Todd Sampson returns to the 10 Network this week for the new season of Mirror Mirror. The two-part series Mirror Mirror: Love & Hate, will air on Monday, October 10 and Tuesday, October 11,  at 7.30pm on 10 and 10 Play.

Mirror Mirror kicked off last year as the series explored the societal crisis of body image dissatisfaction and the manipulative trillion-dollar industry that profits from it.  Over the two nights, Sampson lifted the lid on the beauty industry and explored how people’s obsession with looks is exploited by the fitness, diet, and pornography industries and how an image-obsessed culture can easily lead to disorder.

Now, the series will follow Sampson as he explores how the internet is changing us and what we can do about it.

Mediaweek caught up with Sampson to discuss what viewers can expect from the new series, who said that expanding Mirror Mirror was always part of his plan.

“I had seen Mirror Mirror as a broad concept that was about reflecting back society to us. I’ve had a number of different ideas and different things that I think could work within that series. One was the internet, which arguably, we’re on the cusp of one of the biggest crisis of society ever.”

Considering that season 1 of Mirror Mirror touched heavily on the internet as well, as part of its investigation into body image dissatisfaction, Sampson said that he wasn’t concerned over retreading similar ground.

“It’s not a problem when the topic is as deep and as wide as the internet. We didn’t really cover body image satisfaction in this. Except there’s one moment in the suicide segments where we realised that the young woman had been suffering body image dissatisfaction. The point that we we’re making there is that Facebook, and Instagram knew about the correlation between body image dissatisfaction and Instagram. This was from their own internal research that they buried for two years until Frances Haugen drew attention to this research.”

Working with a commercial network

The placement of Mirror Mirror in a primetime weeknight slot was a brave move by 10 last year, and one that the broadcaster is doubling down on now by airing the second series in the same timeslot. The show pushes the envelope of what is considered primetime material with its naturally confrontining nature. When asked about working with a commercial network on a project like this, Sampson said that he has had nothing but support from 10.

“I don’t really have that feeling that most people talk about when they talk about a commercial network. I have never had any restrictions from channel 10. They’ve been incredibly supportive, even of the most controversial content. I don’t know what that commercial filter is, because I don’t have that.

“What I did understand is that the show appealed to a lot of young audience and it appealed to a lot of parents with young kids at home and it was in the 7:30pm primetime slot. The opening scene of this new series is quite shocking and it will be for a lot of people. We needed to allow people to use their mind’s eye than for us to be explicit. It’s illegal for us to be explicit, it would have been illegal for us to be explicit even at 8:30pm It’s that graphic.”

What to expect from Mirror Mirror: Love and Hate

When discussing the show, one situation in particular featuring the popular online platform Omegle came up. While understanding that the situation might seem controversial, Sampson said that the purpose of the show isn’t to push the envelope.

“We’re on the borderline there. We went with a former police officer who was dedicated to cybersecurity and a actress who played a 14 year old, who was actually 19. We went on Omegle, and it was unbelievable. She was groomed within 10 minutes and there was someone masturbating and at one stage, I couldn’t take it anymore. I shouldn’t have dont it but it’s not on camera, I ran to the front of the camera and said, “you should be in fucking prison”. He went blank on the screen. and then I went back to controlling what was being said, and the actors couldn’t see anything. As I got back he went back to masturbating, and it’s the same fellow who tried to groom me on WhatsApp. This is all within 10 minutes of being on on the app.

“The intent is not to be shocking or even to push the envelope. Young kids watching that will have known about this for years, so that’s not the point. The point is to explore the world in a way that has impact and in a way that’s practical for people so that they can learn what they can do, as opposed to just feeling paralised.”

Todd Sampson standing in on a hair transplant in season 1

The characters that make Mirror Mirror

The heart and soul of the series in season one was multi dimensional characters that allowed Sampson to tell the story from a personalised point of view. Sampson said that this once again the case this year.

