By James Manning
Guardian Australia this week celebrated a recent hiring spree and updated its supporters on its successful business model.
Key speakers at a Sydney event for advertisers and financial supporters included Australian managing director Dan Stinton and editor Lenore Taylor.
Thrilled about an expanding team of journalists and a growing audience, Taylor gave a shout out to former editor-in-chief of The Australian, Chris Mitchell, who this week reminded readers in his media column that Guardian Australia has a readership of 4.5m to The Australian’s 3.5m. (Taylor didn’t mention what Mitchell said about “lazy left journos” or address his criticisms of recent Guardian commentary on horse racing and taxation.)
Following on from Taylor was a former Fairfax colleague Anne Davies, investigations editor, who spoke on core journalism – investigations/major projects business and environment.
Miles Martignoni and Laura Murphy-Oates, head of audio and Full Story podcast host and producer were next, followed by Bonnie Malkin, international news editor, and Susie Bayes, head of partnerships & philanthropy.
Malkin talked about how Guardian Australia was putting a toe in the water and expanding its coverage of New Zealand where the business now had one fulltime journalist and a casual contributor. She read out some of the positive feedback, although one Kiwi wondered why the publisher wanted to report on New Zealand while there were so many more interesting places in the world!
Another of the speakers was the entertaining new lifestyle editor Alyx Gorman with details of her new section.
Gorman was most recently at Time Out New York and London where she held roles including engagement lead and branded content director. Prior to her role at Time Out in the UK and US, Australian Gorman was editorial director of Time Out Sydney and Melbourne and has also worked at The Saturday Paper, Mamamia, Bauer and Fairfax.
The new section features contributions from Malaysian Australian chef and MasterChef winner Adam Liaw, farmer and restaurateur Palisa Anderson and director at Melbourne cafe group EARL Canteen, Jackie Middleton, alongside popular global regulars Ottolenghi and Nigel Slater.
The lifestyle section already includes contributions from fashion stylist Emma Read, Sydney-based sustainability expert Clare Press and fashion features writer Georgina Safe.
“I am thrilled to be back in Australia working on developing and growing the new Lifestyle area of the site,” Gorman said.
“Lifestyle sections often focus on celebrity gossip and spurious wellness trends whereas we know Guardian Australia readers want to go deeper and they crave more meaning – so that is exactly what we are going to give them,” Gorman added.
“Guardian readers can expect more discussion and analysis on the lifestyle issues that matter, new local and global faces, and brilliant experts on food, fashion and trends. These stories will appeal to audiences of all ages, but particularly younger people. We’ll also be putting a Guardian spin on local travel, with guides that have incredible, socially and environmentally conscious experiences at their heart.”
Managing director Dan Stinton ended the presentations and started by telling his guests the news brand couldn’t hire a dozen new journalists without some sort of celebration.
“I have worked in news media for close to two decades and most of that time I have witnessed ongoing redundancies as our industry business model was challenged by the arrival of the internet.
“It is very inspiring to be able to bring on more journalists. We have been able to achieve that with a unique business model. Guardian Australia is increasingly funded by the generous support of our readers – people who value the journalism we do so much, they make voluntary financial contributions just to keep us going.
“That accounts for about half our revenue now and it is still growing very well and long may that continue.
“Our advertiser business is also still growing and there is not many news media organisations that can say that. A select number of advertisers see the value in advertising in a premium news environment with an audience that is deeply engaged.
“The engagement is from people who spend a significant amount of their day reading our journalism because they care about it. It is not the kind of engagement where someone scrolls past an ad in a news feed on Facebook.
“We are seeing a swing back to people seeing the value the context of advertising in a news media environment.
“Our last revenue stream is an increasingly important channel for us – philanthropy and grants. A couple of years ago we launched a partnership with Melbourne University for the Guardian Civic Journalism Trust. We launched this in partnership initially with the Balnaves [Neil and his wife Diane and their family] who funded our Indigenous affairs round and it has been tremendously successful.
“The Susan McKinnon Foundation [founded by Sophie Oh and Grant Rule] came on board and funded our reporting on Government accountability and transparency.
“We have also had the Google News Initiative funding some of the technology that is underpinning our investment in audio.”
