By James Manning
The ambitious business news video platform Ticker, that Ahron Young launched earlier this year, has just released an app for iOS users.
The hours that Ticker broadcasts online from its Melbourne studio has grown quickly over that time. Among the newest programming is Mediaweek on Ticker, plus new daily lunchtime and early morning programs.
“We are excited to launch our new Ticker TV App on the Apple store, which delivers live programming, as well as catch up for our shows and interviews,” Young told Mediaweek.
“It allows casting on your Apple TV so you can catch Ticker wherever you are.”
Ticker TV is happy to sit in a couple of categories: “Ticker is a news and ‘business lifestyle’ channel – with fast paced business and tech news as well as programs focused on founders and doers,” said the journalist and bureau chief-turned TV mogul. “They say starting a business is a lifestyle choice, so I guess that makes us a lifestyle channel.”
The Ticker founder explained the business model: “We believe in what we are doing and believe in paid platforms. All the investors we spoke to in the beginning were worried about the idea of providing content for free. They begged us ‘don’t do it, or your business will be worth nothing’.
“If you look at FTA networks, they’re moving towards establishing paid platforms. The newspaper industry has been through it. We don’t charge much, but we believe our content should be worth something. Business news has always been the leader in paid platforms. From Reuters in the early days, to the Wall St Journal.”
Ticker doesn’t have ads breaks, but will integrate commercial opportunities in everything it does – from the morning newsletter, through to the studio plasma, to the coffee mugs on the desk, and of course the opening titles.
Young: “Program sponsors have their logo featured right through the program in our lower third graphics. So that allows us to focus not just on views, but also on engagement.
“If you see our content in your social media feed, even if you scroll past it, you’ll see the logo of the company that sponsors the show.”
Ticker TV will break commercial opportunities down to several streams said Young:
“Sponsors: From shows, to the app, to the newsletter, to the coffee mugs on the set! We make the sponsor logo part of the experience, from the opening titles, to the studio plasma, to the lower third graphics. So even if someone scrolls past it on their feed, they still see the sponsor logo. Each of our sponsors is somehow connected to their show. For example our brekky ticker is sponsored by Daytrade Scans, who provides our data, so you’d expect to see them there.
Corporate packages: Where we work with companies to get their message on Ticker. We can even do shows focusing on their product or cause, hosted by one of our presenters. We don’t sell our editorial beliefs though. We want the companies to have fun, and for the viewer to not feel like they’re being fed something, because that doesn’t work.
“Carriage agreements: As we increase our programming hours and shows, we will be appearing in a lot more places. Stay tuned!”
Ticker begins the day with a daily newsletter which drops at 7am. Next up is a show commuters can tune in to, Morning Express, on their iOS device.
“Morning Express is a fun and irreverent take on what you need to know, as well as interviews with business leaders and startup founders,” said Young. “Then at midday every weekday, we bring viewers Lunchtime Express while they’re on their lunch break.”
Young has been keeping a frantic pace since he left Sky News Australia and launched Ticker. Has he been overwhelmed about the task ahead?
“I haven’t really had time to think about that! Business is dynamic and TV takes the word dynamic to a new level. The biggest task has been automating our processes as much as we can. We have 20 guests a day, so coming up with a way to handle that process, through to our graphics and studio control. Everything is a process and my job has been to make it simple for everyone.”
Ahron Young’s daily diary
A typical day for me starts at 5am, I head into the studio and start producing Morning Express. We go live at 8am, then at 9am we cut it all up to go on socials.
From 10 I go into meetings with new hosts or commercial partners, then at 11am we produce one of our daily feature programs. At midday I cohost Lunchtime Express. Then we produce a topical show at 1pm. By about 2pm, I carry on with meetings and then when I get home I usually go for a bike ride to wind down, before sitting down to plan the new shows we have coming on board, from designing opening titles and plasmas to training the hosts how to present. Let me say that choosing 10 second theme music takes way longer than it should!
Eventually of course, I’ll replace myself with hosts and designers. But I really love doing a bit of everything.
We choose experts in their field to be hosts, who are confident in what they are saying, and then I just help them out with the TV stuff, like timing and presenting naturally.
Over recent weeks we have launched a bunch of new shows, including Innovate Today, Mediaweek on Ticker, She’s The Boss, Remarkable Influencers, Not For The Average, Ticker Music, Handle Your Own PR and 30 Life Crisis. In coming weeks we have more programs coming on board, including Ticker Moves.
CV: Ahron Young
“I’ve always dreamt of starting something like Ticker, but until recently, you couldn’t deliver TV without a broadcasting licence or satellite network. Now, finally, it’s free game for everyone. I’m shocked to say that next year marks 20 years since my first paid journalism job. Straight out of high school I got a job with a local newspaper on the Mornington Peninsula, so I never went to uni. My bosses were fantastic, and taught me the world of commercial and editorial, and how important they are to a small media business. Number one tip – keep your backend costs down and only spend money on what people can see. Never has that been truer than the media landscape today.
