On Wednesday it will be four weeks since ARN Media launched an ambitious plan to acquire radio and TV broadcaster SCA. In the time since there has been little public activity about that proposal to offer cash and shares to SCA shareholders.

ARN Media has not spoken publicly about the offer, nor has SCA apart from advice that its board continues to evaluate the proposal.

There has also been no clarity about the role ARN Media’s consortium partner, Anchorage Capital, will play in the deal. While Anchorage was being used to house the parts of SCA that ARN didn’t want – Hit Network and a collection of regional licences – there has been no explanation of how Anchorage would manage those assets.

Since the takeover was pitched by ARN Media two other players have identified an interest.

Australia’s largest independent publisher – the Anthony Catalano-controlled ACM – has proposed that it could fold its major regional newspaper assets into SCA in return for shares in the company. That could give ACM a significant stake in SCA.

Seven West Media is now the latest player to enter the fray with news it has acquired a 19.9% stake in ARN Media via an off-market transaction. A major investment in radio and/or digital audio on demand (podcasting) is something Seven has so far resisted.

Seven spends a lot of money every year promoting its major TV franchises on breakfast radio around Australia. Having control of that content and that radio talent makes a lot of sense.

Just how much of an appetite it has to progress with that investment remains to be seen.

See also: Radio goes boom! ARN wants Triple M Network…will the SCA board play ball?

Could Nine figure in FM radio carve up?

When asked last week about the manoeuvring in the FM radio space, Nine chief executive Mike Sneesby indicated the company was watching the jostling. He added that if they had any further thoughts they would not be telegraphing it at this stage.

As Mediaweek has previously noted, Nine could play a part in a realignment of radio assets. The most likely scenario could be if Nova Entertainment took the opportunity to add FM licences to expand the smooth network. If that happened in Adelaide, Nova Entertainment could offload the licence for Fiveaa. It would make a lot of sense for Nine to pick up Fiveaa to complete its AM metro network that is currently home to 2GB, 3AW, 4BC and 6PR.

Calculating the value of Fiveaa would be a challenge. It’s obviously a jewel in the Adelaide radio crown, but as an AM asset in Australia’s smallest metro radio market it has much less significance nationally.

See also: Why ARN wants to acquire SCA and its plans for Hit and Triple M networks

News Corp and Lachlan Murdoch

Another major media player yet to join the fray in the current radio musical chairs is News Corp. It is already a shareholder in ARN Media. However on Wednesday this week Lachlan Murdoch takes over as the sole chairman of News Corp and continues as executive chair and chief executive officer of Fox Corporation. The sole chair has more of an appetite for the radio sector than the previous o-chair, Lachlan’s father Rupert Murdoch.

Lachlan also of course is the owner of Nova Entertainment. The company runs five metro Nova stations, two metro smoothfm stations (and additional DAB+ smoothfm brands) in addition to holdings in regional radio, digital radio and the Nova Entertainment Podcast Network.

Nova shares control of Nova Perth and KIIS 97.3 in Brisbane with ARN Media. In any radio shakeout, there could be deals to be done for both partners.

At the moment radio remains the hottest ticket in town.

PubMatic co-founder and CEO, Rajeev Goel wants to take a stake in Australia’s booming CTV market through its programmatic trading platform Activate.

The CTV programmatic solution, Activate, aims to make direct sold CTV ad deals easier to trade in programmatic, launched in APAC in May.  The local launch followed the US and EMEA earlier in 2023 with launch partners including Dentsu, FuboTV, GroupM, Havas, LG, Mars, and Omnicom Media Group Germany.

Goel told Mediaweek, that Australia is a significant market for the company due to the wealth of opportunity here.

“The opportunity that we see with Activate is that by our estimate, there’s about $65 billion of IO-based ad spend in CTV and online video that is trapped outside of the programmatic ecosystem. We’ve been talking to our customers and partners about why that spend is not moving into programmatic,” Goel tells Mediaweek. 

“Clearly programmatic has certain advantages over traditional IO-based buying, and what we have come to believe is that there are structural challenges in the way the industry is set up today. Activate is really designed to help move those budgets into programmatic to drive better return on ad spend for advertisers and agencies, and increase revenue for publishers.”

