By James Manning
New to the PodcastOne platform, Lady-Land podcast hosts (known as Lady-Brains), Caitlin Judd and Anna Mackenzie, talk to inspiring female founders of start-ups about building a successful business.
New to the PodcastOne platform, Lady-Land podcast hosts (known as Lady-Brains), Caitlin Judd and Anna Mackenzie, talk to inspiring female founders of start-ups about building a successful business.
The Melbourne-based longtime school friends went their separate ways into the business world after university, but later teamed up to inspire and share learnings with others.
Mackenzie went into the corporate world while Judd worked for herself for the past six years building her business and others.
“We always had the desire to do something together,” Mackenzie told Mediaweek.
“We have had lot of ideas and little execution,” laughed Judd.
Mackenzie: “Two-and-a-half years ago we came together with a third person, who is no longer with the business, and started supper-clubs with other entrepreneurial women. We started building a network in Melbourne and then Sydney.”
From these supper clubs they started recording the sessions which became their initial podcasts. Calling their partnership Lady-Brains, the business is now building a community of women in Melbourne, Sydney and New York. “We connect entrepreneurs in all of those cities,” said Mackenzie. “We do it through events and our online platform. We exist to help close the entrepreneur gender gap.”
The partnership with PodcastOne started almost a year after their first podcast recordings.
Judd: “We had two seasons of interviews before connecting with PodcastOne earlier this year. We had a great product that was getting a great reception. One thing that was missing was the ability to dial up the production quality and a platform to give it greater reach.”
While Lady-Land originally started with live podcast recordings, all the new PodcastOne series were recorded in the offices of the businesswomen they interview.
Mackenzie: “So far we have interviewed in Melbourne, Sydney and New York.”
Judd: “We are now both fulltime on Lady-Brain which is our broader business.
“The podcast arm of our business is about inspiring the women in and beyond our network and sharing the stories of company founders who paved the way for others.”
In the past Lady-Brains has received income from some podcast advertising and broader sponsorship deals.
Mackenzie: “Brands now also sponsor our events and we generate revenue through tickets sales. Next year we are rolling out a paid membership model. We will also be launching an online education arm with programs.”
The Lady-Brains duo spent a month in New York in July, recording podcasts with mostly Australian businesswomen in the US. “We are also building a New York community with supper-clubs.”
Recent and forthcoming podcasts include a two-part interview with US-based Australian artist CJ Hendry, brand marketing guru Babba Canales and Bec Donlan, an Aussie born, New York based personal trainer and health coach.
Nova Entertainment’s millennial platform GOAT has launched Thinking Between the Thighs. GOAT is calling the podcasts a quick-fix sex ed podcast tackling everything from masturbation and fantasies, to Queer sex, STIs and sending nudes.
The series speaks to experts on the topics including qualified sex therapists, physicians, intimacy coaches, lecturers and sexologists.
Hosted by Sophie Giles, Thinking Between the Thighs consists of six episodes covering the most Googled questions about sex, including:
• How does the concept of virginity apply to lesbian sex?
• What do your taboo sexual fantasies say about you?
• Is it possible to masturbate too hard or too much?
• Should you be using lube to improve your sex life?
• How much of what you know about herpes is true?
• Is there a safe way to send nudes?
Giles has written extensively about sex, health and relationships for GOAT, tackling plenty of taboo subjects along the way.
GOAT editor Melissa Matheson said, “Thinking Between the Thighs is all the things you want to know about sex, but never learnt at school, and turned to the internet for answers. We’re here to fill those blanks in a private and intimate setting with professionals, so listeners can feel comfortable in getting the information they need.”
Acast has launched its first production from the new Acast Studios – The Score: Bank Robber Diaries.
The series is a co-production with Western Sound. Producer Ben Adair (Dr. Death,Young Charlie, Reveal) has worked with Acast’s team to reveal the captivating story of US bank robber Joe Loya, who went from an abused child to big-time criminal, and then a former convict with a shot at redemption. Loya is now an award-winning writer as well as a TV writer and consultant for movies such as Ant Man and Baby Driver.
Acast’s SVP of content Susie Warhurst said: “We look after over 7,000 podcasts around the world, and have been driving growth for shows from every genre since we started in 2014. We have built up a deep knowledge of what flies in the podcasting space – the regional nuances, the trends, how to tell a great story and how to bring listeners in. Launching Acast Studios is the natural next step for us as we continue to develop even more tools and services in being the creators’ network of choice.”