Stinton also noted contributions that helped fund coverage of Australian literature and Guardian Australia’s environment section. “It is fair to say we have the best and most substantial environment coverage out of any masthead in the country.
“Also the Judith Nielsen Institute who came on board with a generous grant recently for us to expand our reporting in the Pacific.”
Guardian Australia held its event at VivCourt, the Paddington-based trading business which funded Guardian Australia’s Fair Go? Project.
Top Photo: Audio team [L-R] Ellen Leabeater (audio producer), Gabrielle Jackson (associate news editor), Laura Murphy – Oates (presenter and senior producer), Joe Koning (audio producer) and Miles Martignoni (head of audio)
Vogue Australia has unveiled a new look website across mobile and desktop which includes a mobile-first approach that provides the Vogue Australia audience with a fast, clean site that rewards engagement and scrolling.
Now live, the new vogue.com.au has been designed to bring a premium, elegant digital experience to its audience that makes Vogue Australia’s content and imagery shine.
Vogue Australia editor-in-chief Edwina McCann said: “As part of Vogue Australia’s 60th anniversary celebrations this year we are investing in the future of our brand, our content and importantly our customers. With the launch of the all new vogue.com.au we are providing our audience with a beautiful and enriched website that moves us in to our next decade.
“We worked closely with Conde Nast International on the redesign, utilising elements of their new, global design system for the Vogue brand.
“As a result, Vogue Australia now shares a common visual narrative with other Vogue’s around the world including Vogue Paris, Vogue Germany and British Vogue. Australia is the first licenced market in the world to adopt the new Vogue style.”
News Prestige Network general manager of digital Stuart Fagg said: “We want to ensure our audience has the very best experience when consuming Vogue Australia, on whatever channel they choose – in the magazine, at an event, on social, on our owned platforms or on Apple News. With this new site, we are lifting the bar for that owned digital experience.”
Vogue VIP, Vogue Australia’s new membership program, and Vogue Australia’s award-winning events have been integrated into the new site to ensure the brand’s audience gets access to the Vogue experience across channels.
For advertisers there are more brand and content integration options than ever before, and new high-impact premium ad placements.
By Claudia Siron
ABC has secured the free-to air rights to broadcast football in Australia for the next two seasons. The new agreement marks the return of the W-League and the Matildas to the ABC after a two-year hiatus, with television presenter and sports reporter Stephanie Brantz once again returning to commentate the W-League games.
Brantz told Mediaweek what viewers can expect in the new season with the absence of Sam Kerr and how important it is having the W-League on free-to-air.
Each week the ABC will broadcast a match of A-League on Saturday and a match of W-League on Sunday, plus Socceroos and Matildas matches when they happen. “We’ll be doing the 4pm game on a Sunday and that will be in conjunction with Fox Sports,” said Brantz. “We’re absolutely thrilled to have the W-League back on the ABC.”
Sam Kerr has been the face of women’s football for some time. “It’s a shame she isn’t here but we obviously wish her very well on her exploits with Chelsea because that’s a great move for Sam in developing her football in a different way and giving herself different challenges. While we will miss her, there’s plenty of other stars in the W-League here and it’s great to have 20 of the squad of 23 that went to the World Cup playing in the W-League.
“The exposure for the women’s game when it’s on the ABC is wonderful and it means that we can attract football fans to the coverage of women’s football. We’ve also got the A-League of course and it’s a really nice combination to be able to give football a free to air home.”
According to Brantz, we can expect a really competitive season. “There’s many new stars coming so we’re getting to see new faces. The young teenage Mary Fowler was included in The Matildas squad – she’s 16 years old and she’s gone to Adelaide with her older sister Ciara, and it’s going to be really exciting to see her develop as a player.
“We’ve also got our established stars who return. There’s so many Matildas in action, I can’t think of another domestic sport for women where you can see all your national team players week in and week out on the pitch. It’s a superb opportunity for everyone to be able to see them.”
As far as the competitiveness goes, international signings have brought added star power to teams like the Western Sydney Wanderers. “They’ve made some incredible international signings as well as their local talent. I’m expecting them to be really competitive this season.
“We have so many wonderful match ups to look forward to. They’re all looking really competitive and I do feel for Perth because they will be missing Sam Kerr, and not just Sam but her strike partner Rachel Hill and her partner Nikki Stanton. They’ve lost a few key names but it’s an opportunity for new names to be exposed – it’s great for local talent.”
