A new research study by strategic insights consultancy Nature, commissioned by Foxtel Media, has revealed the impact of engagement on advertising effectiveness. The study involved qualitative and quantitative research and implicit behavioural measurement of over 3,000 Australians.

The research establishes, for the first time, a comprehensive definition of viewing engagement – as an outcome of emotional investment, intent, mental focus and social connection. It found that audiences watching Foxtel are 27% more engaged than those watching non-subscription television.

Partner & managing director of Nature’s Sydney office James Jayesuria said in a statement: “Our robust research process, which included in-depth interviews, ethnographic exploration, quantitative surveys, facial coding analysis and electrodermal activity tracking – categorically demonstrates that more engaged viewing offers better advertising outcomes.

“We believe this research offers a new definition of engagement for media and television and provided concrete evidence that will help shape the understanding in the effectiveness of television advertising.”

Key findings of the research include:

• On self-reported measures across all viewing occasions, Foxtel audiences are on average 27% more actively engaged than non-subscription TV audiences

• Through implicit measurement of natural viewing, the peak engagement for Foxtel viewing was 16% higher than non-subscription TV audiences

• More engaging advertising formats drive greater ad recall (up to 11%) for advertising partners

• More engaging advertising formats drive stronger brand uplifts for advertisers

The research investigated the effectiveness of advertising based on engagement and ad loads across Foxtel and non-subscription TV. The lower ad loads on Foxtel linear television translated to more positively engaged audiences. This in turn led to higher levels of advertising recall and better communications of brand messaging.

For example, in-depth research on viewer recall and messaging cut-through based on an advertisement for a household-name technology brand showed an 8% advantage on recall on the more engaging medium of Foxtel. Brand messaging recall uplift on Foxtel’s ad structure format, which broadcasts 33% fewer minutes of advertising per hour, was double that of non-subscription TV formats.  

Foxtel Media CEO Mark Frain commented: “It should not be surprising that fewer ads and a more highly engaged audience leads to better advertising outcomes. But in today’s highly dynamic and fast evolving media environment, it is easy to lose sight of the power of higher quality content in delivering advertisers a more valuable proposition.”

“With marketing budgets under increasing constraint as brands try to navigate a post-pandemic recovery, every advertising dollar has to do its job. This research reminds us that not all reach is created equally, and that as an industry we need to better communicate and articulate the importance of viewer engagement in enhancing advertising effectiveness. A media buyer’s job does not just end when they’ve bought reach.”

TV market adspend recovery

Speaking to Mediaweek about the state of the TV ad market as a very tough year for the media draws to a close, Frain added:

“Following a downturn in early 2020 due to the Covid-19 pandemic TV advertising has begun to swiftly recover as we near the end of the year. SMI recently revealed television ad spend figures for October and it is the highest that we have seen in the last four years. In fact, TV advertising is already up 1.3% when compared to October 2019.

“There is no question that the explosion in live and on-demand BVOD consumption as a result of various state lockdowns has raised the profile of premium, video viewership. This is certainly the case for Foxtel Group platforms. Our consumption is up, and this is just not on smartphones, this is up everywhere, including on big screens. There is also a flight back to proven media, like TV, to build impact fast, as many brands and businesses go for broke in the lead up to Christmas.

“Greater consumption, engagement and attention from viewers are delivering great commercial outcomes for marketers, and we’re seeing that they are hungry for more data about this hyper-engaged audience. Every network has made strides in the area of data development giving agencies and marketers insight into these flourishing consumption patterns we’re seeing.

“Attention and engagement are becoming hot topics to measure performance, both of which TV delivers above other video platforms. In fact, with the new research we’ve just commissioned [see above], we’re bound to see a revolution in the way marketers tailor their advertising and explore new formats.”

A partnership between BBC Studios and ITV, the arrival of BritBox in Australia is the next step in the global expansion of the subscription video-on-demand (SVOD) streaming service, following its success in the US, Canada and the United Kingdom.

BritBox in Australia will offer subscribers a unique experience, with content specifically curated for local audiences, including classic and contemporary British series, and exclusive and premiere titles, spanning drama, crime, mystery and comedy. Viewers will be able to access BritBox on a wide range of mobile and connected home devices.

Launching on November 23, also recognised globally as ‘Doctor Who Day’, BritBox will be the only place to watch the entire available collection of classic and contemporary Doctor Who from 1963-2019. This will be the largest collection of the iconic title available to stream in one place in Australia and will feature all 13 Doctors, from the First Doctor William Hartnell through to Jodie Whittaker and including Tom Baker, David Tennant, Peter Capaldi and Sylvester McCoy.

As part of its exclusive content mix, BritBox will have access to a wide range of premiere shows including the reboot of All Creatures Great and Small, featuring Nicholas Ralph, Rachel Shenton and Callum Woodhouse. Since premiering in the UK earlier this year, this reboot of the popular original has been a ratings hit and will be available only on BritBox from launch.

In addition, BritBox Australia is working with its global team to bring BritBox original series direct to Australian audiences, the first of which will be the newly commissioned series of sketch satire comedy, Spitting Image, from original show creator Roger Law, returning after a 20 year break. All available episodes will be on the service from launch, with all remaining episodes from the series currently airing made available express from the UK.

BritBox will also include exclusive crime dramas A Confession (Martin Freeman and Imelda Staunton) and Appropriate Adult (Emily Watson and Dominic West), in addition to complete seasons of award-winning drama series such as Vera (Brenda Blethyn), Endeavour (Shaun Evans and Roger Allam) and Prime Suspect (starring Helen Mirren). Australians will also be able to stream complete seasons of Shakespeare & Hathaway, Father Brown, Victoria and Lewis.

Content ‘first on’ and available exclusively to BritBox from today will include: mystery Murder on the Blackpool Express; lifestyle show Your Home Made Perfect presented by Angela Scanlan; and Agatha and the Curse of Ishtar, the fictional mystery about crime writer Agatha Christie. In addition, police procedural drama, The Mallorca Files, will be another ‘exclusive to BritBox’ series available from December 2020.

Australians will also be able to stream their favourites across a variety of different genres and enjoy some of Britain’s best talent all in one place, including Mr Bean (Rowan Atkinson), Blue Planet and Planet Earth (Sir David Attenborough), Kingdom (Stephen Fry), The Vicar of Dibley (Dawn French), The Office (Ricky Gervais), Top Gear, Luther (Idris Elba), Absolutely Fabulous (Jennifer Saunders and Joanna Lumley), Midsomer Murders, Blackadder and plenty more.