Acast Studios is launching to seek out even more storytellers around the world, co-funding and co-creating new shows and formats. More original podcasts are lined up for 2020 and beyond.
Acast has seen success with original content in Sweden previously. In 2015 it invested in and launched Spår alongside Martin Johnson and Anton Berg under the brand of “Acast Originals” which went on to attract millions of listens, win awards and also helped exonerate a man wrongly imprisoned. The Acast Originals name will now become Acast Studios.
The Score: Bank Robber Diaries launched on November 12th, available on Acast and podcast platforms.
By Claudia Siron
Hamish and Andy’s latest travel series – Perfect Holiday – launches Sunday on Nine. The iconic duo is renowned for their comedic take on globe-trotting experiences since their 2007 show Caravan of Courage where they travelled across the nation.
Executive producer of Hamish and Andy’s “Perfect” Holiday Tim Bartley spoke to Mediaweek about what to expect on the new series and some memorable moments (as well as small hiccups) when filming.
Family-like is the best way to describe the relationship between the Australian comedy duo – Hamish and Andy – and Radio Karate business partners Bartley and Ryan Shelton – who were nominated for this year’s TV Week Logie Awards for True Story (Most Popular Comedy Program). The four have worked together since 2003 at Channel 31 in Melbourne. “We’ve been with each other for our whole professional career. For Ryan, Hamish and myself, we’ve known each other since school days,” said Bartley. “We have a strong collaborative relationship. It makes work not work at all – it’s good fun.
“Something we’re all really passionate about is discovering new, weird and wonderful things and cultures, so to be given the opportunity to do it again (after Gap Year) is really exciting for us and we hope Hamish and Andy’s audience is still really hungry for that style of content.
“The show is sort of an evolution of that content; we’ve developed a few format points that help give it structure and help Hamish and Andy stitch each other up. Essentially they keep content secrets from each other while we’re shooting. The show will be an evolution of Gap Year, but still harnessing all the high jinks and fun and stupidity that makes that show fun to make and fun to watch. The most fun we had filming was when we genuinely surprised the guys on the road with the research we had done, and all the characters we found.”
While viewers can expect a whole bunch of surprises, also expect more high concept ideas that play out on the road. “Hamish secretly organised a completely made up bike race up the tallest paved road in America for Andy. Hamish discovered it was like putting on a music festival at 14,000 feet with no communication. We shot that in Colorado, and that’s the very last story of the series. It’s a bit triumphant, or in our case short of triumph,” laughed Bartley.
“We also shot some great stuff in Alaska with some amazing, quirky characters from up there. We managed to get access to shoot on a casino floor in Vegas, which took about four months of negotiating to get that access. Ultimately, what makes this show so great are the high jinks and surprises; and maybe the audience will learn things along the way… but probably not.”
Bartley mentioned there were a couple of minor hiccups when filming, which are almost always inevitable when filming overseas. “One GoPro died in the line of duty, which was tragic. It was off the coast of Alaska in a watery grave. Otherwise, we were phenomenally lucky from a technical point of view.
“Our hard-working data wranglers did a great job of making sure the vision came home safely. The best thing about this show is that as long as you keep the vision, normally a hiccup makes the best part of the segment. We film everything, so if things go wrong and we’ve got it on tape, then that’s great. We embrace it.”
Bartley also got in on the action in front of the camera. “I was strapped to the back of a school bus on a racing track and its figure 8 bus racing. In the middle of the track the buses cross each other at speed, and I screamed a lot and thought I was going to die.
“I didn’t feel it was appropriate for one of our other camera operators to take that gig up, so I put my hand up. That was an amazingly memorable day, and these very hospitable crazy Americans letting us partake in their bus race was awesome.”
In regards to future plans for Hamish and Andy, there’s nothing set in concrete at the moment. “We’re lucky enough to have True Story happening in a few territories at the moment, so we’re continuing to work with producers overseas. That keeps us busy. Hopefully one day we might get the chance to do another ‘Perfect’ Holiday, but at the moment we’re just concentrating on making sure this season gets away and hopefully most people love it as much as we do.”
Hamish and Andy’s ‘Perfect’ Holiday premieres on Sunday, November 17, at 7pm on Nine.