Brantz told Mediaweek that women’s sport has never had more momentum behind it with the collective bargaining agreement last week. “Of course earlier in the year we also heard that the W-League players will be on the same per hour minimum wages as the A-League players, so we’re allowing these women to make this a career.
“They’re professional footballers now which means the standard can only improve and that’s something for the viewers to behold and we’re really looking forward to it. It’s fantastic that women can say they can make football their career and they can be a Matilda. We also need to acknowledge The Socceroos’ support of this. They too are recognising and standing together as players that wear the green and gold, not just as ‘we’re the men’s team, and you’re the women’s team’, everyone’s together and it’s been a while since football has had such a fabulous good news story,” laughed Brantz.
The W-League will premiere Sunday, 17 November, at 4pm on ABC
• The future of TV is the internet: Streaming has become the new normal
The 2019 Grabyo Global Video Trends Report surveyed 9690 people across seven countries: United Kingdom, United States, France, Germany, Italy, Spain and Australia.
The report provides an overview of the state of today’s video industry and plots a course for its digital future.
Here are some of the highlights:
Despite its huge reach, most consumers rank linear broadcast TV as their 3rd choice for video, while smartphones are now the most popular device for watching video worldwide. Mobile viewing is a key factor in the huge growth of social video, with penetration now greater than 75% in all markets studied.
Much of the commentary about changing media viewing habits has focused on younger segments, the Millenials and Gen Z. The results of this study show that mobile, social and online viewing is not restricted to younger demographic groups. All audiences under the age of 50 show a preference for OTT and mobile video. Flexibility, price and quality matter to consumers, something which is harder to deliver with the restrictions of linear TV.
The move to online streaming and social media does not signal the immediate death of TV, but it does highlight what needs to change. Consumers want video services which are low-cost, available everywhere, and with a usage model that allows them to escape the TV schedule if they choose. Sport remains the most popular live category, which will help each sport to retain rights value, but usage patterns suggest that for sports properties to maximize audience growth, they need a distribution model which moves beyond exclusivity on pay TV.
The Australia TV market is the most challenging for traditional pay TV with more than 50% of consumers paying for streaming services and more than 1 in 5 consumers choosing not to pay for video at all. Driven by the success of online streaming services such as Netflix, Australia is moving towards digital-first consumption as local broadcasters launch their own digital offerings to win a share of growing online video audiences and combat the shift away from pay TV.
Australia has the lowest number of pay TV subscribers of all countries studied.
Netflix has driven the growth of online video services in Australia. Local broadcasters are entering the market to compete for a growing online audience.
More than 50% of Australian consumers pay for streaming services with usage frequency which sits just behind free to air TV. Freeview TV and social media are most popular in the video market – almost 3/4 of Australians watch longer-form video content on YouTube.
Netflix is the dominant subscription service in the online streaming market but local services such as 7 Plus, 10 Play and 9 Now have a sizeable presence with each service used by 30% of Australian consumers.
Social video viewing is hugely popular in Australia with YouTube, Facebook and Instagram video penetration as high as any other markets studied.
Australia is now a digital-first market with all audiences under 50 streaming video online more often than watching linear TV broadcasts. The combination of social video viewing and a preference for streaming offers lots of opportunities for OTT services, such as the launch of Kayo Sports, we expect to see more of this type of competition.
CONCLUSION: OUR PERSPECTIVE
The future of TV is the internet.
Streaming has become the new normal. OTT services are now used as often as traditional TV for the majority of global video consumers and online streaming represents the largest segment for paid subscriptions. Consumers want flexibility, convenience and access to content across all devices at a low price point – this is the sweet spot for OTT.
After six weeks of drama and battling the struggle between her head and her heart, Angie threw caution to the wind and gave her heart to 30-year-old fitness trainer Carlin.
In beautiful Byron Bay setting, Angie was nervous about revealing her final two suitors, Carlin and Timm, to her family who had previously raised concerns about some of the men in the mansion.
Timm’s party boy antics and maturity were brought into question, and Carlin was grilled about his past marriage. Lucky for both Bachelors, by the end of the meet, they had won the Kent clan over.