Moira Hogan, country manager of BritBox in Australia, said: “Our aim is to be the place to discover hidden gems or find your new favourite series. We’ve delved into the rich catalogues of BBC Studios and ITV to deliver thousands of hours of classic and contemporary mystery, crime, drama and comedy titles for launch. This is just the start, with plenty more favourite British series, territory premieres, exclusives and originals to be released on BritBox each month. BritBox will also be the home to a variety of recently and previously broadcast series that viewers may have missed the first time around, now available for streaming on demand all in the one place.

“Australians have an affinity for British television and the launch of BritBox in Australia is a unique opportunity to tap into this passion and nostalgia. We look forward to firmly establishing ourselves with Australian streaming audiences.”

Fiona Lang, general manager for BBC Studios ANZ said: “BritBox is very much a part of BBC Studios’ future strategy in Australia. The global growth of BritBox has been truly impressive and there is no doubt that we are heavily invested in ensuring the success of BritBox in Australia as part of our partnership.”

BritBox is now available to Australians for $8.99 per month, or $89.99 for a 12 month subscription, after an introductory 7 day free trial. BritBox is available via web, iPhone, iPad, Android smartphones and tablets, Chromecast, Apple TV (4th gen and newer), Samsung Smart TVs, LG Smart TVs, Telstra TV, and Fetch.

Australia’s most-watched renovation show, The Block, broke records tonight after selling five incredible family homes in the Grand Finale Auction and giving away more money than ever during the shows broadcast on Nine and 9Now.

Jimmy and Tam take home $1m+

The first record was smashed by winners Jimmy and Tam from Brisbane who took home $1,066,000, the biggest cash prize in Block and Australian TV history. Their 1950s Palm Springs-inspired house sold in the second auction of the night for a massive $4,256,000, which was $966,000 over reserve. It was the largest sum over reserve of all five houses – which means Jimmy and Tam received an additional $100,000 in prizemoney as winners of the series.

Of their prolific win, Jimmy and Tam said: “It’s just unbelievable. The thought of walking away with a hundred thousand dollars blew our minds, but to walk away with a million dollars is life changing. This whole experience was for our daughter Frankie. The whole reason we are here is for her future. This means we can buy a house without a mortgage, that’s the Australian dream. We’re getting goose bumps thinking about that, it’s just amazing.”

As the hammer fell in the final auction another record was broken, with the Blockheads sharing a staggering total of $3,332,002 for the sale of all five houses. The unbelievable result is the highest sum of money ever won on a single episode of television anywhere in the world.

As if breaking financial records wasn’t enough, philanthropist Danny Wallis (centre in photo below) made history by purchasing three Block properties on auction day.

Western Sydney’s Sarah and George secured Danny’s first purchase of the day when he bought their home for $4,000,002. The sale rewarded Sarah and George with a whopping $650,002.

Melbourne father-daughter duo Harry and Tash sold their 1920s-themed home to Danny for $4,000,000, earning the Melbourne pair $650,000.

However, Daniel and Jade’s home was the one that Danny was most proud to purchase. Understanding the hardships our South Australian farmer couple have endured having a child with severe health problems, Danny purchased their home to donate to My Room Children’s Cancer Charity. By buying their home for $3,800,000, Daniel and Jade take home a life-changing sum of $460,000. It’s an unbelievable amount for the couple who had hoped to make $20,000.

Of his monumental shopping spree, Danny Wallis said: “What an amazing day it was and a real thrill to buy the three houses. I was so impressed with the builds this year, the location in Brighton, and the potential as an investor for the properties in the future.

“The My Room Children’s Cancer Charity do so many wonderful things for sick children and their families, and they will benefit so much from having access to Daniel and Jade’s amazing home.

Sarah and George make $650,002

“It is made extra special for me because I know Daniel and Jade have been through so much with their daughter Isla over the years, in and out of hospital, and they will understand just how important the house will be for My Room and all the incredible work they do for sick children and their families.”

Dynamic Western Australian couple Luke and Jasmin were elated when they sold their 1910s-inspired home for $3,856,000. Earning themselves a cash prize of $506,000, the duo plan to pay off their mortgage and buy a caravan.

The fantastic results came as a great relief to host Scott Cam.

“I’ve done a lot of these auctions and I thought it was going to be a tough day, but it’s been the most unbelievable day we have had by a mile. Everyone made sensational money, some of the contestants paid off their mortgages. It has been amazing.”

Tonight’s auction results confirm The Block as Australia’s richest reality program, taking the total prizemoney across its 16 seasons to a whopping $26,499,503.

All The Block winners

2003 – BONDI – Adam & Fiona, $256,000

2004 – MANLY – Jamie & Andrew, $178,000

2010 – VAUCLUSE – John & Neisha, $305,000

2011 – RICHMOND – Polly & Waz, $115,000

2012 – SOUTH MELBOURNE – Brad & Lara, $606,000

2013 – ALL STARS (BONDI) – Phil & Amity, $395,000

2013 – SKY HIGH (SOUTH MELBOURNE) – Alisa & Lysandra, $395,000

2014 – FANS v FAVES (ALBERT PARK) – Steve & Chantelle, $736,000

2014 – GLASSHOUSE (PRAHRAN) – Shannon & Simon, $435,000

2015 – TRIPLE THREAT (SOUTH YARRA) – Darren & Deanne, $935,000

2015 – THE BLOCKTAGON (SOUTH YARRA) – Dean & Shay, $755,000

2016 – THE BLOCK 2016 (PORT MELBOURNE) – Will & Karlie, $815,000

2017 – THE BLOCK 2017 (ELSTERNWICK) – Josh & Elyse, $547,000

2018 – THE BLOCK GATWICK (ST KILDA) – Hayden & Sara, $645,000

2019 – THE BLOCK OSLO (ST KILDA) – Tess & Luke, $730,000

2020 – THE BLOCK BRIGHTON – Jimmy & Tam, $1,066,000

MELBOURNE, AUSTRALIA, November 21: Jimmy and Tam win the Block 2020 auction at on November 21, 2020 in Melbourne, Australia (Photo: Fiona Hamilton)

Mark Willacy and the ABC Investigations-Four Corners Team have won Australian journalism’s highest honour, the Gold Walkley, for their six-month-long investigation “Killing Field”.

The program, which also won the Walkley Award for Investigative Journalism, exposed alleged war crimes by Australian special forces in Afghanistan.