“All of it is seen through the eyes of those that are experiencing it, every segment. It’s all true. There’s no theory, obviously the experts come in and they explain things and they get practical tools, but we really see the world through the eyes of those living it. For me, that’s what interests me the most. Those are the stories I like telling.”

Sampson’s most well known work for 10 was his series Body Hack which saw Sampson himself actively get involved in the subject matter, for Mirror Mirror he said it was a conscious decision to step away from that style.

“I made a very conscious choice to not do that as much in the series because I don’t want to be a distraction. I don’t want it to become about me. I fully immerse myself in their world. I’m there with them. I don’t judge them. I hear them out. It’s not a debate. It’s not a gotcha series. A lot of this was emotional for me, I cried more in this series than I cried in all of Body Hack combined.”

The Future of Mirror Mirror

When asked about the future of the series, Sampson said that he already has a couple of ideas in mind.

“There’s plenty to do. I’m just working those things out now. I get very myopic when I’m film making, so I spent eight months only thinking about this, it’s all I can think about when this is on.”

Created and written by Todd Sampson, Mirror Mirror: Love & Hate is a Baltimore Films production for Network 10.

After the last two attempts at getting Australia’s Got Talent on to screens were quashed by Covid, the show is finally back bigger and better than ever.

With new judges, new talent, and a whole new set of thrills, Australia’s Got Talent will be back on Seven and 7Plus from 7pm Sunday, October 9.

Mediaweek spoke to Digby Mitchell, supervising executive producer at Fremantle Australia about putting the latest season together and why audiences have stuck with the Got Talent format for so long.

Digby Mitchell

Getting this season of Australia’s Got Talent off the ground proved to be more difficult than first expected, with covid shutting the show down – twice. 

“It was a slog, it’s been over three years of work to get this ready,” says Mitchell. “After the 2019 season, we went on the road to do the original casting call for this show and find talent – a pandemic and two shutdowns later, here we are delivering the show!”

The cast that the team found while out on the road isn’t exactly the same as the cast they’ve got taking to the stage in 2022, but Mitchell says that there were some plus sides to the extra time.

“There are some people that were no longer available, but there were some people who were suddenly available. That was the one silver lining of the pandemic – all of these artists who are touring the world and usually busy with gigs suddenly had a lot of free time and were interested in being on the show. The cast did change over the three attempts to make the show, but I feel like we were really lucky in the end because we’ve got the best cast that we’ve ever had.

“We had three years to cast the show, and casting the show is a real challenge. We’re very proud of the people who we’ve got on the show this year.”

Taking their seats on Australia’s Got Talent judging panel are comedian and author David Walliams; actor and radio host Kate Ritchie; multi-platinum selling recording artist and star of Britain’s Got Talent Alesha Dixon; and actor and entertainer Shane Jacobson, who is making his return to the show.

“They were all really fantastic,” says Mitchell. “David and Alesha are pros, they’ve been doing this for years – they know the show and they know the format really well. Kate had been a fan of the show for a long time, and the timing was finally right for her to step in and do it. We were really excited to have Kate as part of the program. Shane’s an old hand, he’s done one season with us back in 2019, so it was great to have to be working with him again. 

“They all brought a different perspective to it. It’s good to have old hands, and it’s good to have new people who have never seen anything like this before. They all brought their own point of view, and they were they’re a pleasure to work with.”

The Got Talent format has been entertaining audiences globally for over 5 years, and was named the world’s most successful reality TV format ever by Guinness World Records in 2014. For Mitchell, the key to the longevity of the show is the surprises that keep the audience coming back.

“You just don’t know what’s coming. One minute you’ve got little girls dancing ballet, and the next minute you’ve got sword swallowers and comedians. It’s just such a mixed bag of talent, you never know what’s around the corner. I think that excitement and the unknown keeps people engaged.”

As for what makes the local version of the global juggernaut stand out, Mitchell points to its appeal to the uniqueness of the Australian market.