“At age 19 I moved to radio and actually started a little radio company, providing radio news bulletins from my lounge room to community stations around Victoria. That got me in the door at 3AW (our competitor for radio news!) and I spent a few years there chasing down gangland criminals – literally chased Carl Williams into a toilet block. I went to Thailand to cover the Boxing Day tsunami, and that gave me the feel for overseas news.
“I came back, quit my job, and moved to the UK where I worked as a freelancer for Aussie radio and TV, and covered the death of Pope John Paul II and the London bombings. By chance I went for a job interview and afterwards found out the job was with a Russian TV station starting up in Moscow! So off I went and spent a year there. Working at a startup in Moscow was incredible. The culture of East v West, especially in journalism, was terrifying at times but taught me so much.
“I moved back home and Angelos Frangopolous offered me a job in Sydney with Sky News Australua. Four days later he sent me to head up Melbourne bureau, where I spent 13 incredible years. I worked for Sky News Business in the first few years when it launched, and moved back across to news, where I came up with a show called The Melbourne Report. Ticker actually reminds me a lot of that show. Entrepreneurial and a hard slog, but a lot of fun as well. I ran the Melbourne bureau, taking it from a little studio at GTV, to designing and project managing the facility they are in now. It was hard work, but perfectly set me up for Ticker.
By Claudia Siron
The nextmedia bi-monthly magazine frankie has been hitting shelves for 15 years featuring kooky lifestyle content.
The print success story feeds young women (and men) an array of smart stories and arty material through six issues a year. The editor of frankie magazine Sophie Kalagas told Mediaweek what content receives the best reception from their readers and what differentiates frankie from other lifestyle magazines.
Kalagas has been with the magazine for over six years now and said it’s been such a joy to work at frankie and she still gets a thrill when she sees the finished product on the shelves. “Since starting as editorial assistant (working with former editor Jo Walker) and stepping up into the editor role in 2016, I’ve watched the brand grow and change, while still staying true to the mission of providing beautiful, authentic, inspired and inclusive content,” said Kalagas.
“Most recently, it’s been exciting to expand into new areas like podcasting and reader events, and to launch both the frankie Good Stuff Awards and our small business-focused platform Strictly Business.
“Our branded content division has been growing rapidly in print and online with strong engagement between readers and our wonderful clients. There’s always something fun and fresh on the boil, and new creatives to learn about and work with, so there’s certainly never a dull moment.”
Kalagas revealed frankie has a wonderful, tight-knit team that works closely together across editorial, design, sales and marketing. “Everyone is so passionate about the brand and what we’re creating (but we’ll often stop for a snack break and chat about the latest reality TV drama, too),” said Kalagas. Some of the team include Gaye Murray as general manager, Caitlin Wynne as senior designer, Jess Hope as marketing manager and Victoria Yelland Riddell as national advertising manager.
Kalagas said what differentiates frankie from other like-minded magazines is that it’s not driven by trends, but genuine curiosity and delight, and the same can be said for their editorial approach. “We’re at a point now where people use the word ‘frankie’ as shorthand for a certain look. A product will be described as ‘so frankie’, and that style comes from a genuine love for the vintage and quirky, beautiful photography and interesting handmade things,” explained Kalagas.
“We connect with our readers like a friend that’s warm, welcoming and non-judgmental, and they really appreciate that – we’re forever being thanked for creating a magazine that doesn’t make them feel insecure about their body, their interests and their bank balance. We’ve actually recently launched a series of events called ‘mate dates’ that allows us to connect with readers on a face-to-face level – something our audience has been super-excited by.
“Overall, there’s an authenticity in our desire to celebrate, inspire and empower the local creative community, backed up with quality storytelling and a little bit of not-quite-right humour.”
According to frankie’s media kit, the magazine has a bi-monthly readership of over 335,000 and a monthly masthead reach of over 1,167,000. Kalagas said frankie’s readers are smart, funny, creatively inclined and kind-hearted, with a genuine curiosity about the world around them. “They’re also super-loyal, and tend to stick with frankie as they move through different stages of their lives,” said Kalagas.
“We’re always blown away by their level of engagement on social media, starting conversations and jumping on board with new campaigns. While the majority are female, our male readership is increasing, and we’re continuing to expand into international markets, as well.”
In terms of advertising, Kalagas mentioned frankie has a wonderful relationship with many long-standing advertising clients. “They come to us for both the high quality of our products, but also the incredible engagement and emotional investment of their audience. We’re able to offer them effective solutions across multiple platforms, including the print magazine, website, social media, brand extensions, events and podcasts,” said Kalagas.
“Programs like the frankie Good Stuff Awards allow sponsors to really connect with the frankie reader on every level, including in person at our awards night.” According to their site, “70% of readers have purchased something after seeing it in frankie” and the magazine is an “exclusive advertising environment – 70% editorial / 30% advertising”.