Attempts to report on allegations of war crimes encounter extreme obstacles, yet Mark Willacy and the ABC Team’s unflinching investigations continue to expose suspected cover-ups and deep cultural problems within Australia’s special forces.

The judges were impressed by Willacy’s compelling and brilliant investigation, which included shocking helmet-camera footage of special forces in action on the ground, sharp scripting and probing interviews.

Matthew Abbott was named the Nikon-Walkley Press Photographer of the Year for his work covering the Summer Bushfires and Covid-19. Lucie Morris-Marr’s Fallen (Allen & Unwin) won the Walkley Book Award. Sarah Ferguson, Nial Fulton and Tony Jones’ haunting documentary Revelation (ABC and InFilms) won the Walkley Documentary Award.

The award for Outstanding Contribution to Journalism went to Ross Gittins, for his 40-year commitment to making economics and public policy not only accessible but a must read. He was also honoured for his dedication to mentoring many generations of journalists.

The 65th Walkley Awards for Excellence in Journalism were presented in 30 categories.

The chief executive of the Walkley Foundation, Louisa Graham, said: “The Walkley Foundation has a great deal to be proud of. The challenges of the last year have shown us that journalism is critical to keeping Australians accurately informed; this year’s list of finalists and winners is a testament to the outstanding journalism that is so critical to our democratic process. The Foundation remains strong and stable, enabling us to deliver on our mission to support and celebrate great Australian journalism.”

The chair of the Walkley Judging Board, Lenore Taylor, praised the range and depth of this year’s winners.

“During last summer’s fires factual information at times made the difference between life and death,” she said. “Likewise, facts have been the most important tool for limiting the spread of the coronavirus, and our audiences have had a seemingly insatiable thirst for information. It was the role of journalists to go out and bring us reliable information – because facts are what we do.

“I am always heartened, if slightly overwhelmed, when I see the array of excellent reporting and writing in contention for a Walkley Award – and the journalistic skill and determination evident in every entry.”

2020 Walkley Award Winners

PRINT/TEXT: NEWS REPORT
Award Partner Media Super

Jacqueline Maley and Kate McClymont, The Sydney Morning Herald and The Age, “‘Dirty Dyson’: A harasser on the High Court”
 

PUBLIC SERVICE JOURNALISM
Award Partner Sydney Airport

Nina Funnell, Kerry Warren and Lori Youmshajekian, news.com.au, The Herald Sun, NT News and The Mercury, “#LetUsSpeak: Victoria blocks sexual assault victims from using real names”, “Give Rape Survivors a Voice” and “Gang rape victim becomes first Tasmanian to speak out following gag law reform”
 

INNOVATION
Award Partner Google News Initiative

Dylan Welch, Alexander Palmer, Clare Blumer and Suzanne Dredge, ABC, “Anatomy of a suicide bombing”
 

HEADLINE, CAPTION OR HOOK
Award Partner Qantas

Anthony De Ceglie, The West Australian, “The Royal Formerly Known As Prince,” “Bridget Over Troubled Rorters” and “You Had One JobKeeper”
 

PRINT/TEXT: FEATURE WRITING LONG (OVER 4000 WORDS)
Award Partner UQ

Russell Jackson, ABC, “The Persecution of Robert Muir”
 

PRINT/TEXT: FEATURE WRITING SHORT (UNDER 4000 WORDS)
Award Partner The Sydney Morning Herald and The Age

Liam Mannix, The Age, “The Perfect Virus: Two gene tweaks that turned COVID-19 into a killer”
 

COVERAGE OF INDIGENOUS AFFAIRS
Award Partner PwC Indigenous Consulting

Calla Wahlquist and Lorena Allam, Guardian Australia, “Rio Tinto explodes Juukan Gorge, and BHP’s 24-hour backdown”
 

COVERAGE OF COMMUNITY OR REGIONAL AFFAIRS
Award Partner BHP

Matthew Kelly, Helen Gregory, Anita Beaumont and Donna Page, Newcastle Herald, “Your Right to Know”
 

CARTOON 

David Rowe, The Australian Financial Review, “Thoughts and Prayers”
 

SPORTS JOURNALISM

Jessica Halloran and Julian Linden, The Australian and The Daily Telegraph, “On Thin Ice: Katia’s story”

SPORT PHOTOGRAPHY
Award Partner Nikon

Sam Ruttyn, The Daily Telegraph and The Sunday Telegraph, “UFC 243”
 

RADIO/AUDIO: NEWS AND CURRENT AFFAIRS
Award Partner ABC

Dr Norman Swan, Tegan Taylor and Will Ockenden, ABC, “Coronacast”
 

RADIO/AUDIO: FEATURE

Rachael Brown, Josie Taylor, Tim Roxburgh, Marty Peralta and Trace Team, ABC, “Trace: The Informer”
 

PRODUCTION
Award Partner Judith Neilson Institute for Journalism and Ideas

Four Corners Team, Four Corners, ABC, “Black Summer”
 

SCOOP OF THE YEAR
Award Partner Nine News

Samantha Maiden, The New Daily, “Hawaii Two-O: Scott Morrison’s bushfire holiday”
 

COVERAGE OF A MAJOR NEWS EVENT OR ISSUE
Award Partner Facebook

ABC News and ABC Regional and Local Team, ABC, “ABC Bushfire Coverage”
 

NEWS PHOTOGRAPHY
Award Partner Nikon

Matthew Abbott, The New York Times and Oculi, “A kangaroo rushes past a burning house in Lake Conjola”

BUSINESS JOURNALISM
Award Partner ING

Michael Roddan, The Australian Financial Review, “#AMPToo – sexual harassment at AMP”
 

FEATURE/PHOTOGRAPHIC ESSAY
Award Partner Nikon

Nick Moir, The Sydney Morning Herald, “Firestorm”
 

TELEVISION/VIDEO: CAMERAWORK
Award Partner Australian Super

Adam Bovino, Today and Nine News, Nine, “George Floyd Protests”
 

TELEVISION/VIDEO: NEWS REPORTING
Award Partner Seven

Amelia Brace and Tim Myers, Sunrise, Seven News and The Latest, Seven Network, “Beat the Press: Journalism Under Attack”
 

TELEVISION/VIDEO: CURRENT AFFAIRS SHORT (LESS THAN 20 MINUTES)
Award Partner SBS

Marc Fennell, Ninah Kopel and Joel Stillone, The Feed, SBS, “Stuffed: Inside Australia’s Biggest Museum Heist”
 