“Australians like seeing Australians giving it a go, and that’s what we do. We’ve got professionals who travel the world doing their thing, but we’ve also got people who’ve just been rehearsing in their bedrooms and they want to give this a crack. I think that ‘I’m giving it a go’ mentality is really entertaining for Australian viewers. 

“I also think Australians like the outrageousness of the show. It’s partly a comedy show when you’ve got people like Shane and David on the judging panel. It’s a show that doesn’t take itself too seriously, and I think that also appeals to the Australian audience.”

When asked what audiences can expect from this season of Australia’s Got Talent, Mitchell says there will be “more variety, more laughs, and more unexpected moments.”

“You really don’t know what’s coming next on this show, and I think that is where the excitement comes from. We were doing things outside this year, we’ve got a motocross stunt team – the scale of the show has gotten bigger. It’s the best acts from around the world and around the country doing their thing on the biggest stage in the country.”

The Seven Network’s Angie Asimus has been confirmed as the host of the inaugural Mediaweek 100 Power Lunch, which will be held on Friday, October 21 at The Crown’s Pearl Ballroom in Sydney.

Buy tickets here.

Based in Sydney, Asimus is a news and weather presenter and reporter for 7NEWS. She presents the weather for Sydney’s 7NEWS five nights a week.

Since joining the team in 2014 after five years with Seven News Queensland, Angie has covered a range of breaking stories, including the Lindt Café Siege, Bondi’s cyclone-strength storm and bushfires in the Blue Mountains.

Mediaweek caught up with Asimus ahead of the Mediaweek 100 Power Lunch to chat about her career and why she said yes to hosting.

You’ve covered a huge range of major stories in your time with 7NEWS, what have been some of the ones that stand out most in your memory?

“I joined Seven News in 2008, so I’ve been able to cover many memorable moments during that time. Some major ones that stand out are, the Lindt Café Siege, Cyclone Debbie, The Duke and Duchess of Sussex’s tour of Australia, former NSW Premier Mike Baird’s trade mission to Israel, and Tom Cruise on the red carpet. As with many major stories, it’s often the unexpected everyday people you meet who stand out as truly incredible in the face of adversity.”

What originally drew you to weather reporting, and what keeps you doing it?

“I am a journalist by trade having studied Media and Communications at the University of Sydney. It wasn’t until I moved to Queensland with Seven News that I became fascinated by the weather. Covering cyclones in the Far North and the devastating Brisbane floods of 2011 gave me an appreciation for the power and unpredictability of the weather. I decided to add to this passion with a Graduate Certificate in Climatology from the University of Southern Queensland. I’ve been covering major weather events ever since.”

Angie Asimus at the dawn service this year at Currumbin with Sunrise team Natalie Barr, David Koch and Mark Beretta

What’s it like going to work on Australia’s #1 TV program every day?

“I really do love my job. The hours can be crazy, you can be sent anywhere depending on the news of the day but you never live the same day twice. I’ve even come to enjoy the pressure of deadlines! You have to be comfortable with throwing out your whole day’s preparation if something changes late in the day and it has to be as close to perfect as possible by the time we go to air, whether we have 8 hours or 8 minutes to prepare. It’s really quite a buzz.”

What made you say yes to hosting the Mediaweek 100 Power Lunch?

“The media has been my entire career. It’s all I’ve ever wanted to do. So, being part of such a prestigious event with industry leaders, directors and talent will make for an inspiring day. It’s also safe to say, the conversation should be lively and flow very freely! I think it’ll be a lot of fun.”

What are you most looking forward to about the Mediaweek 100 Power Lunch?

“It’s always such a great event on the calendar but I think this year it will be really interesting to see how the new categories play out: Mediaweek Agency 50 and Mediaweek Star Power 25.

“It will be great to pinpoint where the power and influence of the media sits in 2022.”