With PubMatic looking to tap into CTV and BVOD in order to grow, Goel describes the team as “really focussed” on the goal of bringing that $65 billion across to programmatic. 

“Particularly with high CPM campaigns, like in CTV and online video, these percentages of overhead and operational complexity are really significant from an advertiser perspective. We think it’s particularly important for Activate to be focused on those ad formats.”

When asked what the goals for Activate in APAC will be, and how the team will measure the success of the product, Goel said that “We’re going to be really focused on the buyer and publisher uptake on Activate.”

“From a buyer perspective, what advertisers and agencies are adopting the solution, what volume of campaign budgets are they bringing? What are the renewals around those campaigns? We’re really looking at it from the perspective of adoption from the buyers, because that will tell us that it’s compelling, and they’re able to successfully move budgets from IO to into programmatic. 

“From a publisher perspective, we’re going to be looking at what kind of revenue increases we’re able to drive versus the traditional IO-based approach to selling.”

Activate Down Under

Reflecting on the state of the Australian market and what it was that makes AAPC so significant for PubMatic and Activate, Goel said that the market “is quite advanced, particularly around BVOD, CTV, and streaming, but there’s not a huge number of players in the market yet.”

“A market like the US is a much more wide-open market, and you have all sorts of different challenges and new media coming in. Here in Australia, it’s a bit of a smaller community in the sense that big advertisers all know the big publishers and traditional media companies. You have some new folks coming in like Netflix or Amazon Prime, but it’s a more close-knit environment. 

“Those two attributes make Australia, in particular within the APAC region, a really important market for us and for Activate.”

Moving Towards the Open Internet

With companies like Meta and Google acting as such massive players in the digital ad space, Goel said that the dominance of major tech companies has meant that “We’re seeing a shift from walled gardens and social media buying towards a more open internet.”

“There are a lot of antitrust cases around the world, not just here in Australia, but in Europe and the US, said Goel. 

“That’s one aspect of it. The second is that there’s been a huge, significant identity data advantage that walled gardens have had. With the growth of CTV and BVOD streaming, a lot of those users are logged in so brands know who the customer is, their viewing habits, and therefore, what ads might be relevant for them. That is now moving into the open internet, and at the same time, the open internet has great quality content. 

“Advertisers are more and more careful about the content that they show up next to – there’s hate speech, misinformation, and all of those types of things to contest with. The value proposition of the open internet is growing at a rapid rate. That is absolutely an opportunity.”

See Also: PubMatic partners with SeenThis to advance sustainability in media

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Top Image: Rajeev Goel

CXTX has unveiled its no_code™ Digital Creation Platform (DCP), aimed to empower marketing departments to create digital campaigns in-house – from email and social to advertising – completely code-free.

The DCP was developed over four years of on-shore Australian product development and investment, culminating in a product suite for in-house creation of email, display advertising, social, OOH and POS, and using AI adaptive writing that adjusts copy tone to suit individual brands. An earlier version of the platform with email-only functionality launched in 2019.

With the platform, enterprise business teams can take the reins of their digital marketing efforts in-house, ushering in a new era of creativity, efficiency, and seamless collaboration. What sets the DCP apart is its core promise of achieving remarkable results without a single line of code or developer assistance.

The platform is a comprehensive solution that eliminates the need to juggle between platforms during the marketing creation process. With the DCP, marketing teams can seamlessly create, review, and approve all forms of digital marketing, all within a single platform. This streamlined approach not only enhances efficiency but also allows teams to maintain brand consistency throughout their digital campaigns.

CXTX founder Will Lavender said: “no_code™ seamlessly delivers on all the common challenges that organisations face with in-house creation. Agency quality has never been this accessible.”

Brands that have used no_code to create digital advertising in-house include Virgin Australia and Accent Group.