The Media i Awards, recognising media sales excellence, were announced last night at a sold-out awards ceremony in Sydney.
Voted by peers, the Media i Awards acknowledge the important role media sales representatives play in the continual pursuit of media advertising excellence.
Introduced in 2011, the Media i Awards are the only awards dedicated to recognising the contribution of media owners.
This year more than 2100 media agency professionals voted across three categories:
• National Sales Team of the Year
• Sales Team of the Year by Market (NSW, Victoria, Queensland, Western Australia & South Australia)
• Sales Person of the Year by Category by Market (NSW, Victoria, Queensland, Western Australia & South Australia)
Charles Parry-Okeden, CEO Media i, spoke at the ceremony of the importance of collaboration between media agencies and media partners.
“These awards not only recognise the professionalism and excellence of sales individuals and teams, but the success they achieved for clients in collaboration with media agencies.
“We are extremely proud of tonight’s event. The response from our finalists has been overwhelming reinforcing the significance of this initiative to sales teams and individuals across the country. We would like to congratulate all of tonight’s winners on their fantastic achievement,” said Chris Winterburn, managing director Media i.
Sales Representative of the Year Magazines
NSW Olivia Simons Bauer
VIC Demi Martello Bauer
QLD Giulianna Stead Bauer
SA Georgia Matthews Russell Media [Pacific]
WA Martin Atanassov Nine
Sales Representative of the Year Newspapers
NSW Alastair Forbes News Corp Australia
VIC Ben Walton News Corp Australia
QLD Tenielle Jordan News Corp Australia
SA Dipti Trivedi News Corp Australia
WA Kelly Trepkowski West Australian Newspapers
Sales Representative of the Year Outdoor/Cinema
NSW Tom Bonnell QMS
VIC Tom Zavecz Shopper Media Group
QLD Renee Jonsen JCDecaux
SA Lucy Carey JCDecaux
WA Damien Bodestyne JCDecaux
Sales Representative of the Year Radio
NSW Sandy Rogers Southern Cross Austereo
VIC Denis Donati ARN
QLD Lauren Everist ARN
SA Jenna Hawkins ARN
SA Thea Petros Southern Cross Austereo
WA Aaron Bryant ARN
Sales Representative of the Year Digital
NSW Hayley Treasure Spotify
VIC Luke Burr Verizon Media
QLD Alison Powell Verizon Media
SA Imran Khalil Nine
WA Tom Bajrovic Nine
Sales Representative of the Year Television
NSW Luke Duignan Seven
VIC Georgia Ratcliffe Network Ten
QLD Dave Box Southern Cross Austereo
SA Adele Gibb Network Ten
WA Natasha Twentyman Nine
2019 Teams Winners List
QLD Verizon Media
SA Network Ten
2019 National Sales Team of the Year
Top Photo: Nine’s winning National Sales Team – chief sales officer Michael Stephenson is somewhere in the middle
Speaking at the Seven West Media AGM held in Sydney today, executive chairman Kerry Stokes spoke about his new CEO, gave a 2020 ratings forecast, had a recommendation for the Government and farewelled two veteran Seven West Media directors.
Her are some of the highlights of Kerry Stokes’ presentation:
Seven West Media experienced a tough 2019 financial year and as a result we have had to make tough decisions, especially as the market is becoming increasingly crowded with largely unregulated foreign digital players.
Two months ago, we appointed James Warburton as Managing Director & Chief Executive Officer, with a brief to transform the business and execute a content led growth strategy.
In that time James and Seven’s leaner senior management team have started that transformation, consolidating our TV operations with the proposed Prime Media acquisition, divested our magazine division and radio stations and right-sizing our business operations.
In addition, James and his team have recently announced a refreshed programming line-up for 2020, while executing a plan to further leverage our leading sports assets, with AFL, cricket and horse racing to reach wider and younger audiences.
The combination of refreshed evening programming and the best sports programming in Australia, topped off by the 2020 Tokyo Olympics, will make Seven the most watched network next year.
We are delighted with his progress so far as we meet the challenge from multi-national digital players, which continue to grow their share of audiences and advertising budgets.
The ACCC’s report to the Federal Government has recommended that the foreign companies be subject to the same rules as local broadcasters, including content quotas, advertising classifications and privacy laws.
We urge the Federal Government to adopt all of these recommendations, otherwise the digital platforms’ disruption in the broadcast media industry will accelerate, to the detriment of consumers, advertisers and thousands of Australian workers.