TELEVISION/VIDEO: CURRENT AFFAIRS LONG (MORE THAN 20 MINUTES)
Award Partner TEN

Nick McKenzie, Joel Tozer and Sumeyya Ilanbey, 60 Minutes, Nine, “The Faceless Man”
 

INVESTIGATIVE JOURNALISM

Mark Willacy and the ABC Investigations-Four Corners Team, Four Corners, ABC, “Killing Field”

COMMENTARY, ANALYSIS, OPINION AND CRITIQUE

Tony Wright, The Age, “You learn a bit working on a local paper. It’s all about the people,” “The tragedy of Mary and William, and a federation in chaos again” and “The vaccines that saved the rock ‘n’ roll generation, and many more”
 

WALKLEY DOCUMENTARY AWARD
Award Partner NSW Government

Sarah Ferguson, Nial Fulton and Tony Jones, ABC and In Films, Revelation

WALKLEY BOOK AWARD 

Lucie Morris-Marr, Fallen, Allen & Unwin
 

NIKON-WALKLEY PRESS PHOTOGRAPHER OF THE YEAR
Award Partner Nikon

Matthew Abbott, The New York Times and Oculi 
 

OUTSTANDING CONTRIBUTION TO JOURNALISM
Award Partner News Corp Australia

Ross Gittins, The Sydney Morning Herald

GOLD WALKLEY

Mark Willacy and the ABC Investigations-Four Corners Team, Four Corners, ABC, “Killing Field”
 

The 2020 Walkley Judging Board were:

Chair: Lenore Taylor, editor, Guardian Australia
Deputy Chair: Claire Harvey, editorial director, The Australian
Natalie Ahmat, presenter/producer, NITV News
Michael Bachelard, investigations editor, The Age
Michael Brissenden, reporter, Four Corners, ABC
Patricia Karvelas, presenter, ABC Radio National Drive (abstained from judging in 2020)
Mags King, managing photographic editor, The Sydney Morning Herald, The Age and The Australian Financial Review
Deborah Knight, presenter, 2GB
Stella Lauri, network news director, WIN Television
John Lehmann, commercial director and managing editor, The Australian
Hamish Macdonald, host, Q&A, ABC
Mark Mallabone, deputy editor, The West Australian
Heidi Murphy, senior producer, Mornings with Neil Mitchell, 3AW693 (abstained from judging in 2020)
Bhakthi Puvanenthiran, editor, ABC Life
Tory Shepherd, columnist, The Advertiser

Langbroek will join Monty Dimond and Yumi Stynes as part of the line up on the 3PM Pick up from January 2021.

This will mark a return to ARN for Langbroek, where she previously hosted KIIS FM’s Drive Show with Dave Hughes from 2015 to 2017. She then moved to Italy with her family in 2019 but will be returning to live in Melbourne in January 2021.

Of her new role on 3PM Pick Up, Kate Langbroek said, “After our family adventures in Italy, I’m looking forward to returning to magnificent Australia – and ARN – and getting to speak my native language – radio.

“I can’t wait to join the 3PM Pickup, I’ve missed eavesdropping on conversations I can actually understand and hanging out with like-minded friends, so naturally I am beyond excited to team up with those two Aperol Spritzes, Monty and Yumi, for some afternoon fun and funniness.  Which reminds me, I promise I won’t be one of those infuriating people who returns from a stint abroad with an accent and entirely new vocabulary. See you in 2021! Grazie. And ciao!”

ARN’s chief content officer Duncan Campbell said, “I am excited to welcome Kate back to the network. She is a seasoned broadcaster and will bring a new perspective to the show off the back of her time in Italy. Kate has a way of connecting with listeners that sets her apart and we are looking forward to hearing the chemistry and dynamic between Kate, Monty and Yumi come to life on air.”

ARN’s CEO Ciaran Davis said, “Securing Kate is an absolute coup for ARN. She is a well-loved Australian personality who understands the importance of working with our clients for positive commercial outcomes. We’re excited to welcome her back to Australia and, more importantly, back to ARN.”

The 3PM Pick Up returns to air on January 27th on the KIIS Network.

Bec Judd has made the decision to take a break from the media and won’t be returning to the 3PM Pick Up in 2021.

Of Bec Judd’s decision to leave the show, Duncan Campbell said, “Bec Judd has been a fantastic contributor to 3PM Pick Up. The engaging conversation, real life anecdotes and fun that she brought to the show will be missed, but we wish her well on her next endeavours.”

Hosted by Nova’s Matt de Groot and Sarah McGilvray, the event saw the homegrown duo perform live for 120 fans in an intimate show at Sydney’s Hordern Pavilion.

At 18 years old, trailblazer Ruel continues to exceed the hype that surrounds him and is up for four ARIA awards this year. Onstage Ruel said: “A huge thanks to Nova and ARIA, this helps me mentally because I’ve been missing this so much. It feels so good to be performing live again”.

Ruel

Ruel performed his hits As Long As You Care, Hard Sometimes, Younger and Painkiller which is nominated for Song Of The Year at this year’s ARIA Awards.

Following Ruel was Amy Shark who delighted fans with an intimate acoustic performance. Shark told fans: “It’s so amazing to have a gig! I don’t mean to brag, but it’s not my first Red Room so I thought ‘what can I do to make it more special’ so it’s just you and me and my guitar. It’s just us tonight”.

Amy Shark

One Australia’s most talented and successful singer songwriters, Shark is nominated for multiple ARIA awards this year including: Best Female Artist, Best Pop Release and Best Live Australian Act. Fans were treated to acoustic versions of Amy’s hits Adore You, Mess Her Up, Everybody Rise and I Said Hi.

A second event last week featured Guy Sebastian and Jessica Mauboy who wrapped up the Nova’s Red Room ARIA Week celebrations.

Hosted again by Nova’s de Groot and McGilvray, the event saw the homegrown superstars also perform an intimate show at Sydney’s Hordern Pavilion.

Jessica Mauboy

Sebastian is nominated for two ARIA Awards this year including Best Male Artist and Best Video for his hit Standing By You from his newest album T.R.U.T.H. Sebastian brought his high energy and fun, upbeat signature style to the stage with the hits Battlescars, Let Me Drink and Before I Go along with a moving acoustic rendition of James Arthurs’ Lasting Lover.

Mauboy is nominated for Album of the Year for her EP Hilda at this year’s ARIA Awards and she performed hits Little Things and Sunday amongst others for fans.