See Also: The Mediaweek 100 expands, launches live event and additional power lists

The Federal Government announced its commitment to Australia’s free TV networks, which will give them priority placements on smart TVs over major streaming services.

Communications minister Michelle Rowland said that the government’s commitment to protecting local content will ensure “local TV services can easily be found on connected TV platforms,” in a report by the Australian Financial Review.

However, Rowland noted this will that changes will be subject to a formal review and public consultation.

Free TV, the peak industry body for Australia’s commercial free-to-air broadcasters, highlighted three principles that will shape the government’s proposed laws.

9Now, April 2022

The principles drafted by the body include ensuring local free TV apps are pre-installed on smart TV menus and easy to find, and ensuring local content on these apps is clearly seen in searches and recommendation functions.

The report also noted that Free TV wants people shopping for the latest TV to be reminded of local free TV apps in point-of-sale marketing.

The aim is for local streaming apps – such as 9Now, 7plus and 10Play – to appear first and have prominent placement on smart TVs over international streaming giants such as Netflix, Disney+ and Amazon Prime.

This comes as more and more viewers are shifting from watching on TV to streaming apps.  

Rowland told the publication that the role local networks have in keeping Australian audiences “informed and entertained, and shaping our national identity, cannot be understated.”

“As Australians embrace new devices and applications in the connected TV environment, it’s imperative that our policy settings keep pace,” she said.

Rowland added that the Albanese government’s commitment to legislating framework for local TV will be in a position to consult on a public framework proposal later this year.

Bridget Fair

Free TV have noted that legislative changes are needed to ensure a level playing field between local broadcasters and international giants who pay smart tv manufacturers for prime places on connected TV platforms.

Bridget Fair, chief executive officer of Free TV, told the AFR that local media companies are not in a position to compete with the international streaming giants for prime placements on smart TVs.

“Broadcasters are being asked for payment, revenue share, and in some instances inventory share to be featured on home screens and channel line-ups,” she said.

“What we are seeing is unlicensed global content and big tech companies seeking to interpose themselves between Australian content providers and their viewers,” Fair added.

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Top image: communications minister Michelle Rowland

After the final leg of 10‘s The Amazing Race Australia took three teams to Broome, Western Australia, it was an emotional and exhausted Team Memory Makers, Heath and Toni, who stepped onto the Pit Stop mat first, winning a $250,000 cash prize and an Isuzu D-MAX and an Isuzu MU-X.

Newlywed Teachers, Kelly and Georgia, were the first team out of the airport, where they travelled to Sun Pictures in Chinatown for their first challenge of the finale. Here they were to feed each other a plateful of Sweet and Sour Pork using two giant chopsticks. Heath and Toni were the first team to conquer the challenge and receive their next clue, followed by Angel and Frankie and a now last placed Kelly and Georgia.

The racers then headed to the next Roadblock, where one team member was to take a boat out to collect a panel of oysters, return to the hatchery, and gently coax four giant oysters open to give to the Master Pearler to extract a pearl. After Toni gave each one a little high five and some quiet words of encouragement, she headed back to the shore. Heath and Toni were first to secure their pearl, followed by Angel and Frankie, and finally, Kelly and Georgia.

Heath and Toni rushed to the next challenge with Toni opting to take to the skies in a helicopter, ticking off one of her bucket list items, while Heath remained on the ground to carve a word in the sand for Toni to decipher. Angel and Frankie were close behind, and then overtook the Memory Makers. Kelly and Georgia received their clue next, leaving Health and Toni in third place.

The next challenge saw teams collecting mud whelks from the mangroves and successfully cooking and eating one each for the judge. Following a demonstration, all teams were square, until Kelly and Georgia forgot their backpacks and had to return to the car to retrieve them. This gave Angel and Frankie and Heath and Toni a head start advantage.

The teams drove to their next Roadblock where they had to find a button hidden in one of two hundred sandcastles. Heath and Toni succeeded first, followed by Angel and Frankie, leaving Kelly and Georgia behind in third.