We are not seeking special favours from the government but a chance to continue delivering first class local content and news to Australians in both city and regional areas.
I now turn to the retirement of two directors of Seven West Media, Peter Gammell and Jeff Kennett, from your board at this meeting.
Gammell has been a director of Seven West Media since 2008, and prior to the formation of the group, Peter was a director of Seven Network for 14 years.
Peter has been an integral part of Seven for 26 years and has played a critical role in a range of transformative corporate transactions and rights acquisitions for us.
I have been very close to Peter for many years and I thank him for his friendship and valuable contribution he has made to Seven.
After four years of sterling service as a director, Jeff Kennett has retired, and we will miss his forthright and constructive contributions.
He will not be lost to Seven as he will continue to be a commentator on the network’s news and current affairs programs.
I thank both of them for their magnificent contributions to Seven and wish them well in their future endeavours.
Shareholders at the AGM voted for the re-election of Seven West Media directors Collette Garnsey, John Alexander and Ryan Stokes.
Top Photo :Kurt Burnette, Charlotte Valente and James Warburton
Australian technology company Unbnd announced the launch of its new NBA extended reality mobile application, Missing in Action (MIA). This app allows NBA fans to stream live NBA games, access NBA TV, and a range of other NBA content on the first-of-its-kind immersive mobile platform.
MIA is available for download on Android and iOS across Australia and Singapore for $6.95 per month, with a 14-day trial available to new users.
Through mixed reality, MIA creates new opportunities for brands to engage with users as they move from passive viewing to actively interacting with content.
Live NBA content set in an innovative, interactive environment allows users to take control of what content they wish to see including comprehensive player stats and modular controls inside a singular window.
“I couldn’t be more excited to showcase the possibilities for brands when they use immersive technology to capture and engage with audiences,” said Antony Arena, CEO and Founder of Unbnd. “What we have achieved with the NBA – from streaming games with access to stats, as well as a roadmap to add other functions including merchandise, fantasy, and social – means users can take control of their content consumption, and get more into the game than ever before.”
Currently, available features include:
• NBA TV – Broadcasting round the clock coverage of the NBA 24/7, including live games, panel discussions, lifestyle shows and replays
• Live NBA – Access to six LIVE NBA games per week
• In-Game Theatre Mode – Users can double-tap any stream to explore the augmented reality features beyond the game to access stats, analytics and league tables
• Modular control – Users can personalise and control their screen to access the information they want during a game
• Team, player and league tables & statistics – Take second screen viewing to the next level as you get access to all the team data and statistics you need in one viewing experience
The subscription price is $6.95 per month, with a 14-day trial available to new users.
By James Manning
• Seven wins night as Motorbike Cops v David Attenborough
• Bachelorette beats them both as Angie farewells wrong man
• Seven News 963,000/928,000
• Nine News 791,000/789,000
• A Current Affair 681,000
• ABC News 635,000
• 7.30 541,000
• The Project 259,000/490,000
• 10 News First 337,000
• The Drum 159,000
• SBS World News 123,000
• Sunrise 311,000
• Today 207,000
Sunrise has now had successive days over 300,000 after its year best 329,000 on Tuesday.
Home and Away was on 569,000 after two nights close to 640,000.
An hour of Motorbike Cops did 481,000 and then 506,000 for the two 30-minute episodes. The episodes narrowly trailed David Attenborough in metro markets, but outperformed it nationally.
The first of two episodes of The Good Doctor this week then did 462,000.
A Current Affair was back under 700,000 for the second time this week after 746,000 on Tuesday. Lauren Golman was reporting on supermarket products of the year. One of the winners was a pack of Crunchy Chips. Golman noted that Woolies and Aldi didn’t enter any products.
The launch of David Attenborough’s Seven Worlds, One Planet was in Antarctica with 538,000 watching.
Love Island Australia then did 228,000.
The Project did 490,000 after 7pm with Carrie Bickmore interviewing Reese Witherspoon and Jennifer Aniston by satellite.
The penultimate episode of The Bachelorette featured the final three. After an episode of trying to decide who would be best to take through to the final, Angie chose Carlin and Timm. Angie however now seems faced with making a choice she doesn’t want. Leaving the mansion a single man, Ryan said: “I’m still kind of trying to wrap my head around what just happened. I still feel like she’s my dream girl. I feel heartbroken.”