Key features of the DCP include:

• Campaign Creation: the platform offers a wide range of tools for digital content creation of email, display, social, POS and OOH—making it easier than ever to craft compelling digital campaigns.
• Brand Governance: With complete brand guidelines integrated into the platform, it ensures that the design and tone of voice remain consistent across all digital communication and interfaces.
• Digital Asset Management (DAM): the DCP’s DAM is a powerful resource center where teams can access images, videos, audio, master concepts, documents, text, and other digital content, enabling easy deployment across the platform.
• AI Assistance: the platform introduces the AI-Writer, a cutting-edge artificial intelligence tool that enhances the quality and content of copy to suite an individual brand tone-of-voice.
• Seamless Connectivity: the platform effortlessly connects with martech and adtech stacks, configuring all campaign elements and eliminating the need for time-consuming platform switching.
• No longer will enterprise businesses be dependent on developers or agencies to execute their digital marketing visions. no_code™ makes it simpler for in-house teams to create, collaborate, and integrate, resulting in high-quality digital campaigns with fewer head hours.

Select organisations with early access have already been trialing the DCP in their teams day-to-day, Velocity Frequent Flyer being one. Sharing the team’s experience, Velocity’s digital producer Milly Haddrick said: “no_code™ stands out as a transformative tool for in-house creation. Within a matter of days, we were seamlessly and successfully able to develop our digital campaigns.

“Specifically, during a time where we needed to deliver urgent communication to our members, the no_code™ platform provided us with the ability to update our loyal customers promptly and easily, without having to rely on external resources.”

Clint Bauer, no_code™ chief engineer at CXTX, said: “no_code represents a significant step forward in digital marketing. It empowers businesses to take control of their digital campaigns, ensuring a more efficient and brand-consistent approach, all while eliminating the need for coding or developer assistance.”

Inlight has partnered with Girls in Tech Australia to launch events to champion women in the tech industry.

The digital product agency will sponsor and host a number of events to help women working in tech as part of the partnership. 

Steph Webster, chief commercial officer at Inlight, said of the collaboration: “We’re immensely proud to align with Girls In Tech Australia. This partnership underscores our ongoing commitment to championing gender diversity within the tech industry. Together, we envision a future where women in tech are celebrated, supported, and inspired at every step of their journey.”

Renece Brewster, co-managing director of Girls in Tech Australia, said: “We are thrilled to embark on this journey with Inlight. This partnership amplifies our collective efforts to create a more inclusive technology ecosystem and provide women with the opportunities they deserve. Together, we aim to break down barriers, shatter stereotypes, and pave the way for a brighter future for women in tech.”

Upcoming Inlight and GIT events to be held in Melbourne will include:

• Career Kickstart – February 2024: This interactive event, designed to connect GIT’s vast community with forward-thinking companies, will be a fantastic opportunity for attendees to learn more about potential employers. Inlight’s team members will be present throughout, ready to engage with potential candidates, developers, and other industry professionals to provide deeper insights into the company’s vision and culture.

• #Powerskills Panel – May 2024: An event focused on industry discussions, with GIT’s Co-Managing Director, Renece Brewster, set to moderate. The panel will delve into prevalent trends witnessed across businesses and explore strategies to retain senior women in leadership roles.

Both Inlight and GIT Australia are enthusiastic about this collaboration’s potential and are committed to fostering a diverse and inclusive tech workforce.

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Top image: Steph Webster and Renece Brewster

Are Media has announced their appointment of Tessa Ogle as the digital managing editor for fashion and beauty, effective November 20 2023.

In her new role, Ogle will report to Nicky Briger, Are Media’s general manager for fashion and beauty, and will be tasked with driving the digital success of fashion and beauty brands such as ELLE, marie claire, and Girlfriend.

Ogle brings experience from her previous position as digital director at Harper’s BAZAAR and Esquire. Ogle played a pivotal role in developing the digital strategy, processes, and team for Harper’s BAZAAR, resulting in a substantial increase in its digital audience by 165%.

See Also: Are Media appoints Grace O’Neill as editor of ELLE Australia magazine

Prior to her role at Harper’s BAZAAR and Esquire, Ogle served as head of social media and later as digital editor at The Conversation Group. Her professional background also includes a tenure at The Age in Melbourne.

Nicky Briger expressed enthusiasm about Ogle joining the Are Media team, commenting, “Tessa is an amazing writer, editor and digital strategist, with a proven track record in creating and building strong digital products and communities. I’m thrilled she has agreed to join the Are Media team and lead the digital growth and success of our world-leading fashion and beauty brands.