The next challenge had the teams solving a puzzle based on the order and time they had been at different clock towers around the world. Angel and Frankie arrived just as Heath and Toni finished, working fast to give themself a chance in a foot race. After a few wrong moves, they finally retrieved their final clue and were in hot pursuit of Heath and Toni. As they exited, Kelly and Georgia arrived before also receiving their next clue to take them to the Pit Stop.

In the last stretch, Heath and Toni passed a rock formation, spotting Beau and some of the previous contestants, before sprinting to hit the mat first, becoming the winners of The Amazing Race Australia 2022. Angel paused to put on her late father’s jersey before stepping on the Pit Stop mat with Frankie in second place. Finally, Kelly and Georgia hit the mat in third place to bring The Amazing Race Australia 2022 to a close.  

After two years of online presentations, The Australian Academy of Cinema and Television Art has announced the return of two in-person award ceremonies with the 2022 AACTA Industry Awards on Monday, December 5 and the 2022 AACTA Awards Ceremony on Wednesday, December 7.

Both ceremonies will be presented by Foxtel Group and will be held at The Hordern, in Sydney’s Entertainment Quarter, home of Fox Studios.

This year’s ceremonies will celebrate and honour the creatives behind the best films, TV, and digital entertainment from the past year, acknowledging the achievements of Australia’s best productions and brightest screen practitioners.

AACTA CEO Damian Trewhella said, “AACTA are honoured to bring together Australia’s world-class performers, creators and practitioners across two major events in Sydney. The AACTA Ceremonies provide an unparalleled opportunity to celebrate the calibre, scale and craft of Australian Film, TV, Documentary, and Digital creation. We are excited to have Roving Enterprises involved in this year’s event and look forward to a fantastic show.”

AACTA has appointed Roving Enterprises and executive producer Craig Campbell as the broadcast producer for this year’s AACTA Awards Ceremony 

Rove McManus said, “Roving Enterprises is honoured and excited to be partnering with AACTA to produce this year’s awards. The AACTAs are such an esteemed ceremony, and we look forward to celebrating not only the on-screen performers but also the many other talented industry people who produce some of the best content in the world.”

This year’s awards will celebrate some of the biggest TV shows and films in Australia. Documentary and short film nominees were announced earlier this year, with digital, film, and television nominees being announced on October 20 and October 23, 2022, ahead of Round 2 voting commencing Monday, October 24, 2022.

Brian Walsh, executive director of drama & senior content consultant for the Foxtel Group said: “Australian television and film crews are among the best in the world and after years of disruption it is incredibly exciting to be bringing the industry back together – all in one place – to celebrate the impactful and important work being done here in Australia. These craft awards are a fitting tribute to the many artists, all with diverse skills, whose contribution to our industry is boundless.”

NSW minister for tourism and the arts Ben Franklin said the AACTA Awards underscores the importance of screen production to the NSW visitor economy.

“Sydney and NSW is home to some of the country’s brightest screen talent and filming locations, so we are delighted to once again be rolling out the red carpet in Sydney for this year’s AACTA Awards.”

“It is fantastic to see the tremendous achievements of those working in front and behind the scenes of our world-class film and television productions honoured for their dedication and innovation to their craft. I look forward to a wonderful night at this year’s AACTA Awards celebrating the ongoing success of our screen industry, which plays a vital role in the NSW visitor economy.”

Wednesday’s ceremony will be broadcast on 10, at 7.30pm, and will be encored on Fox Docos, Saturday, December 10 at 7:30pm. The broadcast will also be available to stream on demand via Foxtel, Binge and AACTA TV.

The 2022 AACTA Industry Awards Ceremony tickets go on sale October 10 here.