Still as confused as ever, Angie took her final two on very different dates, kayaking with Carlin and hot air ballooning with Timm. Both men were determined to get their feelings across, leaving nothing left unsaid. Saying goodbye after each romantic date left Angie reeling and wondering if she would ultimately make the right choice.
When the time came for Angie’s decision, Osher visibly absent for her final moment (his wife was in labour at the time!) it was up to Angie to navigate the final steps alone.
Between Timm, who wore his heart on his sleeve and Carlin who was an open book, it was Timm who arrived to speak with Angie first.
Nervous, Angie tried to explain as best she could why he wasn’t the one.
Breaking down in tears, Timm comforted our Bachelorette, reassuring her: “I love Carlin. If I could pick anyone to treat you how you deserve to be treated, it’s him. Please don’t be sad.”
Always the gentleman Timm gave Angie the ring he had chosen for her, before telling her he would miss her, and walking away.
Flashing a beaming smile as Carlin approached, Angie laid it all on the line (in a roundabout Angie way!) saying: “There’s no doubt in my mind now. I feel like you’re the perfect guy for me and I’m completely falling in love with you.”
And like every great fairytale ending, once a single lady Angie had found her Prince Charming in Carlin. And with a commitment ring placed on her finger, the pair giggled off into the sunset.
Network 10’s chief content officer Beverley McGarvey said: “We couldn’t be more pleased for Angie and Carlin, and wish them every happiness for the future.
“Once again this year, The Bachelorette Australia proved its popularity with viewers across all platforms. It is one of the most engaging and noisiest shows on television and across other platforms and viewers clearly loved Angie and the bachelors.
“The success of this year’s season is a testament to the passion and hard work of many people on and off screen. I’d like to thank Angie for sharing her fairy tale journey with us, and the contestants for opening up their hearts to finding love.
On 10 Play, the second episode – which saw Angie confront councillor Jesse about his actions – achieved the highest 7 day BVOD audience ever (250,000).Network 10’s chief sales officer Rod Prosser said: “A big thank you to our commercial partners for their support across the season.
“The Bachelorette Australia continues to deliver fantastic results for advertisers and it was great to work with you all to bring your brand story to life through cross-platform integration and innovative activations.”The Bachelorette Australia bloomed this year, with audience growth across all platforms, including a record audience on 10 Play.
National total average audience (including 7 day TV and broadcast video on-demand (BVOD): 1.25 million viewers, up 27% year on year.
Capital city total average audience: 1 million, up 27% year on year.
National TV average audience: 1.06 million, up 23% year on year.
Capital city TV average audience: 802,000, up 21% year on year on year.
10 Play (7 day BVOD) average audience: 194,000, up 55% year on year. Biggest show on 10 Play ever.
The Bachelorette Finale: The ratings
The Bachelorette Australia Grand Finale – The Final Decision:
• 1.32 million national audience.
• Topped the night.
• #1 show in under 50s and all key demos (16 to 39s, 18 to 49s and 25 to 54s).
• UP 9% on The Final Decision 2018, UP 15% in under 50s.
The Bachelorette Australia Grand Finale:
• 1.13 million national audience.
• #2 show in under 50s and all key demos.
• UP 11% on the Grand Finale 2018, UP 18% in under 50s.
• #1 channel in under 50s and all key demos.
• Top two shows in under 50s and all key demos, top three in 16 to 39s including The Project 7pm.
• #1 network in under 50s and all key demos.
The Bachelorette Australia Grand Finale – The Final Decision:
• 1.32 million viewers nationally. 1.01 million capital city viewers (confirmed times).
• #1 across its timeslot.
• #1 across its timeslot in under 50s and all key demos.
• 53.2% commercial share in under 50s.
• 56.9% commercial share in 16 to 39s, 53.5% in 18 to 49s and 50.4% in 25 to 54s.
• #1 show on social media.
The Bachelorette Australia Grand Finale:
• 1.13 million viewers nationally. 849,000 capital city viewers (confirmed times).
• #1 across its timeslot.
• #1 across its timeslot in under 50s and all key demos.
• 48.1% commercial share in under 50s.
• 54.1% commercial share in 16 to 39s, 49.2% in 18 to 49s and 45.3% in 25 to 54s.