“marie claire and ELLE are now strong omnichannel entities with committed, intent-driven audiences, and I know Tessa will help superpower these brands to further reach their full potential, especially in the areas of luxury fashion, beauty and content commerce. It’s an exciting time for us at Are Media – our key focus is growing our digital properties – and I know Tessa is the perfect person to enact our plans.’

Ogle added, “I’ve always loved these mags – they have such a strong place in Australian women’s hearts – so I’m excited to help grow and enrich the digital offering of these global power brands.”

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Top Image: Tessa Ogle

Jaywing has welcomed the appointment of Lily Hopkinson as head of planning, a newly created role to reflect the growth of performance media. 

Hopkinson joins Jaywing after more than seven years at performance marketing and media agency, Direct Response Media, where she started out as a media planner buyer before rising to become general manager.

In the role, she will oversee the planning, implementation and optimisation of performance marketing and media campaigns, for the agency’s growing portfolio of clients, which includes the recent wins of Myer, New Balance, Cashrewards and Crocs. In addition, as Jaywing expands operations above the line, she will manage planning for the increased media channels the agency operates in. 

Tom Geekie, Jaywing CEO, said: “Our integrated approach to digital performance has been gaining significant traction while driving results for our client partners. Lily brings additional capability in how we deliver truly channel agnostic solutions that maximise returns on clients investments. She is an absolute gun who has hit the ground running, and we are delighted to welcome her to Jaywing.”

Hopkinson said of her new appointment: “As performance marketing continues to evolve, Jaywing recognises that data-driven precision and creativity can drive impactful performance strategies that elevate brands, attract new customers and drive sales. 

“I’m so grateful for the opportunity to join the Jaywing team, who have an incredible reputation in the performance media space. Over the past seven years I’ve experienced first hand their capabilities in delivering record results for clients, whilst ensuring full transparency, both of which I’ve always been passionate about.”

Jaywing was recently appointed by The a2 Milk Company to lead SEO and to amplify digital content and PR across its suite of platforms. Other clients include Athena, Myer, Crocs, Princess Polly, Employment Hero, New Balance, Noble Oak, Royal Doulton, Waterford Crystal and Lyres.

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Top image: Lily Hopkinson

Netflix and Taronga Conservation Society have announced a collaboration that features Netflix’s Marquee Billboard front and centre at Sydney’s Taronga Zoo, running from 10 November to 2 February.

The Marquee, which has appeared at LA’s Sunset Strip, Paris, Rome, and Seoul, will feature real-time jokes, memes and reactions that reflect what Aussies are watching and talking about each week.

The partnership will include screenings of Netflix family and wildlife stories in the Taronga Centenary Theatre throughout the summer. The curated program will focus on local and global wildlife education, sustainability and conservation themes.

Netflix has also announced their support of Taronga Conservation Society Australia’s conservation efforts to protect Australia’s Koala population. Taronga is involved in developing a conservation toolkit to ensure the long-term survival of wild Koala populations, which as of February 2022 are classified as Endangered in many states.

“With a variety of new films and shows releasing every week throughout the year, the fandom and social discourse surrounding Netflix are fast and constantly evolving. Now standing proudly as a fully-fledged character alongside fan favourites like Eleven, Wednesday, and Quinni, we are so excited to bring the Netflix Marquee to Sydney and bring online conversations into the real world. There’s no spot more iconic than Taronga Zoo to serve as the backdrop for us to have a quintessentially Aussie point of view on what everyone is talking about,” says Tony Broderick, director of marketing for Netflix Australia & New Zealand. 

Leila Davis, divisional director, marketing communication and fundraising at Taronga Conservation Society Australia, adds, “Storytelling is at the heart of what we do at Taronga, and it’s one of the most powerful ways we can engage our guests and the wider public to secure a shared future for wildlife and people. We’re so excited to join forces with Netflix, showcase some first-class and inspiring content, all whilst supporting our vital conservation efforts to protect the beloved Koala populations for future generations.”

Brands will need to work hard to nab shoppers this festive season as new research reveals consumers are looking for bargains and incentives.

The 2023 Holiday Advertiser’s Guide by inMobi and Glance revealed that 62% of Australian and New Zealand shoppers were seeking incentives to make purchases – up from 51% in 2022.