As the limo exited the driveway, Angie sobbed: “That was the wrong decision. It felt awful.”
The episode did 829,000 which was the biggest audience this season and the best since the penultimate episode in 2017. The Bachelorette was #1 under 50 and all demos and drove both 10 and the combined channel share to #1 under 50 and demos.
Playing for Keeps then did 298,000 after 271,000 last week.
Julia Zemiro’s Home Delivery was with Gillian Triggs. The audience of 456,000 was down a little on last week’s 479,000.
Gruen did 664,000 after 649,000 with talk last night about pizza and a rare, and moving moment, where Dee Madigan was lost for words.
Frayed was on 368,000 and the Wednesday repeat of Adam Hills: The Last Leg did 164,000.
Tony Robinson was in Sydney in the launch episode of Tony Robinson’s World by Rail with 224,000 watching.
Drones: The Next Air Disaster then did 192,000.
|ABC KIDS/ ABC COMEDY||2.6%||7TWO||3.0%||GO!||4.0%||10 Bold||5.1%||VICELAND||1.2%|
|ABC ME||0.8%||7mate||2.3%||GEM||3.6%||10 Peach||2.6%||Food Net||1.3%|
|7Food||0.7%||SBS World Movies||0.6%|
|ABC||Seven Affiliates||Nine Affiliates||10 Affiliates||SBS|
|ABC KIDS/ ABC COMEDY||2.3%||7TWO||3.8%||GO!||5.4%||WIN Bold||4.4%||VICELAND||1.1%|
|ABC ME||1.1%||7mate||2.9%||GEM||5.3%||WIN Peach||2.0%||Food Net||1.1%|
|ABC NEWS||1.8%||7flix (Excl. Tas/WA)||1.8%||9Life||2.5%||Sky News on WIN||2.2%||NITV||0.1%|
|7food (QLD only)||0.3%|
|WEDNESDAY METRO ALL TV|
16 – 39
18 – 49
25 – 54
Shares all people, 6pm-midnight, Overnight (Live and AsLive), Audience numbers FTA metro, Sub TV national
Source: OzTAM and Regional TAM 2018. The Data may not be reproduced, published or communicated (electronically or in hard copy) without the prior written consent of OzTAM
Val Morgan is continuing to grow its newly launched digital division announcing the appointment of Amanda Bardas (pictured) to the role of executive editor for its new publishing platform.
Bardas’ decade-long publishing career has seen her work across print and digital. Until April 2019, Bardas was executing the audience, editorial and platform strategy across global and award-winning women’s websites – Popsugar, Who What Wear, Byrdie and MyDomaine Australia.
In 2015, she was responsible for launching Who What Wear in Australia.
Brian Florido, managing director Val Morgan Digital, said: “Amanda’s remarkable track record makes her a critical part of our digital team. Having worked with her in the past, I’m excited to welcome Amanda on board as we diversify the digital publishing division of Val Morgan.”
Amanda Bardas added, “I’m looking forward to leading our team as we build and launch a new publishing platform that fills a gap in the Australian market for content that unlocks rich conversations and drives a deeper understanding of entertainment, life and style, wellness and culture.”
Val Morgan delivers premium, engaged audiences across cinema, outdoor and digital platforms. Located throughout Australia and New Zealand, Val Morgan provides a 100% digital, full screen, advertising solution for brands looking to connect with consumers. The Val Morgan network comprises of over 12,000 location-based digital advertising screens in cinema, retail, petro-convenience and fitness locations, and offers digital publishing opportunities via its partnership with Fandom – the world’s largest entertainment fan site and a new soon-to-be-announced digital publishing platform.
Media analysts have cut their financial forecasts and target price on Nine Entertainment following the media group’s profit warning, amid a difficult advertising market, reports The Australian’s Lilly Vitorovich.
The cuts, which were led by UBS, JPMorgan and Macquarie, were largely on the back of weak television and radio advertising markets.
JPMorgan analyst Eric Pan has downgraded his 2020 underlying earnings and revenue forecasts by 5.6 per cent to $472 million and 1.5 per cent to $2.38 billion, respectively. Pan has also cut his forecasts for the 2021 financial year, and price target by 7.8 per cent to $2.35 “due to the steeper than expected declines in metro FTA industry ad spend”.