• #1 show on social media.
By Andrew Mercado
Ah, the irony in Apple TV+ launching their new streaming service with a show about breakfast TV just as Nine was announcing their new line-up for Today.
Morning Wars starts with Mitch (Steve Carrell) being fired for sexual misconduct, leaving co-host Alex (Jennifer Aniston) bereft without her “TV husband”. Television executive Cory Ellison (Billy Crudup) then tells the show’s producer that Alex will now need to be replaced, because “who wants to see a TV widow getting fucked by someone else”. Ouch.
In announcing Today’s next hosts, Karl Stefanovic and Allison Langdon, Nine talked about its “bold decision to try something new with two women hosting”, thereby throwing Georgie Gardiner and Deborah Knight under the bus while saying nothing about disastrous male sports presenter Tony Jones, who was responsible for the show’s most excruciating moments. (Jones is also departing.)
Back on Morning Wars, where it’s hard to separate fact from fiction, Alex outwits her male bosses by announcing to the press that Bradley, is her new TV partner, and “two women hosting” is something new for American TV too. Luckily, there is no gaffe-prone sports presenter because who needs anybody else when you have Jen and Reese.
The Crown (Netflix from Sunday) now has Olivia Coleman (Queen Elizabeth) and Helena Bonham Carter (Princess Margaret) and they are both delightful in their roles. Like the first two seasons, the attention to detail is stunning and the relationships still compelling. Changing the entire cast suggests there has been a major time jump since Claire Foy and Vanessa Kirby played the sisters, but it’s only been a few months.
Days of Our Lives had a bigger leap when Jennifer (Melissa Horton) went into a coma and woke up to learn that a whole year had passed. The next episode, which was crucial in understanding the all-new plots in which everything had flipped around, then did not screen in Australia. Instead, we saw the following episode, which made no sense, not that anything ever makes sense in Salem. Confused?
Well, so too is the media who all jumped on the bandwagon that Days of Our Lives was ending. Yes, the entire cast contracts have not been renewed but “contract negotiations” also go on around this time of the year. Also, check out our recent interview with executive producer Ken Corday in which he surprisingly reveals that Days is NBC’s most streamed show. Doesn’t sound like an axe falling to me.
Top Photo: Olivia Coleman in The Crown with the Corgis
• Angie says yes to Carlin as 10 grabs a Thursday demo victory
• ‘I have to say goodbye to somebody I care for’: Timm takes it well
• Love took on Attenborough, Summer Bay, Grand Designs & Ainsley
• Home and Away triple play helps Seven to fourth win of the week
• Tracy Grimshaw in Quebec for ACA exclusive with Celine Dion
Thursday Week 46 2019
• Seven News 873,000/839,000
• Nine News 703,000/702,000
• A Current Affair 572,000
• ABC News 619,000
• 7.30 469,000
• The Project 241,000/426,000
• 10 News First 323,000
• The Drum 158,000
• SBS World News 103,000
• Sunrise 286,000
• Today 192,000
The Home and Away triple play did 510,000 after two nights close to 640,000 and another on 570,000. The soap was part of Seven’s winning Thursday combo. It has won every night after The Block powered Nine to a Sunday win.
Episode two of The Good Doctor this week did 408,000 after 462,000 on Wednesday.
A special episode of A Current Affair started with Tracy Grimshaw welcoming viewers to Quebec where she devoted the whole program to an interview with Celine Dion on the eve of the release of her new album Courage. The episode did 572,000 after two nights under 700,000 and a week high of 746,000 on Tuesday.
The second episode of David Attenborough’s Seven Worlds, One Planet and again featured some stunning photography and sobering sights about what is happening to wildlife on the planet. Favourite animal last night – snow monkeys. The episode was on 564,000.
Nine then sandwiched in an episode of RBT with no number for it in the OzTAM rankings this morning.
Then it was time for the final episode of Love Island. The winning couple getting the $50,000 to start a new life together were Josh and Anna. The final episode did around 300,000 on the preliminary numbers released.
Maude Garrett was talking to the cast of the new Charlie’s Angels on The Project. The show also interviewed Ryan who made the final three on The Bachelorette. The episode did 426,000 after 7pm.