2020 has been a challenging time for the music industry with the Red Room series going online in April 2020. Nova’s Red Room Live Stream continued to connect artists and their fans during Covid with performances from Conan Gray, YUNGBLUD, Dua Lipa, Kita Alexander, BENEE, James Bay, The Vamps and Illy.

Born in Melbourne in 1941, Helen Reddy ARIA Hall Of Fame inductee lived her life a true pioneer who united music with a deep passion for gender equality, impacting an entire social movement and leaving a profound mark on history with her 1972 feminist anthem, I Am Woman.

Joining in the tribute as part of the virtual chorus Amy Sheppard, Christie Wheelan-Browne, Clare Bowen, Dami Im, Emma Donovan, Erika Heynatz, Fanny Lumsden, GRAACE, Kate Miller-Heidke, Katie Noonan, KLP, Missy Higgins, Mo’Ju, Odette, Samantha Jade, Teeny Tiny Stevies, Thandi Phoenix and Wendy Matthews.

I Am Woman became the unofficial anthem of female empowerment, for millions of women around the world the track represented hope and change. Having hit No. 1 on the Billboard charts in the US in late 1972, six months after it’s initial release, growing demand and popularity of the track had become so widespread throughout the world that it could no longer be ignored; it’s lasting impact already evident. The following year, she accepted the GRAMMY award for Best Female Pop Vocal.

For the next decade, Reddy would go on to have over 20 entries into the Hot 100 Billboard Chart. She would also secure the number one spot on the charts for Delta Dawn in 1973 and again with Angie Baby in 1974, for which saw her tie the then-record for most No. 1s by a female artist, along with Cher, Roberta Flack and Connie Francis.

Helen Reddy has been recognised for her outstanding contribution to both the music industry and to female empowerment, in 2018 she was the first inductee into the Australian Women in Music Awards honour roll and was inducted into the ARIA Hall Of Fame in 2006, was also presented with a lifetime achievement award at the 16th annual G’Day USA Gala in Los Angeles in 2019.

Reddy was in attendance at the special ARIA Hall of Fame event in 2006 where Vanessa Amorosi delivered a show-stopping version of I Am Woman which people still talk about today.

ARIA has also confirmed that joining the stellar list of presenters are superstars Kylie Minogue, Mick Fleetwood and Robbie Williams.

Birds Eye View, a revealing docu-series about life in a Northern Territory women’s prison, has been named Podcast of the Year, and Life Uncut, hosted by The Bachelor alumni Laura Byrne and Brittney Hockley, was named the Listeners’ Choice after a public vote of over 45,000 listeners.

Laura Byrne and Brittney Hockley

Hosted by Aussie comedian, presenter and podcast fan Froomes, the ceremony celebrated the best content and creators in the on-demand audio industry across 24 different categories. The live stream hooked up over 100 nominees from across Australia with winners doing acceptance speeches from their homes.

Dave Gertler, founder of the Australian Podcast Awards, said: “Last night’s ceremony was a wonderful and inspiring showcase of the breadth and diversity of Australian podcasts. When it comes to producing world class content, local creators continue to punch well above their weight. We’re thrilled to have the opportunity to celebrate the growth of the industry in Australia. Congratulations to all the winners and nominees across the 24 categories.”

Australian Podcast of the Year award winners

Podcast of the Year supported by PodcastOne Australia
● Winner: Birds Eye View (StoryProjects with women in Darwin Correctional Centre)

The Listener’s Choice
● Winner: Life Uncut Podcast (Laura Byrne, Brittany Hockley & iHeartPodcast Network Australia)

The Spotlight Award supported by iHeart Podcast Network Australia
● Winner: Science Vs (Gimlet Media)
● Silver: The Last Voyage of The Pong Su (The Age and Sydney Morning Herald)
● Bronze: The Lighthouse (News Corp Australia)

Moment of the Year supported by Acast
● Winner: Matt & Alex – All Day Breakfast – Black Lives Matter (PodcastOne Australia)
● Silver: Coronacast (Dr Norman Swan and Tegan Taylor for ABC)
● Bronze: Squiz Kids Q+A with Prime Minister Scott Morrison (The Squiz)

The Bullseye Award supported by Acast
● Winner: The Gays Are Revolting (Lipp Media)
● Silver: Prof Joe Covid 19 Aged Care Podcast (Dignity of Risk Australia)
● Bronze: All Ears (All Ears English)

The Creativity Award supported by iHeart Podcast Network Australia
● Winner: Science Vs: Pandemic! (Gimlet Media)
● Silver: The Last Voyage of The Pong Su (The Age and Sydney Morning Herald)
● Bronze: Tony Martin’s SIZZLETOWN (pots n pans productions)

Best Lockdown Podcast
● Winner: The New Social Contract (Impact Studios at UTS)
● Silver: Busy Bodies with Mr Snot Bottom – Healthy Heroes Episodes (Mr Snot Bottom for Kinderling Kids Radio)
● Bronze: Coronacast (Dr Norman Swan and Tegan Taylor for ABC)

Best New Podcast supported by Acast
● Winner: 7AM (Schwartz Media)
● Silver: Life Uncut Podcast (Laura Byrne, Brittany Hockley & iHeartPodcast Network Australia)
● Bronze: Who The Hell is Hamish? (News Corp Australia)

Best Arts and Culture Podcast
● Winner: Bad Behavior (Nikila Cranage, Rosalind Anketell, Namcheja Maghembe)
● Silver: Margin Notes (Yen Eriksen and Zoya Patel)
● Bronze: Eyes on Gilead (Fiona Williams, Natalie Hambly, Sana Qadar, Haidee Ireland and Jeremy Wilmot for SBS)

Best Branded Podcast supported by PodcastOne Australia
● Winner: That’s Incredible (Mamamia Podcasts)
● Silver: Beyond Blue: Not Alone (Beyond Blue)
● Bronze: This Girl Can – Victoria (VicHealth)

Best Business Podcast supported by Nova Entertainment
● Winner: Women are the Business (University of Melbourne)
● Silver: Building A Unicorn (Lawson Media)
● Bronze: She’s on the Money (Victoria Devine & iHeartPodcast Network Australia)

Best Comedy Podcast supported by Spotify for Podcasters
● Winner: A Rational Fear (Dan Ilic for Downwind Media)
● Silver: Tony Martin’s SIZZLETOWN (pots n pans productions)
● Bronze: Dragon Friends (Dragon Friends Podcasting)

Best Current Affairs Podcast supported by Spotify for Podcasters
● Winner: Background Briefing (The Background Briefing Team for Australian Broadcasting Corporation)
● Silver: Full Story (The Guardian)
● Bronze: 7AM (Schwartz Media)