Most shoppers (64%) will purchase across online and offline channels – up significantly from last year’s 44% – with mobile the most preferred channel. Nearly three-quarters (70%)  of consumers prefer the convenience of ordering via mobile, 56% like easy payments and 45% are driven by app-only discounts.

While 64% of consumers plan to browse on a mobile device just 38% plan to purchase via mobile with 50% preferring to visit a bricks and mortar store to make their final purchase.

Despite the popularity of mobile and online channels, half of all shoppers (51%) still prefer to go instore for groceries.

The research highlights the impact of the rising cost of living conditions on consumer shopping behaviours, however, despite the challenges the majority (65%) still plan to maintain or increase their budgets.

Nearly half (47%) of all consumers plan to spend up to $650, while 39% plan to spend between $650 and $1,200 and 14% plan to spend more than $1,200.

Jaclyn Hadida, country manager – ANZ InMobi said the research showcased the need for brands and retailers to “ensure they are present at all touch points of the shopping journey. This means understanding their online and offline behaviour to drive engagement and utility at the moments that matter to them.”

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Top image: Jaclyn Hadida

Media Movers across the industry include:

• Are Media has announced the appointment of Grace O’Neill as editor of the new ELLE Australia magazine, due to be released in 2024.

A fashion and lifestyle editor, journalist and podcaster, O’Neill will join ELLE Australia this month to oversee the content direction of the magazine ahead of its return to newsstands in March.

Read more: Are Media appoints Grace O’Neill as editor of ELLE Australia magazine

• Holly Green is now a journalist and newsreader at 4BC.

• Ally Selby has been promoted to deputy managing editor at Livewire Markets.

• The ABC has appointed Gavin Fang to the position of ABC editorial director, promoted from his current position of deputy director news.

Fang has been a journalist for more than two decades, starting in newspapers in Western Australia before joining the ABC’s Perth newsroom in 2000.

His roles at the ABC have included working as a foreign correspondent based in Jakarta, Indonesia; executive producer in the Asia Pacific News Centre; ABC News planning editor; managing editor coverage; and head network and newsgathering before being promoted to deputy director news in 2022.

Read more: ABC appoints Gavin Fang as editorial director

• Demeiza Jackson will be Newstalk ZB’s newest political reporter based in its press gallery in 2024.

• Harnsie Joo has finished as the Afternoons executive producer of 2GB.

• The AMAA Board has officially announced the departure of its CEO Josanne Ryan, and the appointment of Patrick Whitnall into the newly created role of managing director.  

Over the past three years, the AMAA has worked alongside the industry, to build an industry body in the Australian Influencer Marketing Council (AiMCO). The appointment of a new MD is in recognition of the growth of the influencer marketing arena and the plans for the next phase of AiMCO.

Read more: AMAA announces new MD as CEO Josanne Ryan steps down

• Jenna Lorge has finished as the sub-editor of The CEO Magazine.

• Juha Saarinen has finished his role as the news editor of CRN Australia and the bureau chief of CRN NZ and iTNews NZ.

• Cummins&partners has announced the appointment of Sarah Raine as general manager of the Melbourne office.

Michael McConville, CEO of cummins&partners, welcomed Raine’s appointment – effective next week – highlighting her values, previous work and relationships as “refreshing and inspiring” for the long-term plans of the agency.

Read more: Cummins&partners names Sarah Raine as its Melbourne general manager

• Piotr Wnuk has finished as the news editor of the Printer Media Group.

• Mohamad Youssef is now freelancing as a journalist.

• Ogilvy ANZ has announced the addition of Ant Simmons to their Melbourne team as group creative director.

Simmons comes from Heartland, an independent agency where he held the role of founder. Prior to this, Simmons served as the creative director at Clemenger BBDO Melbourne, where he spearheaded integrated campaigns across both traditional and non-traditional formats. 

Read more: Ogilvy ANZ welcomes Ant Simmons as group creative director for Melbourne team

• Claxon has promoted its chief strategy officer, Danny Molyneaux, to the newly created role of general manager, effective immediately.

The promotion marks the commencement of the independent agency’s leadership succession plan, which will see Molyneux continue to work alongside CEO Daniel Willis, with the aim to transition into the CEO role by the end of 2024, with Willis moving onto an executive chairman role at that time, allowing him to focus on global expansion and M&As.