Angie Kent just couldn’t get used to the idea she would be getting a boyfriend. “I don’t need a man, I want one,” she told herself. During the final episode of The Bachelorette it seemed Angie would end up with Carlin. In the end Timm took his rejection well, exiting the Byron Bay love stage for Angie to break the good news to Carlin. The first part of the final did 849,000, up 11% year-on-year. The Final Decision climbed to 1.006m, up 9% on last year. The numbers were again good enough to secure 10 and Network 10 as #1 under 50.
Trial by Kyle followed with the first case featuring a husband taking action against his 25-year-old wife who took $1,000 of their home cash stash to pay for Botox. The show did 320,000 after 253,000 last week.
Grand Designs Australia featured a folly in Mount Eliza that started as a quick rebuild after knocking down what looked like a perfectly good house. The project ended up mired with objections from neighbours and costs that ballooned out of control. Host Peter Maddison was patient on the sidlelines over the three years it took to complete the property. As it always does, the finished property ended up looking pretty good. The second episode since its returned was on 351,000.
A repeat episode of Shetland followed with 187,000.
Ainlsey’s Australian Market Menu was in Adelaide stopping by the Fringe Festival before landing at the Central Market. Surprisingly it was the #2 show on the channel last night with 123,000.
You can never underestimate the appeal of a British institution for SBS viewers and Inside Marks and Spencers followed at 8.30pm with 153,000.
|ABC KIDS/ ABC COMEDY||2.8%||7TWO||4.1%||GO!||3.0%||10 Bold||3.9%||VICELAND||1.2%|
|ABC ME||0.7%||7mate||4.9%||GEM||3.1%||10 Peach||2.2%||Food Net||1.1%|
|7Food||1.1%||SBS World Movies||0.5%|
|THURSDAY 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
Australian Community Media has identified $7 million in cost cuts and is undertaking a restructure, including job losses in the sales executive teams and managing editor ranks, following a major review of operations, reports The AFR’s Max Mason.
The review of the regional publisher was undertaken after former Domain chief executive Antony Catalano and Thorney Investments chairman Alex Waislitz bought the business from Nine, in a deal worth $125 million, which completed at the end of June.
Sources said ACM will reduce the number of managing editors it has across its daily newspapers from five to one.
Changes to ACM’s sales executive ranks have led to the exit of digital sales director Jason King, national sales director Penny Kaleta and head of digital commercial product and operations Luke De Landelles.
The sales changes follow a review by chief revenue officer Tony Kendall, who joined the company in August.
Seven West Media chairman Kerry Stokes‘ assurance that the free-to-air broadcaster is not for sale has failed to convince analysts that a major corporate deal involving the network is off the cards, reports The Sydney Morning Herald’s Jennifer Duke.
After the broadcaster’s annual general meeting on Wednesday, Stokes denied that recent deals like the sale of Seven’s magazine arm Pacific Magazines to Bauer Media and a merger with affiliate Prime Media were part of a broader plan to improve the company’s balance sheet in preparation for a sale or merger.
JP Morgan analyst Eric Pan said in a note on Thursday that the company believed Warburton had been “brought in to transform the company either through a sale of the company or significant acquisitions that will change the revenue composition of the company”.
“We believe the likelihood of a sale of the company is higher than acquisitions that are significant enough to transform the revenue composition of the company due to balance sheet constraints,” Pan said.
Publicis Groupe has no problem with female executives. But the global communications giant is no ordinary employer, reports The Australian’s Damon Kitney in a new edition of The Deal published today.
Two years ago Melinda Geertz took over as CEO of Leo Burnett Australia, part of the giant French marketing services company Publicis Groupe, the third-largest communications group in the world.
As one of the few female national advertising agency CEOs, she’s been viewed as a champion of diversity, work/life balance and creative culture. But she isn’t alone: 63 per cent, or 10 of the 16 Publicis Groupe CEOs and MDs in Australia, are female. The industry average is 27.9 per cent. Other women at the top of Publicis Australia include Sarah Adam-Gedge (MD, Publicis Sapien), Pauly Grant (chief talent officer, Publicis Group), Nickie Scriven (CEO, Zenith), Vanessa Liell (group CEO, Herd MSL), Suzie Baker (MD, Prodigious) and Julie Dormand (CEO, MercerBell).
