conversation with The Australian Women’s Weekly editor-in-chief, Nicole Byers and Nathalie Spencer of the Commonwealth Bank’s behavioural economics team.

Zahos also joined Fiona Connolly, editor-in-chief of Woman’s Day and Commonwealth Bank’s Sian Lewis for a further podcast discussing personal experiences with financial abuse. Bauer and CBA presented a series of events and activations across Elle, Woman’s Day and The Australian Women’s Weekly brands.

Flying Bark has appointed Ian Graham (pictured) as its chief creative director for the LA studio which will open doors in early 2020. Focusing on creative leadership and long-term content strategy for the new studio, Graham will spearhead a development slate for original production working with local and international talent and will help supervise pre-production teams for both original and client service work.

With a 20-year animation career, Graham’s experience as a highly regarded storyboard artist, director, animator, producer and storyteller places him in great stead to supervise the new slate of projects and work with the CG and 2D animation teams in Sydney.

The appointment will add to an already impressive resume with career highlights including storyboarding on Emmy Award-winning projects including Nickelodeon’s Sponge Bob Square Pants, Family Guy and Invader Zim as well as directing The Legend of Korra and most recently, his role as supervising producer and showrunner on the highly anticipated Glitch Techs which will release in 2020.

“We are delighted to be working with Ian in his new role as chief creative director for our LA studio. We share Ian’s passion for producing quality animation and working with a diverse mix of creative talent and highly value his experience and commitment to the industry. Flying Bark continues to grow with full-service teams specialising in hand-drawn, traditional 2D animation and CGI production in Sydney and the new LA studio will help cater to an increased demand for high-end animation services,” said Barbara Stephen, CEO Flying Bark Productions.

In addition, Flying Bark’s Australian head office in Sydney is currently in the process of expansion with a relocation to new premises in Alexandria. The brand-new creator driven space is due for completion by mid-2020.

Flying Bark Productions is part of the Studio 100 Group.

The Studio 100 Group headquarters and live action studios are located in Schelle, Belgium. Studio 100’s portfolio of animation studios includes Flying Bark Productions in Sydney, Little Airplane Productions in New York, Studio Isar Animation in Munich and Studio 100 Animation in Paris. The international commercial activities are managed by Munich-based Studio 100 Media that additionally engages in co-production and co-financing activities and is also responsible for the international distribution of its own and third party rights.

The three-hour telecast hosted by Ricky Gervais will air live on Foxtel in Australia on Monday January 6, 2020.

Tim Allen, Dakota Fanning (pictured) and Susan Kelechi Watson joined HFPA president Lorenzo Soria, the previously announced Golden Globe Ambassadors Dylan and Paris Brosnan, and Executive Producer and Executive VP of Television at dick clark productions, Barry Adelman, in announcing the nominees in 25 categories spanning motion picture and television.

In addition to these categories, the 2020 Golden Globes will honor Tom Hanks with the Cecil B. deMille Award, and Ellen DeGeneres with the newly created Carol Burnett Award.

The television nominees of the 77th Golden Globes are:

BEST TELEVISION SERIES – DRAMA

BIG LITTLE LIES -HBO (HBO / Blossom Films / Hello Sunshine /David E. Kelley Productions / Crazyrose)
THE CROWN -NETFLIX (Left Bank Pictures / Sony Pictures Television)
KILLING EVE- BBC AMERICA ( Sid Gentle Films Ltd.)
THE MORNING SHOW (APPLE TV+Apple )
SUCCESSION -HBO (HBO Entertainment / Project Zeus /Hyperobject Industries / Gary Sanchez Productions)

BEST PERFORMANCE BY AN ACTRESS IN A TELEVISION SERIES – DRAMA

JENNIFER ANISTON THE MORNING SHOW
OLIVIA COLMAN THE CROWN
JODIE COMER KILLING EVE
NICOLE KIDMAN BIG LITTLE LIES
REESE WITHERSPOON THE MORNING SHOW

BEST PERFORMANCE BY AN ACTOR IN A TELEVISION SERIES – DRAMA

BRIAN COX SUCCESSION
KIT HARINGTON GAME OF THRONES
RAMI MALEK MR. ROBOT
TOBIAS MENZIES THE CROWN
BILLY PORTER POSE

BEST TELEVISION SERIES – MUSICAL OR COMEDY

BARRY HBO (HBO Entertainment / Alec Berg / Hanarply )
FLEABAG PRIME VIDEO ( All3Media International Limited / Amazon Studios)
THE KOMINSKY METHOD NETFLIX ( Warner Bros. Television )
THE MARVELOUS MRS. MAISEL PRIME VIDEO (Amazon Studios )
THE POLITICIAN NETFLIX ( Fox 21 Television Studios )