UBS’s Eric Choi, Tom Beadle and Minnie Tong have slashed their earnings per share forecast by 10 per cent to 0.11 cents for the year to June, and cut its 12 month price target by nearly 7 per cent to $2.00.
Seven West Media chairman Kerry Stokes has poured cold water on speculation he is looking for an exit from the media business, reports The AFR’s Max Mason.
The return of James Warburton to Seven as chief executive after eight years away from the business fuelled speculation Stokes was looking to turn the business around for sale, with particular focus on News Corp, which has previously run the ruler over the company.
“We’re keen on giving James a chance to grow the business, and we’ve always been more interested growing than selling. We could have sold a long time ago if we wanted to sell.”
Disney backed up its claims that Disney+’s first-day glitches were the result of high consumer demand, revealing Tuesday that the streaming service had hit 10 million signups since its November 12 launch, reports The Hollywood Reporter.
Disney+ launched Nov. 12 in the US, Canada and The Netherlands. It will slowly roll out around the rest of the world, starting November 19 with Australia, New Zealand and Puerto Rico.
The company has said it expects the direct-to-consumer service to “launch in most major global markets within its first two years,” including a March 31 push into markets across Western Europe, including the UK, France, Germany, Italy and Spain.
At launch, the service offered nearly 500 films, including several Disney Animation, Pixar, Marvel and Star Wars titles, and some 7,500 TV episodes, including the entire The Simpsons library. Disney+ original programming in the early days includes The Mandalorian, the first-ever live-action Star Wars series; High School Musical: The Musical: The Series, the new scripted series set at the real-life East High featured in the High School Musical franchise; and The World According to Jeff Goldblum, a docuseries from National Geographic.
Tracey Spicer had the best of intentions when she set out in 2017 to bring the wave of #MeToo to Australia, reports The Australian’s Nicola Berkovic.
“Currently I am investigating two long-term offenders in our media industry,” she announced on Twitter. “Please, contact me privately to tell your stories.”
Then she was flattened by the deluge. Yesterday, the author and journalist said she was “truly sorry” and “gutted” that three victims who placed their trust in her had been left horribly exposed.
A preview version of an ABC documentary had been circulated to media outlets that exposed their identities, and their experiences of rape, domestic violence and harassment.
Spicer told the National Press Club that she was not a producer of the documentary, but rather one of its “many participants”.
She had agreed to take part in the program on the understanding that any information identifying victims who had not agreed to take part in it would be “blurred, redacted and de-identified”.
The three-part documentary, Silent No More, produced by Southern Pictures about the #MeToo movement in Australia, is due to air on the ABC on November 25.
The ABC said in a statement that an early version of the documentary, commissioned by its Entertainment and Specialist division, was released “due to human error” to a small number of accredited media under embargo.
Southern Pictures said in a statement it was “devastated” by the error and apologised for any distress it had caused. Spicer urged journalists to pour their energy into stories about survivors and structural change rather than focusing on conflict and “clickbait”.
Media bosses say the Morrison government has flagged law changes once parliament’s intelligence and security committee hands down its report into press freedom at the end of the month, as they seek six key reforms, report The Australian’s Rosie Lewis and Olivia Caisley.
Nine chief executive Hugh Marks, News Corp Australasia executive chairman Michael Miller, ABC managing director David Anderson and Sky News CEO Paul Whittaker met Attorney-General Christian Porter and Communications Minister Paul Fletcher in Parliament House.
“It was encouraging today we got into some of the areas we wanted in terms of, particularly, law changes,” Miller said after the Wednesday meeting.
“I won’t go through those particular laws. That’s what we agreed to meet in three weeks on, getting detail around how they be considered in terms of drafting.”
Netflix and Nickelodeon have announced that they have formed a new, multi-year output deal to produce original animated feature films and television series – based both on the Nickelodeon library of characters as well as all-new IP – for kids and families around the world.
This marks an expansion of the existing relationship between the companies, which has already brought several popular titles to Netflix, including animated specials Rocko’s Modern Life: Static Cling and Invader Zim: Enter the Florpus. Also forthcoming are specials based on The Loud House and Rise of the Teenage Mutant Ninja Turtles.