Among the firm’s CEOs and MDs, the gender pay gap is now zero versus the national average of 14 per cent across all industries.
News Prestige Network’s editorial director of GQ Australia, Vogue Australia and Vogue Living Edwina McCann has announced premium automotive brand Audi as presenting partner for the 2019 GQ Men of the Year Awards.
McCann said: “We’re delighted to have Audi return for the third consecutive year as presenting partner of the GQ Men of the Year Awards, they have been a wonderful partner for this event. With both brands intent on driving progress in their respective sectors, it is a pleasure to align with such a forward thinking and respected brand. Together we will take the event to even more prestigious heights.”
Audi Australia chief customer & marketing officer Nikki Warburton said: “Audi is proud to continue its support of the GQ Men of the Year Awards. It’s one of the most prominent celebrations of the diversity of innovation and excellence we have in Australia, and as a brand, we applaud all those who are recognised. We look forward to this year’s event, to share in their inspiring stories.”
The supporting partners for the event were also revealed. Grey Goose Vodka, Paco Rabanne and Qantas are all returning for the 2019 GQ Men of the Year Awards with Coach New York and R.M.Williams also on board this year.
Prominent anti-domestic violence advocate Rosie Batty has called on Tracey Spicer to step up and stop blaming others for the “blatant and egregious mistake” in which the details of three domestic violence victims were released without their knowledge or consent, reports The Australian’s Steve Jackson.
While Spicer has said she is “truly sorry” and “gutted” that the women’s identities – and details of their experiences – were exposed in a preview version of an ABC documentary about the #MeToo movement in Australia, the former newsreader maintained she was not ultimately responsible for the appalling error as she was not the program’s producer, merely one of its “many participants”.
The excuse did not wash with Batty, who said the issue of domestic violence was too important for buck-passing and blame-sharing, and that Spicer needed to take full accountability for her actions.
“Tracey can blame the ABC and the producers for such a blatant and egregious mistake but the women reached out to Tracey,” the former Australian of the Year said. “The people they reached out to were not the ABC, they reached out to Tracey.
“I am sure she’s horrified by what has happened but, when you are the custodian of stories from vulnerable people who have experienced significant trauma and violence and abuse, the buck stops with you.”
Sonia Kruger finally confirmed Australian television’s worst-kept secret: She’s jumping ship from Nine, reports news.com.au’s Nick Bond.
The Today Extra host made the “big announcement” on air Thursday morning, a week after it was widely reported in the Australian media that she was moving from Nine to Seven.
But while an emotional Kruger confirmed she was leaving the network, she made no specific mention of where she was headed.
“Well, I do have an announcement to make. After eight fabulous years I am leaving the show and the Nine Network. I have had an amazing time here. I have been very privileged to work on some top shelf programs and of course with you, David, here – don’t,” she said, warning co-host David Campbell not to make her cry.
Campbell, who declared he’d “only just found out” the news himself, said there would be “a lot of tears” during Friday’s final episode – and appeared to make a cheeky joke about fellow Today host Georgie Gardner, who did not return to the show after it was announced last weekend that Karl Stefanovic would take over again in 2020.
For someone who doesn’t like to plan too far ahead, Amanda Keller’s 2020 dance card is already pretty full, reports News Corp’s Jonathon Moran.
The popular radio and TV presenter will return to breakfast radio on WSFM’s Jonesy and Amanda show for a 15th year, as well as Dancing With The Stars and The Living Room on Channel 10.
“I never like knowing what I am going to be doing even though I love what I am doing,” Keller said.
“I don’t like to think too far into the future. The year will start and I will hit the ground running.”
Working breakfast radio hours – her alarm clock goes off at 4am – means Keller needs to be organised. An afternoon sleep is important and ensure she gets about eight hours a day.
“In this job, you absolutely have to (take sleep seriously) and I have seen many people come and go because they haven’t respected the hours.
“You have to look after yourself and you have to take your sleep seriously.”
A spanner in the works for Keller’s routine next year is 10’s decision to shoot Dancing With The Stars in Melbourne.
“It makes my life a bit harder because I will have to fly to Melbourne and do the radio show from there the next day,” she said.
“I’ve had a hip replacement and travelling is a pain in the neck. My hip sets off the alarm every time.”