The list of awards being presented at the 2022 AACTA Industry Awards Ceremony presented by Foxtel Group – Monday December 5:

Best Casting presented by Casting Networks
Best Children’s Program
Best Cinematography in a Documentary
Best Cinematography in Film
Best Cinematography in Television
Best Costume Design in Film
Best Costume Design in Television
Best Digital Series or Channel
Best Direction in Drama or Comedy
Best Direction in Nonfiction Television
Best Documentary
Best Documentary or Factual Program
Best Editing in a Documentary
Best Editing in Film presented by Spectrum Films
Best Editing in Television
Best Hair and Makeup presented by HASK
Best Indie Film
Best Lifestyle Program
Best Original Score in a Documentary
Best Original Score in Film
Best Original Score in Television
Best Production Design in Film
Best Production Design in Television
Best Screenplay in Film
Best Short Film
Best Short Video
Best Sound in a Documentary
Best Sound in Film
Best Sound in Television
Best Stand-Up Special
Best Visual Effects or Animation

The list of awards being presented at the 2022 AACTA Awards Ceremony presented by Foxtel Group – Wednesday December 7

Audience Choice Award for Best Actor
Audience Choice Award for Best Actress
Audience Choice Award for Best Digital Creator
Audience Choice Award for Best Film
Audience Choice Award for Best Sports Commentary Team
Audience Choice Award for Best Sports Program
Audience Choice Award for Best TV Personality
Audience Choice Award for Best TV Series
Best Comedy Performer
Best Comedy Program
Best Direction in Film presented by Filmology
Best Drama Series
Best Entertainment Program
Best Factual Entertainment Program
Best Film
Best Lead Actor in a Drama presented by Foxtel
Best Lead Actor in Film
Best Lead Actress in a Drama presented by Foxtel
Best Lead Actress in Film
Best Miniseries
Best Reality Program
Best Screenplay in Television
Best Supporting Actor in a Drama
Best Supporting Actor in Film
Best Supporting Actress in a Drama
Best Supporting Actress in Film
Longford Lyell Award
Trailblazer Award

The Australian is expanding The Growth Agenda editorial series, which promotes creativity in marketing and advertising, by launching a new podcast.

Hosted by The Growth Agenda editor Pippa Chambers and supported by Advertising Council Australia, the new weekly podcast begins on Monday, October 10.

Over eight weeks, the podcast will feature some of the marketing and advertising industry’s smartest minds.

Offering unique insights from brand-side marketers at Kmart, Diageo, Catch, EA Games, Glenfiddich and Tourism Australia and top creatives at ad agencies, including Dentsu Creative, BMF, The Monkeys and Saatchi & Saatchi, the series is not to be missed.

The Australian managing director John Lehmann said: “The Australian is an award-winning multi-media brand that has been at the forefront of combining world-class journalism with the popularity of podcasting.”

“From The Teacher’s Pet true crime investigation that became the number one podcast in Australia, the US, Britain, Canada and New Zealand, to The Front, our morning news show, The Australian’s journalists have quickly evolved their storytelling to keep pace with our audience’s changing consumption habits.”

Over the past year, The Growth Agenda has expanded from a full page in print each Monday to increased online coverage, events, and now the podcast.
 
The podcast covers themes across brand purpose, creativity at all touchpoints, diversity of creative, and technology and creativity.

Topics within the series include the rise and rhetoric around commercial creativity, the role of creative agencies inside and outside of the metaverse when it comes to immersive content and why First Nations’ creativity and leadership should be critical to all businesses.

Advertising Council Australia CEO Tony Hale said: “Our partnership with The Australian has been brilliant in communicating the role that creativity can play to generate growth. It has been proven to engage the marketing and broader business community.”

“I am delighted that we are now about to extend The Growth Agenda into a podcast that will delve into some burning issues related to brands with purpose, tech-driven creativity and more. I’m really looking forward to hearing the series.”

The Growth Agenda shines a spotlight on the power of creativity within advertising and marketing and its role in building thriving businesses. 

The weekly page within The Australian launched in June last year and has gone from strength to strength, having also run events in Sydney and Melbourne.  