Best Documentary Podcast supported by PodcastOne Australia
● Winner: BIRDS EYE VIEW (StoryProjects with women in Darwin Correctional Centre)
● Silver: Inside the Big Day Out (Double J)
● Bronze: Full Story (The Guardian)

Best Entertainment Podcast supported by Podfollow
● Winner: Just The Gist (Rosie Waterland & Jacob Stanley)
● Silver: The Wellness Collective (Natalie Kringoudis and Cecelia Ramsdale)
● Bronze: Matt & Alex – All Day Breakfast (Matt & Alex – All Day Breakfast for PodcastOne Australia)

Best Family Podcast
● Winner: Squiz Kids (The Squiz)
● Silver: Busy Bodies with Mr Snot Bottom (Mr Snot Bottom for Kinderling Kids Radio)
● Bronze: Little Yarns (ABC Kids listen)

Best Fiction Podcast
● Winner: Destination: Earth (Patrick McGinley)
● Silver: Six Cold Feet (J.M. Donellan, Dead Eric Productions)
● Bronze: Nocturnal Transmissions (Kristin Holland)

Best Indigenous Podcast supported by SoundCartel
● Winner: Little Yarns (ABC)
● Silver: Search Engine Sex (Spotify)
● Bronze: My Mum Is A Pornstar (Miss Honey Analverkehr & Maz)

Best Interview
● Winner: In My Country (Pia Perversi-Burchall & Adam Wood for That’s Not Canon Productions)
● Silver: Shoes Off: Diana Nguyen (Jay Ooi)
● Bronze: Genocide Apology Brett de Hoedt for Podcasts of Justice)

Best Radio Podcast supported by Omny Studio by Triton by Triton Digital
● Winner: Take 5 (Double J Radio)
● Silver: Studio 1 (Matthew Layton for Vision Australia Radio)
● Bronze: Background Briefing (Australian Broadcasting Corporation)

Best Sex & Relationship Podcast supported by Piccolo Podcasts
● Winner: Search Engine Sex (Rowdie Walden)
● Silver: Love Etc. (Shameless Media)
● Bronze: My Mum Is A Pornstar (Miss Honey Analverkehr & Maz)

Smartest Podcast
● Gold: She’s on the Money (Victoria Devine & iHeartPodcast Network Australia)
● Silver: Ask the Specialist: Larrakia, Tiwi and Yolngu stories to inspire better healthcare
(Vicki Kerrigan, Stuart Yiwarr McGrath, Rarrtjiwuy Melanie Herdman, Bilawara Lee and Pirrawayingi Puruntatameri for Menzies School of Health Research)
● Bronze: Science Vs (Kaitlyn Sawrey & Wendy Zukerman for Gimlet Media)

Best Sports Podcast supported by Whooshkaa
● Winner: Ordineroli Speaking (Neroli Meadows & iHeartPodcast Network Australia)
● Silver: The 19th Tee Podcast (Nathan Drudi & Kieran Marsh)
● Bronze: Dyl and Friends (Dylan Buckley)

Best True Crime Podcast supported by Whooshkaa
● Winner: Unravel True Crime: Snowball (ABC Audio Studios)
● Silver: The Lighthouse (The Australian)
● Bronze: Nut Jobs: Cracking California’s Strangest $10 Million Dollar Heist (Marc Fennell for Audible)

Best Wellbeing Podcast
● Winner: Curveball – The Club you didn’t want to be part of. (Beth Armstrong – Curveball Media/Luke Mynott – Unison Sound)
● Silver: Young Blood – Men’s Health Matters (Callum MacPherson)
● Bronze: Healthy-ish (BODY + Soul, News Corp Australia)

Best Network or Publisher supported by Omny Studio by Triton Digital
● Winner: Australian Broadcasting Corporation
● Silver: PodcastOne Australia
● Bronze: The Squiz

Both Crowe and Kidman have amassed recognition of the highest order at home and abroad over the last 30 years, beginning with their first Australian Film Institute Awards – now known as the AACTA Awards – in 1991 and 1987 respectively.

Since then, Crowe and Kidman have received Oscar, BAFTA and Golden Globe awards for their work internationally, while also continuing to work on Australian productions.

Kidman is currently filming an adaptation of Liane Moriarty’s novel Nine Perfect Strangers in Australia, following the success of the Big Little Lies adaptation, which saw Kidman receive Emmy Awards for performance and producing. 

Both Crowe and Kidman have been instrumental to growing AACTA internationally since the Australian Film Institute embarked on its historic transformation 10 years ago to raise the Australian screen industry’s profile internationally, and spur business, sales and job opportunities at home and abroad.

AACTA CEO Damian Trewhella (pictured) said he was delighted to formalise Crowe and Kidman’s connections with Australia’s top screen body, given the impact of their support over the last 10 years.

“The support of Russell Crowe and Nicole Kidman has been integral to AACTA’s growth over the last decade, helping us to achieve record industry and audience growth and engagement in Australia and internationally.

“From charting brave new territory by hosting the inaugural AACTA International Awards in L.A. in 2012, to hosting AACTA Awards events in Sydney and China – while also leading the AACTA Asia International Awards as Jury President – Russell has been with us each step of the way.

“Similarly, Nicole has presented at and supported many of our events in Sydney and L.A. over the last 10 years, increasing our profile and helping to garner new audiences for Australian content.

“Naturally tenacious and talented, Russell and Nicole have both received recognition from the world’s top screen bodies, with their first AFI Awards helping to launch their international careers – a path which AACTA is fostering for Australia’s next generation of talent, and which will benefit immensely from the support of our new Presidential team.

“As the screen industry continues to evolve, so too does AACTA. With an ambitious vision to further embrace the expanding world of content, storytelling and new platforms, we require a new era of leadership, which we know Russell Crowe and Nicole Kidman will bring, opening an exciting new chapter for our industry and for the Australian Academy,” Trewhella said.

AACTA President Russell Crowe said: “It’s an incredible honour to be asked to serve as AACTA President. I want to refocus our politicians, of all persuasions, on the power and reach of our local screen industry”

“I’ll be working on encouraging the government to give Australian producers the fiscal tools they need to be globally competitive, while simultaneously fostering local talent and magnetising the industry to attract international productions.

“We need to grow our membership in every area of the industry and encourage people who work in film and television and people who love film and television to get involved with their Academy.

“I’m doubly honoured that Nicole is going to stand with me. I think we will make a good team. She’s pretty hard to say no to.”