The cast of the popular, and long-running, US soap opera Days of Our Lives has reportedly been released from their contracts as the series’ future remains uncertain, reports news.com.au.
According to TVLine, which first reported the news, the entire cast was released from their contracts and the show is expected to go on an indefinite hiatus at the end of November. However, Days of Our Lives, which screens on Foxtel, has not been officially cancelled.
Representatives for Sony Pictures Television had no comment when reached by Fox News. NBC did not immediately respond to a request for comment.
Fortunately for fans, TVLine notes that the popular soap opera shoots eight months in advance. As a result, even if the series’ production went dark at the end of the month, there’s still enough episodes in the can to last through the summer of 2020. However, it’s possible that won’t be the case.
The Block’s co-creator and EP Julian Cress talks to news.com.au’s Andrew Bucklow.
“I think a lot of credit should be given to our judges who gave Tess and Luke some pretty harsh feedback along the way, and Tess and Luke took that on board as constructive criticism.
“In the very last week of the show they changed their home around. They followed the advice that was given to them by the judges. They changed their kitchen and living and formal lounge room around and created something which really resonated with the buyers and was a directly a result of the advice from the judges.
“They ended up having up having the largest living room of any of the houses on The Block because they changed their kitchen, and that, I’m told by the buyers, was one of the key reasons why they wanted that house.”
Netflix’s content chief Ted Sarandos has downplayed Netflix’s concerns about Disney+’s launch. “For us, nothing really changes,” he said of the launch. “They are great at what they do; they’re great storytellers. It is great to have competition,” reports The Hollywood Reporter.
Disney on Wednesday revealed that Disney+ had garnered more than 10 million sign-ups since its launch the day before, instantly making it one of the biggest subscription streaming services in the US.
Netflix executives, including Sarandos and co-founder and CEO Reed Hastings, have long downplayed the threat of Disney+, arguing that a rising tide of streaming services will lift all boats. At a conference earlier this month, Hastings said that he planned to subscribe to Disney+, calling it an “amazing company.”
Sarandos on Thursday also addressed the service’s shift from library content to originals, acknowledging that acquired shows make up a sizable portion of Netflix viewership.
“There is a lot of viewing that comes from licensed content from other people, because there is a lot of it, and for a while it was all we had,” he said, adding that shows like Friends and The Office also have hundreds of episodes. Ultimately, however, the company is planning for a future where almost all the content on the service is originals. “I think one way or the other, we end up there.”
Twenty-one individuals and businesses have won at the 2019 SPA Awards.
Ludo Studio received biggest honour – Production Business of the Year award – in recognition of its growth in the past five years from a small office on a Brisbane veranda to a thriving innovative hub employing over 50 creatives and producers on their original productions, including children’s series Bluey, critically acclaimed SBS drama Robbie Hood and vertical video drama series Content.
2019 SPA Awards winners
Children’s Series Production of the Year – Mustangs FC season 2, Matchbox Pictures
Animated Series Production of the Year – Bluey, Ludo Studio
Documentary Program or Series Production of the Year – Employable Me series 2, Northern Pictures
Feature Documentary of the Year – The Australian Dream, GoodThing Productions
Short Film Production of the Year – Judas Collar, No Thing Productions
Online Series Production of the Year – Robbie Hood, Ludo Studio & Since 1788 Productions
Interactive or Game Production of the Year – RONE, StudioBento
Screen Business Export Award – Animal Kingdom, Porchlight Films
Screen Business Export Award – Bluey, Ludo Studio
SBS First Look Grant – Taryne Laffar
Screen Australia Internship – Rachel Higgins
Comedy Program or Series Production of the Year – Rosehaven series 3, Guesswork Television & What Horse?
Telemovie or Mini Series Production of the Year – Lambs of God, Lingo Pictures
Light Entertainment Series Production of the Year – The Weekly with Charlie Pickering, Thinkative Television
Services and Facilities Business of the Year – Roar Digital
Lifetime Achievement Award – Annie Browning
Breakthrough Business of the Year – Closer Productions
Drama Series Production of the Year – Bloom, Playmaker Media
Feature Film Production of the Year – Top End Wedding, Goalpost Pictures & KOJO Entertainment
Production Business of the Year – Ludo Studio