BEST PERFORMANCE BY AN ACTRESS IN A TELEVISION SERIES – MUSICAL OR COMEDY

CHRISTINA APPLEGATE DEAD TO ME
RACHEL BROSNAHAN THE MARVELOUS MRS. MAISEL
KIRSTEN DUNST ON BECOMING A GOD IN CENTRAL FLORIDA
NATASHA LYONNE RUSSIAN DOLL
PHOEBE WALLER-BRIDGE FLEABAG

BEST PERFORMANCE BY AN ACTOR IN A TELEVISION SERIES – MUSICAL OR COMEDY

MICHAEL DOUGLAS THE KOMINSKY METHOD
BILL HADER BARRY
BEN PLATT THE POLITICIAN
PAUL RUDD LIVING WITH YOURSELF
RAMY YOUSSEF RAMY

BEST TELEVISION LIMITED SERIES OR MOTION PICTURE MADE FOR TELEVISION

CATCH-22 HULU Hulu / Paramount Television / Anonymous Content / Smokehouse Pictures
CHERNOBYL HBO HBO Miniseries / SKY / Sister Pictures / The Mighty Mint / Word Games
FOSSE/VERDON FX NETWORKS Fox 21 Television Studios / FX Productions
THE LOUDEST VOICE SHOWTIME SHOWTIME Presents / A Blumhouse Television Production / A Showtime Production
UNBELIEVABLE NETFLIX CBS Television Studios

BEST PERFORMANCE BY AN ACTRESS IN A LIMITED SERIES OR A MOTION PICTURE MADE FOR TELEVISION

KAITLYN DEVER UNBELIEVABLE
JOEY KING THE ACT
HELEN MIRREN CATHERINE THE GREAT
MERRITT WEVER UNBELIEVABLE
MICHELLE WILLIAMS FOSSE/VERDON

BEST PERFORMANCE BY AN ACTOR IN A LIMITED SERIES OR A MOTION PICTURE MADE FOR TELEVISION

CHRISTOPHER ABBOTT CATCH-22
SACHA BARON COHEN THE SPY
RUSSELL CROWE THE LOUDEST VOICE
JARED HARRIS CHERNOBYL
SAM ROCKWELL FOSSE/VERDON

BEST PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE IN A SERIES, LIMITED SERIES OR MOTION PICTURE MADE FOR TELEVISION

PATRICIA ARQUETTE THE ACT
HELENA BONHAM CARTER THE CROWN
TONI COLLETTE UNBELIEVABLE
MERYL STREEP BIG LITTLE LIES
EMILY WATSON CHERNOBYL

BEST PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE IN A SERIES, LIMITED SERIES OR MOTION PICTURE MADE FOR TELEVISION

ALAN ARKIN THE KOMINSKY METHOD
KIERAN CULKIN SUCCESSION
ANDREW SCOTT FLEABAG
STELLAN SKARSGÅRD CHERNOBYL
HENRY WINKLER BARRY

The company has 34 nominations across the TV and film categories.

That is a stunning result for a platform that didn’t start making original productions until 2013 when House of Cards made a massive impact. The Washington drama won Netflix its first Golden Globes in 2014 for Robin Wright’s performance as Claire Underwood.

Here are the 2020 lists that shows just how dominant Netflix productions have become in the entertainment world.

NOMINATIONS BY MOTION PICTURE DISTRIBUTOR

Netflix 17
Sony Pictures Releasing 8
Walt Disney Studios Motion Pictures 6
Warner Bros. Pictures 6
Lionsgate 5
Universal Pictures 5
NEON 4
Amazon Studios 3
Paramount Pictures 3
United Artists Releasing 3
A24 2
Focus Features 2
Fox Searchlight Pictures 2
Sony Pictures Classics 2

NOMINATIONS BY TELEVISION NETWORK

Netflix 17
HBO 15
hulu 5
Prime Video 5
FX Networks 4
Apple TV+ 3
Showtime 3
BBC America 2

NOMINATIONS BY MOTION PICTUREMOTION PICTURE
Marriage Story 6 (Netflix)
The Irishman 5 (Netflix)
Once Upon a Time… in Hollywood 5
Joker 4
The Two Popes 4
1917 3
Knives Out 3
Parasite 3
Rocketman 3
Bombshell 2
Dolemite Is My Name 2
The Farewell 2
Frozen 2 2
Harriet 2
Jojo Rabbit 2
The Lion King 2
Little Women 2
Pain and Glory 2

NOMINATIONS BY TELEVISION SERIES OR PROGRAM

Chernobyl 4
The Crown 4 (Netflix)
Unbelievable 4 (Netflix)
Barry 3
Big Little Lies 3
Fleabag 3
Fosse/Verdon 3
The Kominsky Method 3
The Morning Show 3
Succession 3
The Act 2
Catch-22 2
Killing Eve 2
The Loudest Voice 2
The Marvelous Mrs. Maisel 2
The Politician 2

The creative will focus on some of the record-breaking highlights from the Pakistan series, with the text obscuring the memorable moment in question. Examples include, ‘Missed Warner’s triple century? That’s not O-Kayo’ and ‘Missed Lyon spin Australia to victory? That’s not O-Kayo’. Digital and radio creative will continue to be updated to reflect the history-making moments in the New Zealand series.