Read more: Claxon promotes chief strategy officer Danny Molyneux to general manager

• Initiative has bolstered its planning offering by creating a national head of communications design role and promoting Ryan Haeusler to the position.

The agency’s planning offering is further strengthened by Emma Greenhalgh, who steps into the role of Sydney head of communications design. 

Read more: Initiative strengthens planning offering with Ryan Haeusler and Emma Greenhalgh’s promotions

• GroupM agency Wavemaker has restructured its marketplace leadership to better deliver outcomes for clients through a future-focused national leadership structure across implementation planning and investment.

Peter Grose, Sydney head of marketplace, has been promoted to national head of marketplace planning, charged with bringing vertical expertise and excellence to implementation planning.

Read more: Wavemaker restructures marketplace leadership with Peter Grose and Justin Arlt

Taylor Swift’s 1989 (Taylor’s Version) holds at #1 for a second week on the ARIA Albums Chart as GOLDEN, the debut solo album from BTS member Jung Kook – comes in at #2, matching the record for the highest solo album debut from a Korean artist in Australia.

At #2, Jung Kook shares the record for highest solo album debut from a Korean artist with fellow BTS member Suga, aka Agust D, who reached the same position with his D-2 mixtape in 2020.

As a member of BTS, Jung Kook has topped the ARIA Albums Chart three times, with Map Of The Soul: Persona in 2019, Map Of The Soul: 7 in 2020 and Proof in 2022. 

Ill At Ease by Australian band The Mark Of Cain re-enters at #40. It is the deluxe edition of their third studio album, which was released in 1995 and peaked at #73.

On the singles chart, Taylor’s Swift’s Is It Over Now? (Taylor’s Version) (From The Vault) holds at #1 for a second week, lifting her total number of weeks in the top spot to 24 weeks with 10 songs, starting with Love Story in 2008. 

The Beatles received their first top 50 single in Australia since 1996, with the release of their ‘last’ ever track Now And Then, reuniting John Lennon, Paul McCartney, George Harrison and Ringo Starr. The track debuts at #6.

Paramount has unveiled the women on a quest for love on the next season of The Bachelors Australia. The new season premieres Sunday, December 3 at 7:30pm on Channel 10 and 10 Play.

Entering the Melbourne mansion are 24 women, all looking for a romance of a lifetime.

Swapping Queensland for Melbourne are Mining Administrator, Brea; Interior Designer, Jade; Tattoo Artist, Kristen; PR Manager, Mckenna; and Registered Nurse, Tabitha, who compares her love life to the rom-com, 27 Dresses, because “no matter how hard I’ve tried to find the one, I’m always the bridesmaid and never the bride.”

Flying cross country from Western Australia is Beauty Therapist, Ellie; and hailing from the Northern Territory is Indigenous Mentor, Mel.

Evie, a Professional Development Specialist, crosses the border from South Australia. While Evie doesn’t necessarily believe in love at first sight, she believes in a spark at first sight.

Heading down from New South Wales are Health Projects Manager, Aarthi; Nursing Student, Amelia; Hairdresser, Carla; Medical Researcher, Dana; Environmental Scientist, Holly; Category Manager, Lana; Interior Design Student, Lisa; and Pageant Queen turned Flight Attendant, Nella.

From Victoria are Property Developer, Anastasia; Business Owner, Angela; Make Up Artist, Angie; Jewellery Salesperson, Caitlin; IT Analyst, Chrystal; Marketing Specialist, Maddison; Project Manager, Natalie and Model, Yasemin. Yasemin has been a fan of The Bachelor since it first aired, saying that “I couldn’t think of a more perfect couple than Sam and Snezana. I want that kind of love, so pure and beautiful.”

The Bachelors Australia, premieres Sunday, December 3 at 7:30pm on 10 and 10 Play.