AACTA Vice President Nicole Kidman said: “I’ve always been so proud of the Australian screen industry and what it continues to achieve globally. I’m looking forward to playing a role in setting a tone and a platform for future success.”

NewsProtect allows publishers and media owners to police unlicensed use of their news content as well as monitor attribution rates for their journalism across millions of news stories, as they’re published in Australia and around the world.

The reborn AAP will become NewsProtect’s first customer, three months after the newswire was acquired by a consortium of philanthropists and restructured as a not-for-profit. Other publishers who license their content to Streem will also be invited to access NewsProtect.

Streem chief executive Elgar Welch said the company was eager to help publishers ensure they were properly rewarded for journalistic effort.

“News content is extremely valuable. Streem understands that and is focused on leveraging technology to aid publishers in fighting theft and keeping track of who is using their content and how.”

Earlier this month, Streem became the only media monitoring company to sign a new licensing agreement with the Copyright Agency that included higher payments to news publishers.

AAP CEO Emma Cowdroy (pictured) said with 76 journalists providing independent, objective news to 400+ media outlets around Australia, it was impossible to track usage and attribution manually.

“Partnering with Streem allows us to concentrate on producing excellent news coverage and working hard to understand our reach and impact,” Cowdroy said.

“It’s important we monitor the use of AAP content, to be fair to our paying clients but also for the ordinary people helping crowdfund our journalism.”

NewsProtect leverages realtime news data that enables publishers to view potential infringements, issue takedown notices and protect original journalism. The cloud-based tool empowers content security by enabling editors, journalists and media owners to protect their content from a single Desktop platform.

“As publishers increasingly turn to subscription-based revenue models, we are seeing the growing emergence of copycat news websites, blogs and forums reproducing valuable content without authorisation,” said Welch.

“NewsProtect offers a technology-driven solution to tracking and flagging unauthorised publication of content, stopping losses and ensuring revenue streams continue.”

For a third successive week Nine has ridden to victory on the back of State of Origin and The Block. The difference this week – there was just one episode of The Block and the football, but that combo was enough to drive Nine to a win.

Nine’s trump card in Week 48 – the final week of survey for 2020 – will be the final episode of The Block for 2020 – The Auctions.

That auction episode could be enough to keep Nine ahead of Seven, however the final two episodes of SAS Australia for the year will help propel Seven into the week.

Nine Week 47

Primary share: 22.1% (22.9%)
Network share: 30.5% (31.3)%
Multichannels: GO! 2.7% (2.7%) Gem 2.5% (2.3%) 9Life 2.1% (2.1%) 9Rush 1.2% (1.2%)

Just one episode of The Block in the week and it was the second-most watched show ahead of Nine’s other audience magnet – State of Origin Game 3.

The audience for the third State of Origin clash was bigger than the first two and the match, which was a decider after it was 1-1 after two games, also broke a record for the biggest live VPM (video player measurement) audience ever – 174,000. The game also had the highest BVOD (live and on-demand) audience ever – 199,000.

The national TV audience numbers for the three State of Origin games this year:

Game 1: 2,378,000 (Metro 1,598,000 Regional 780,000)
Game 2: 2,434,000 (Metro 1,654,000 Regional 780,000)
Game 3: 2,732,000 (Metro 1,882,000 Regional 850,000)

The Block has also been performing well for 9Now with an average BVOD audience of 136,000 (Live + VOD) this season.

Seven Week 47

Primary share: 18.1% (16.6%)
Network share: 26.2% (25.3%)
Multichannels: 7TWO 3.3% (3.7%) 7mate 2.6% (3.3%) 7flix 2.1% (1.8%)

Seven ranked #1 primary channel on the five nights of the week without competition in the form of The Block and State of Origin.

It’s best numbers after Seven News came from the two episodes of SAS Australia which had an average of 673,000 and they both ranked #1 in their Monday and Tuesday timeslots.

Other strong performers included Beat The Chasers on 630,000 and Home and Away which averaged 541,000.

ABC Week 47

Primary share 12.7% (13.5%)
Network share 18.3% (19.2%)
Multichannels: Kids/Comedy 3.0% (2.9%) ME 0.5% (0.5%) News 2.2% (2.2%)

The primary channel performed strongest on Monday and Friday as its mid-week line-up of Hard Quiz and Gruen was impacted again, and for the last time this year, by rugby league.

The Monday numbers held up despite no Four Corners this week while Friday was the result of the Gardening Australia and Vera combo.

10 Week 47

Primary share 9.4% (10.3%)
Network share: 16.5% (16.9%)
Multichannels: Bold 3.7% (3.4%) Peach 2.8% (2.6%) Shake 0.5% (0.5%)

Tougher week with just Have You Been Paying Attention? the only major entertainment franchise still on air. No surprise then that 10’s best night was Monday with a share of 13.6%.

The Living Room was competitive on Friday where it ranked #1 entertainment program under 50 for the night.

Saturday night’s coverage of the Tri-Nations Test between Australia and Argentina did 332,000 which was up 130% on the same clash in 2019.

SBS Week 47

Primary share: 4.9% (4.4%)
Network share: 8.5% (7.3%)
Multichannels: Viceland 1.5% (1.2%) Food 0.9% (0.8%) NITV 0.1% (0.3%) World Movies 1.1% (0.7%)

Share lifted week-on-week thanks to growth at all channels except NITV which pulled back after a lift for NAIDOC Week in Week 46. The biggest audience tuned in for Great British Railway Journeys with 227,000 on Tuesday.

The primary channel was a model of consistency with five successive nights just under 5%.

Singles

24kGoldn featuring Iann Dior holds at #1 for a sixth week with Mood.

The battle for the top remains a race between 24Goldn and Ariana Grande with Positions from Grande spending another week at #2 after two weeks at #1 and four weeks on the chart.

The highest new entry of just three top 50 chart debuts this week is Billie Eilish with Therefore I Am at #3. Ahead of a performance of the song for the ARIA Awards this week from LA, the track is the third time in the top 10 for Eilish this year.

The most significant chart arrival this week is at #21 where Fly Away from Tones and I debuts. This is the third new tune to chart this year for Tones and I after Bad Child (April) and Ur So F**kInG cOoL (June). Toni Watson is also still represented on the chart of course by Dance Monkey which sits at #37 after 76 weeks including 24 of those weeks at #1. The new song is reportedly Watson’s first new music from this year destined to appear on her debut album.

The third new entry this week is Whoopty from US rapper CJ at #41.