The Growth Agenda podcast was produced by The Australian associate editor (commercial), Jackson Hewett and digital delivery producer, Eartha Hewett.

–

Top image left to right: Tony Hale, Pippa Chambers, Mark Green and John Lehmann

Singles

Sam Smith and Kim Petras keep the top spot on the ARIA singles chart for a second week with their duet, Unholy.

Staying at #2 on the singles charts are David Guetta and Bebe Rexha with I’m Good (Blue). The song has had viral success after a track clip clocked over 500 million views on Tiktok. It heavily features samples from Eiffel 65’s 1998 single Blue (Da Ba Dee).

Following in #3 is I Ain’t Worried by OneRepublic, which has been in the charts for 18 weeks. The hit famously featured in Top Gun: Marverick continues to maintain its same position from last week in #4. 

Taking #4 in the Aria Charts is Nicki Minaj with her raunchy hit single Super Freaky Girl. 

Rounding out the top five in this week’s singles on the Aria charts is Eliza Rose & Interplanetary Criminal with B.O.T.A.

Albums

American heavy metal band Slipknot debuted at #1 on the ARIA Albums Chart with their seventh studio album release, The End, So Far.

This is the band’s fourth #1 album debut on the Aria Charts.

The Highlights by The Weeknd climbed from #3 to claim #2 this week, while Harry Styles’ Harry’s House took #3 up from #5.

Billie Eilish’s album releases rounded out the ARIA charts this week. Her 2021 second studio album, Happier Than Ever, saw a resurgence this week as it claimed #4.

Meanwhile, Eilish’s 2019 debut album, When We All Fall Asleep, Where Do We Go, took #5 on the charts.

2022 ARIA Chart Toppers

Singles

January 3 Mariah Carey All I Want For Christmas Is You
January 10 Elton John & Dua Lipa Cold Heart (PNAU Remix)
January 17 Elton John & Dua Lipa Cold Heart (PNAU Remix)
January 24 Elton John & Dua Lipa Cold Heart (PNAU Remix)
January 31 The Kid Laroi & Justin Bieber Stay
February 7 The Kid Laroi & Justin Bieber Stay
February 14 The Kid Laroi & Justin Bieber Stay
February 21 Elton John & Dua Lipa Cold Heart (PNAU Remix)
February 28 Elton John & Dua Lipa Cold Heart (PNAU Remix)
March 7 Glass Animals Heat Waves
March 14 Glass Animals Heat Waves
March 21 Glass Animals Heat Waves
March 28 Glass Animals Heat Waves
April 4 Glass Animals Heat Waves
April 11 Harry Styles As It Was
April 18 Jack Harlow First Class
April 25 Jack Harlow First Class
May 2 Harry Styles As It Was
May 9 Harry Styles As It Was
May 16 Harry Styles As It Was
May 23 Harry Styles As It Was
May 30 Harry Styles As It Was
June 6 Harry Styles As It Was
June 14 Kate Bush Running Up That Hill (A Deal With God)
June 20 Kate Bush Running Up That Hill (A Deal With God)
June 27 Joji Glimpse of Us
July 4 Kate Bush Running Up That Hill (A Deal With God)
July 11 Kate Bush Running Up That Hill (A Deal With God)
July 18 Kate Bush Running Up That Hill (A Deal With God)
July 25 Kate Bush ­Running Up That Hill (A Deal With God)
August 1 Kate Bush ­Running Up That Hill (A Deal With God)
August 8 Kate Bush ­Running Up That Hill (A Deal With God)
August 15 Kate Bush ­Running Up That Hill (A Deal With God)
August 22 Harry Styles As It Was
August 29 Blackpink Pink Venom
September 5 Britney Spears & Elton John Hold Me Closer
September 12 Nicki Minaj Super Freaky Girl
September 19 David Guetta & Bebe Rexha I’m Good (Blue)
September 26 David Guetta & Bebe Rexha I’m Good (Blue)
October 3 Sam Smith & Kim Petras Unholy
October 10 Sam Smith & Kim Petras Unholy