With the first Test starting this week, Kayo has teamed up with The Daily Telegraph, the Herald Sun, The Courier Mail and The Adelaide Advertiser to offer new Kayo customers one month free of Kayo Basic when they purchase a newspaper from one of the participating mastheads on Wednesday, 11 December.

This is double the usual 14-day trial available to new subscribers.

This summer, Kayo is delivering every Australian men’s and women’s home international, every match of the KFC BBL and Rebel WBBL, plus select international matches, live and on demand.

Kayo features

SpiderCam returns for the Australia v New Zealand Domain Test Series as an alternative camera option fans can choose to watch alongside the match coverage. SpiderCam on Kayo will also incorporate Key Moments, meaning fans can relive every six and wicket from a unique birds-eye view.

‘Kayo Minis’ offer the full match condensed into an exciting highlights package of all the best bits and will be available for every men’s and women’s international and KFC BBL match, shortly after the final ball.

Users have the choice to stream from live or start at the beginning with the ‘From Start’ feature, whilst ‘No Spoilers’ means customers will see the score only when they want to.

Kayo will also be going all out for cricket fans attending the Boxing Day and New Year Tests. The Kayo bowling simulator will be onsite for the first three days of the MCG and SCG Tests, giving fans a once-in-a-lifetime opportunity to face-up to simulated versions of some of history’s best players.

It has followed this up with $5.44m in its second weekend bringing its total so far to $17.25m. Val Morgan forecasts it will deliver an audience in excess of four million to become the highest-grossing animated film of 2019, surpassing the record of $41m set by Toy Story 4.

Not even the release of another family-friendly animation in The Addams Family could slow Frozen down, with the latest version of the dark and ghastly family debuting at number three after also being held off by Knives Out.
The Good Liar also joined the top five this weekend debuting at number five in its first week of release. 

The films to give up their top five spots this weekend where Last Christmas (five weeks, $8.71m) and Charlie’s Angles (four weeks, $4.57m).

Overall the Australian box office is down 26% on last weekend after making $11.81m which is due in part to the decline in the massive total Frozen 2 made last week.

#1 Frozen 2 $5.44m

With the $20m barrier already in the film’s sights after two weeks, the question is how high will the film climb, the 44% week on week decline indicates that it still has some gas in the tank with another $2m plus total on the cards next week. This week it had the highest average per screen with $8,202 and was also the most screened film in the country being shown on 664 screens.

#2 Knives Out $1.84m

The critically acclaimed whodunit had one of the smallest week on week declines of the year with 17% which has helped the film generate a total of $5.66m to date. The ensemble film made an average of $6,426 on 284 screens.

#3 The Addams Family $1.12m

The animated reboot of the 1991 film of the same name features the voices of Oscar Isaac, Charlize Theron, Chloë Grace Moretz, Finn Wolfhard, Nick Kroll, Snoop Dogg, Bette Midler, and Allison Janney. Despite being its first week of release it was the least screened film (278) in the top five making an average of $4,034. 

#4 Ford v Ferarri $767,419

After four weeks the films total now sits at $8.45m after averaging $2,406 on 319 screens across the country.

#5 The Good Liar $746,404

Based on the novel of the same name by Nicholas Searle, stars Ian McKellen as a career con artist who meets a wealthy widow played by Helen Mirren online and then proceeds to attempt to steal her fortune. In its first week of release, the film averaged $2,647 on 282 screens.

ABC’s Monday night regulars Q&A, Australian Story and Media Watch have wrapped for the year.

Australian Story had the strongest audience of the three with 561,000 which saw it win its timeslot.

Media Watch ended the year on 426,000 with one of its items wondering how magazine publishers get away with continually publishing fabricated stories with bogus headlines.

The final Q&A to be regularly hosted by Tony Jones did 341,000 with Jones revealing he would return occasionally to the program. Hamish Macdonald will be in the hosting chair when it returns in 2020.

Seven’s best after the News was Better Homes & Gardens – Countdown to Christmas on 452,000.

Nine won the night thanks again News and A Current Affair on 759,000. Leila McKinnon was hosting the latter which included Christmas classics like noisy neighbours and a Christmas ham buying guide.

10’s best was The Project just over 409,000 with Em Rusciano doing her best to shock Steve Price.