• 2.25 million tune in to The Block season finale in Total TV

Overnight TV Ratings, November 12

Primetime News
Seven News 193,000 (5.00 pm) / 829,000 (6.00 pm)
Nine News 187,000 (5.00 pm) / 722,000 (6.00 pm) / 303,000 (9.30 pm)
ABC News 552,000
10 News First 181,000 (5:00 pm)/ 134,000 (6:00 pm)
SBS World News 133,000 (6:30 pm)/ 97,000 (7:00 pm)

Daily Current Affairs
60 Minutes 511,000
The Sunday Project 144,000 (6:30pm) / 222,000 (7pm) 
Insiders 314,000 

Breakfast TV
Weekend Sunrise 163,000
Weekend Today 135,000
Weekend Breakfast 128,000

Nine has won Sunday night with a primary share of 21.8% and a network share of 29.7%.

9Go has won multi channels with a 2,6% share.

Seven received a primary share of 21.3% and a network share of 28.3%.

10 took a primary share of 10.9% and a network share of 15.7%.

Nine

Nine’s 60 Minutes (511,000), looked at how to stop the pain for Aussies with home mortgages and remembered Friends star  Matthew Perry. The program also explored the rise of superstar G Flip while Liz Hayes took on her most difficult assignment yet.

The Bee Gees: Mend a Broken Heart followed for 390,000. The special presentation was an exploration of the history of the Bee Gees, featuring revealing interviews with oldest brother Barry Gibb, and archival interviews with the late twin brothers Robin and Maurice.

Seven

643,000 began their evening with Seven’s The 1% Club with Jim Jefferies.

Border Security: Australia’s Front Line was up next for 433,000 where bags full of designer goods had officers suspicious. A box of natural medicines was not what it seemed and Biosecurity wasn’t horsing around with a Mongolian delicacy in one passenger’s luggage. 

A repeat of Homicide: With Ron Iddles followed for 278,000. Twelve-year-old Terry Floyd played a blinder of a game in his Saturday afternoon footy match on June 28, 1975. He then visited a mate to play Monopoly before heading home; but after, he was never seen again.

Then, 146,000 tuned in for Air Crash Investigation where the plan to save a Bulgarian airliner hinges on convincing the violent hijackers that their demands have been met before the plane runs out of fuel.

60,000 also sat down for Evil by Design.

ABC

157,000 watched ABC’s Antiques Roadshow.

Joanna Lumley’s Spice Trail Adventure followed with 443,000 tuning in as Joanna Lumley’s spice journey continued on the African island of Madagascar, this time she was on the trail of the second most expensive spice in the world, vanilla.

437,000 watched Annika where a Scottish millionaire was found dead in a shark tank, becoming Annika and the team’s most high-profile investigation yet.

Shetland followed for 292,000 where mounting evidence pushed Perez and the team to revise their view of Connor Cairns.

10

On 10, The Sunday Project (144,000 (6:30 pm) / 222,000 (7 pm)) put the spotlight on the thousands of people who gathered for peaceful protest in Sydney’s Hyde Park to call for a ceasefire in Gaza and spoke to Amal Naser from the Palestinian Action Group.

Then it was time for the season premiere of MasterChef’s newest spin-off Dessert Masters. 477,000 tuned into see a host of Australia’s best pastry chefs, chocolatiers and bakers battle it out for dessert glory in front of judges Melissa Leong and acclaimed chocolate maker Amaury Guichon. Former MC contestant, Reynold Poernomo dished up Monochrome. The judges were so impressed with his presentation, that they called it “perfection” and he was granted a coveted Immunity Pin.

153,000 also sat down for FBI.

SEE ALSO: Dessert Masters Recap Episode 1: The premiere serves up some seriously impressive desserts

SBS

The highest rating non-news show on SBS was JFK Revisited: Through The Looking Glass. The series took viewers through recently declassified evidence and testimony in the ultimate American true crime murder mystery. 106,000 tuned in. 

72,000 also watched Treasures of India with Bettany Hughes as Bettany Hughes travelled to the heart of the city of Thanjavur to uncover the incredible story of their mighty rulers. 

Total TV Ratings, November 5

2,225,000 watched Nine’s The Block season finale. Steph and Gian from House Four secured the victory, winning $1,750,000 in prize money — the largest result ever in the show’s history! Up 23%.

904,000 viewed Seven’s The 1% Club, up 11%.

893,000 sat down for ABC’s Annika as a newly released prisoner was found dead in a dog cage, up 52%