Albums

January 3 Adele 30
January 10 Adele 30
January 17 The Weeknd Dawn FM
January 24 The Weeknd Dawn FM
January 31 Meat Loaf Bat Out Of Hell
February 7 The Weeknd Dawn FM
February 14 Korn Requiem
February 21 Huskii Antihero
February 28 Midnight Oil Resist
March 7 Gang of Youths Angel in Realtime
March 14 Encanto Soundtrack
March 21 The Wiggles ReWiggled
March 28 Charli XCX Crash
April 4 Machine Gun Kelly Mainstream Sellout
April 11 Red Hot Chili Peppers Unlimited Love
April 18 Wet Leg Wet Leg
April 25 Dua Lipa Future Nostalgia 
May 2 Northlane Obsidian
May 9 Future I Never Liked You
May 16 Daniel Johns FutureNever
May 23 Kendrick Lamar Mr. Morale & The Big Steppers
May 30 Harry Styles Harry’s House
June 6 Harry Styles Harry’s House
June 14 Harry Styles Harry’s House
June 20 BTS Proof
June 27 Jimmy Barnes Soul Deep 30
July 4 Spacey Jane Here Comes Everybody
July 11 Harry Styles Harry’s House
July 18 Harry Styles Harry’s House
July 25 Harry Styles Harry’s House
August 1 Harry Styles Harry’s House
August 8 Beyoncé Renaissance
August 15 Beyoncé Renaissance
August 22 Harry Styles Harry’s House
August 29 Madonna Finally Enough Love 
September 5 Muse Will of The People
September 12 YUNGBLUD YUNGBLUD
September 19 Parkway Drive Darker Still
September 26 Meg Mac Matter of Time
October 3 5 Seconds of Summer 5SOS5
October 10 Slipknot The End, So Far

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Top image: Slipknot

• Nine #1 despite strong Bathurst 1000 and AGT crowd
• The Block still king of primetime following room reveal

Overnight TV Ratings, October 9

Primetime News
Seven News 1,085,000
Nine News 736,000
ABC News 536,000
10 News First 182,000 (5:00pm)/169,000 (6:00pm)
SBS World News 170,000 (6:30pm)/130,000 (7:00pm)

Daily Current affairs
Insiders 357,000
The Project 202,000 (6:30 pm)/264,000 (7pm)

Breakfast TV
Sunrise 51,000
Today 228,000
News Breakfast 171,000

Nine has picked up another TV ratings win after finishing last night with both the #1 primary channel share (25.1%) and network share (31.3%), this was thanks in large part to the continued success of The Block. Nine’s reality TV staple has been consistent all season, with the room reveals standing out, and last night was no different as 904,000 tuned in for the guest bedroom reveals. 
60 Minutes followed with 567,000 viewers as the episode featured reports from Tom Steinfort and Tara Brown.

On Seven, it was a wet and wild day for the biggest Australian racing event of the year as the Bathurst 1000 saw plenty of safety cards deployed. However, this didn’t hinder viewership as the race had an average of 774,000 viewers, with over 1m tuning in for the podium. A big day turned into a big night for seven as the network was finally able to launch the return of Australia’s Got Talent, the first episode featured the new look judging lineup of David Walliams, Kate Ritchie, Alesha Dixon, and Shane Jacobson had 645,000 viewers.

On 10, the finale of the Amazing Race Australia had an average viewership of 376,000 viewers, with 438,000 tuning in to see Heath and Toni make it to the Pit Stop mat first, winning a $250,000 cash prize and an Isuzu D-MAX and an Isuzu MU-X.

On the ABC, Spicks and Specks continues to rate consistently on Sunday nights after bringing in a solid 413,000 viewers.

The top non-news program on SBS was Curse of the Ancients with 157,000 viewers.