“Nickelodeon has generated scores of characters that kids love, and we look forward to telling wholly original stories that re-imagine and expand on the worlds they inhabit,” said Netflix vice president of original animation, Melissa Cobb. “We’re thrilled to continue collaborating with Brian Robbins, Ramsey Naito, and the creative team at Nickelodeon in new ways as we look to find fresh voices and bring bold stories to our global audience on Netflix.”
“Nickelodeon’s next step forward is to keep expanding beyond linear platforms, and our broader content partnership with Netflix is a key path toward that goal,” said Brian Robbins, President, Nickelodeon.
In the four-decade history of Star Wars, barely 1000 minutes of live-action film have been released, including eight films but excluding some less lovingly remembered sidelines, including the two Ewok spin-off movies and 1978’s truly grim-and-bear-it Star Wars Holiday Special, reports The Sydney Morning Herald’s Michael Idato.
That’s an astonishingly small figure given it accounts for some 42 years of complex storytelling, of Jedi Knights and Sith Lords, the fall of the Galactic Republic and the rise (and fall) of the Empire, the rebel alliance, lightsabers, the spice mines of Kessel, the dark and light side of the Force, and big thematic questions such as, who shot first, Han or Greedo?
The Mandalorian, the first live-action Star Wars television series, and the flagship program on the Disney+ streaming platform, will change all of that. In eight one-hour episodes it will bring almost 500 minutes more of living, breathing Star Wars story to the table. And, as seems to be the custom these days, a second season is already filming.
Best described as a space western, The Mandalorian takes place five years after the fall of the Empire as seen in the original trilogy film Return of the Jedi, the one where Darth Vader cuts down the Emperor and saves his son, the Jedi knight Luke Skywalker, and the rebels destroy the second Death Star.
Justice Jonathan Beach on Wednesday ruled that Bruce McWilliam be ordered to appear as a witness in the regulator’s case against ex-Tennis Australia directors Harold Mitchell and Steven Healy. Over the very firm objections of ASIC’s lawyers. Though the Seven exec, Beach noted, probably wouldn’t want to be “anywhere near this court”, reports The AFR’s Myriam Robin.
That’s a reasonable assumption to make about most people. But about McWilliam? As one who knows him quipped, Seven’s combative and colourful commercial director has probably already cleared his diary.
As will many others. Seriously: the court should consider selling tickets. McWilliam has made a long career out of memorably and forcefully defending the interests of Kerry Stokes. No one’s ever accused the corporate lawyer and part-time property mogul of being boring.
Paul Gallen‘s showdown with AFL slugger Barry Hall is on target to become the most-watched fight of the year on TV – surpassing Jeff Horn‘s duel with Anthony Mundine, reports News Corp’s David Riccio.
Fight promoter Danny Green has declared the Code War between Gallen and Hall in Melbourne on Friday night has captivated the intrigue of the nation, with pay-per-view sales set to surpass Horn’s 96-second beating of Mundine, almost 12 months ago.
“It’s going to break all pay-per-view records for this year,’’ Green said.
“I’ve been blessed to be have taken part in three of the highest grossing pay-per-views in the country’s history and this week has got that similar feel to it.
Green wouldn’t reveal the actual number of how many pubs and clubs had paid to screen the fight, but the former world champion boxer-turned promoter had little hesitation in going public with his claim.
“It will be the biggest pay per view of the year and biggest pay per view for quite some time because of the interest in these two,’’ Green said.
Rex Hunt has unpacked a six-year-old grudge with Mike Sheahan — and unleashed, reports News Corp’s Nui Te Koha.
Hunt, a two-time premiership player and footy calling legend, appeared on the You Cannot Be Serious podcast with respected AFL journalist Sheahan and broadcaster Sam Newman.
The trio discussed the Bombers supplements saga, and road rules, before an agitated Hunt confronted Sheahan about an interview they did on a Foxtel show, Open Mike, in 2013.
He said Sheahan focused too much on Hunt’s personal controversies.
“I’ve got to ask you one question,” Hunt said. “With the Foxtel interview I did, after you asked me for six months, and I said yes … How much pressure did you get from the top office because this will rate … and people will love people getting in trouble?”
“No pressure,” Sheahan answered.
“I set the agenda for that interview program.”
Newman asked Hunt: “Do I take it, Rex, that you’ve taken umbrage at Mick’s line of questioning?”
“I’m pissed off!” Hunt said, citing Jack Dyer’s description of him as “a good, ordinary footballer,” his 200 games and two premierships.