Albums

An impressive chart takeover by Australian artists this week and an appropriate way to start ARIA Week. Australian artists have seven of the top eight positions on the Album Chart with Ariana Grande the only interloper with Positions at #3.

Four of those seven Aussies in the top eight are new this week. The three maintaining a top 10 spot are Kylie with Disco at #2 in its second week, The Kid Laroi with Fuck Love (Savage) at #4 after 17 weeks and Guy Sebastian at #5 with T.R.U.T.H. for a fifth week.

The four new arrivals are:

#1 AC/DC with PWR/UP. The sixth #1 for the iconic rock band comes with their first album in six years. Sadly missing of course is the late Malcolm Young, but happily back on the album are vocalist Brian Johnson, drummer Phil Rudd and bass player Cliff Williams.

ARIA notes this week AC/DC achieve a chart record by being the only Australian group to have #1 albums at least once each decade over five decades. AC/DC topped the Australian Albums Chart in the pre-ARIA era with Back In Black (#1 March 1981). In the ARIA era (July 1983-present), they’ve also had #1s with Live (#1 November 1992), Ballbreaker (#1 October 1995), Black Ice (#1 October 2008) and Rock Or Bust (#1 December 2014). With six chart toppers, they become equal first (with Hilltop Hoods) in terms of Australian groups with the most #1 albums.

Angus Young commented this week: “A very big thank you to Denis, and all at Sony Music Australia, and everyone else in Australia who’ve put in their time, effort and creativity to get PWR/UP to #1! Also a big shout out to all our fans, old and new. You are, and always have been, our guiding inspiration.”

ARIA CEO Dan Rosen said: “Congratulations to AC/DC on topping the ARIA chart for a record-breaking fifth decade in a row. In a year of uncertainty, at least we can rely on AC/DC to rock the roof off the place. Legendary barely describes their place in Australian music, and after all these years, we continue to salute AC/DC.”

PWR/UP is the 16th Australian #1 album on the ARIA Charts in 2020.

#5 Delta Goodrem with Only Santa Knows. Goodrem’s first studio album in four years features two originals and 11 cover versions including The Little Drummer Boy, White Christmas and Silent Night. Goodrem will be hosting the 34th ARIA Awards this week on Nine.

#7: Onefour with Against All Odds. Western Sydney’s finest crash into the top 10 with their debut album chart entry after four singles charted earlier this year. The six-track EP also an intro and two interludes.

#8: Josh Teskey & Ash Grunwald with Push The Blues Away. Teskey Brothers vocalist and rhythm guitarist John Teskey has helped blues musician Ash Grunwald to his ARIA top 10 debut with this collaboration. The public got a taste of what was to come after the ABC Sunday music show The Sound featured a performance of the album track Thinking ’Bout Myself back in August.

#10: Andre Rieu with Jolly Holiday. The second Christmas album to chart top 10 this week and one of many which will flood the chart in coming weeks. The music on this album is from Christmas concerts in 2019 held in Maastricht. Tracks on the album include Jingle Bells, We Wish You a Merry Christmas, I’m Dreaming of a White Christmas and Silent Night.

Four other releases debuted in the top 50:

#15 Chris Stapleton with Starting Over. The fourth studio album from the US singer-songwriter.

#19 Johnny Cash and the Royal Philharmonic Orchestra. Recorded at Abbey Road, this in another in the series that feature the RPO showcasing classics in a new music setting. The producers worked with Johnny’s son John Carter Cash who was executive producer.

#22 Benee with Hey U X. The much-anticipated debut album from the 20-year-old New Zealander who is making waves globally. She performed on The Late Show with Stephen Colbert last week.

#35 Andrea Bocelli with Believe. Also on The Late Show last week was Andrea Bocelli. The Italian tenor will be performing a televised Believe In Christmas concert on December 12.

The Christmas season doesn’t officially start until Human Nature say so, and there have been sighted this week at #46 as The Christmas Album returns to the chart.

Primetime News
Nine News 979,000
Seven News 925,000
ABC News 608,000
10 News First 257,000/207,000
SBS World News 174,000

Daily current affairs
Insiders 413,000
The Project 270,000/325,000

Breakfast TV
Sunrise 207,000
Today 201,000
News Breakfast 164,000

Late Night News
Nine News Late 436,000

Sunday TV 

Seven: Beat The Chasers followed the news with 583,000 after 630,000 a week ago.

Crime Investigation Australia looked at the murder of Anita Cobby with 244,000 watching.

Nine: Viewers of the final episode of The Block for 2020 were as shocked as the Blockheads last night as bidding took off at a furious pace. Only one property failed to make the contestants a profit of half a million and even the house renovated by David and Jade didn’t miss that by much. The five properties sold for a combined $20m with three of the properties selling for over $4m and the other two just under that mark. The total profit for the contestants was $3,332,002 with winners Jimmy and Tam taking away $1,066,000.

The Block Auctions (in order of sale)

Luke and Jasmine

Reserve: $3,350,000
Sale price: $3,856,000
Profit: $506,000

Jimmy and Tam

Reserve: $3,290,000
Sale price: $4,256,000
Profit: 1,066,000 (inc $100,000 for the highest profit)

George and Sarah

Reserve: $3,350,000
Sale price: $4,000,0002
Profit: $650,002

David and Jade

Reserve: $3,340,000
Sale price: $3,800,000
Profit: $460,000

Harry and Tash

Reserve: $3,350,000
Sale price: $4,000,000
Profit: $650,000

The ratings took Nine over the top with the episode starting on 1,428,000 and then climbing to 1,792,000 for the reveal of the winner. The properties last year were sold in Week 46 of survey with a slightly higher audience – 1,538,000 and 1,919,000.

On the final 60 Minutes in survey this year, Sarah Abo reported on 13 Australians snatched of flights in Qatar recently and questioned by authorities. The audience of 841,000 would be one of the biggest of the year if it is not later time corrected.

10: The Sunday Project featured an interview with Nigella Lawson with 325,000 watching the program after 7pm.

Lawson was then also one of the guests on a busy Graham Norton Show with 269,000 watching.

An episode of FBI then did 214,000.

ABC: The renovation of a derelict Queenslander featured on Restoration Australia with 485,000 watching up against the final of The Block.

The final episode of the all-too-short Roadkill then was on 375,000.

SBS: Lost Treasures of the Maya took the 7.30pm slot with 151,000 watching. The audience then grew to 203,000 for Pompeii: After the Eruption at 8.30pm.