Kalagas said they’ve had so many incredible people appear in their pages, from well-known names to regular folks with really thought-provoking stories. “Chatting to director John Waters was a standout – he acted as a (somewhat inappropriate) agony aunt, responding to hypothetical, tricky situations that might arise in someone’s life,” said Kalagas.
“Some of the most memorable interviews have come from left field, though, like the ‘forensic jeweller’ who uses her technical knowledge of jewellery to help law enforcers solve crimes, and the Dutch physician who created a safe space for women to receive medical abortions – 20 kilometres out to sea.”
Kalagas explained to Mediaweek that while their readers have very diverse interests and respond to anything from an artist feature to a kooky fashion shoot or delicious recipe, it tends to be their real-life content that really strikes a chord. “Every issue, we’re bombarded with letters about people who’ve shared their life stories in our pages, or delved into a personal gripe or insecurity – usually in a very funny, relatable way,” said Kalagas.
“It creates a real sense of community and connection, bringing frankie readers together with our contributors and in-house team. We’re all dealing with a lot of the same things, after all.”
Content creation and distribution group Dual Entertainment is launching its cooking show Farm to Fork on Monday, 11 November on Network 10.
Filmed around Australia and co-hosted by new MasterChef Australia judge, author and acclaimed chef, Andy Allen, along with Michael Weldon and Courtney Roulston, Farm to Fork aims to help Australians eat and live well by inspiring families to not only cook at home but to also understand more about the produce they are using.
In addition to the daily television show, Farm to Fork will extend into digital and social media, as well as licensing.
Farm to Fork’s key partners include Coles Supermarkets, Jalna Dairy Foods and Red Island Extra Virgin Olive Oil.
The series is the first project from Dual Entertainment, a content creation company set up earlier this year by Darren Anderson and Rikki-Lee Lacco.
Anderson said: “We are thrilled to present Farm to Fork to Australia from November 11. Dual Entertainment was built to create and distribute innovative, high-quality content across multiple platforms and this project is the epitome of that.”
Lacco added: “Andy, Courtney and Michael have helped us create a truly informative, entertaining and beautifully-filmed product that is the ideal addition to 10’s weekday afternoons. We can’t wait for viewers to engage with Farm to Fork on the television screen and beyond.”
Network 10 has announced the details of its Melbourne Cup coverage.
The details come on the same day as Victoria Racing Club (VRC) has launched the Melbourne Cup Carnival.
The VRC announced today it is taking positive steps to address equine welfare concerns by establishing the VRC Equine Wellbeing Fund, kick-started with a contribution of more than $1 million.
The VRC also announced 10% of all public ticket sales for this year’s Melbourne Cup Carnival, and 5% of VRC annual membership fees will be redirected to the VRC Equine Wellbeing Fund for the care of racehorses.
The highlights from 10’s Melbourne Cup Carnival coverage are:
• Four on-ground broadcast points including from the Jockey’s Lounge and the exclusive Birdcage.
• Streaming of the Carnival live and in HD on 10 Play.
• Pop-up radio channel in partnership with Racing & Sport Network (RSN) on
• Myer Fashion on the Field events exclusively streamed on 10 Daily.
• Coverage of ‘the race that stops a nation on CBS Sports Network.
• Seven major sponsors across broadcast and digital.
Network 10 will be bringing the Melbourne Cup Carnival to audiences in more ways and across more platforms than ever.
Network 10’s chief content officer Beverley McGarvey said: “Our coverage of the Melbourne Cup Carnival will bring audiences closer to all the action – on and off the track – like never before.
“From the fashion, to the celebrities, to the jockeys, and of course the races – audiences will be able to access all areas of the Melbourne Cup Carnival live and free on 10, all of our platforms and on social, and engage in a complete Melbourne Cup Carnival experience.”
10 will be broadcasting live from four key areas on-ground at Flemington including the in-field and at Racing HQ in the Mounting Yard. For the first time, audiences will also have access to the Jockey’s Lounge and the exclusive Birdcage. 10 shows being broadcast live from the Carnival include The Project, Studio 10, 10 News First and The Loop.
10 Play – Melbourne Cup Carnival digital broadcast hub
In a first for the Melbourne Cup Carnival, 10 Play will be the only place to stream all races live in high-definition.
The official digital broadcast hub for the Melbourne Cup Carnival will also feature: • A live Odds Ticker, sponsored by TAB.
• Exclusive interviews with 10’s commentary team.
• Photo galleries and articles from the Carnival.
10 also is partnering with RSN with the support of the Victoria Racing Club to produce Cup Week Radio, a special Melbourne Cup Carnival pop-up radio channel. From 1-10 November, the channel will feature live Melbourne Cup Carnival coverage and bespoke digital radio content. The audio feed will be hosted on the 10 Play digital broadcast hub.
10 Daily – Melbourne Cup Carnival news hub
10 Daily will be the place to find all the latest racing news, the winners and grinners, fashion round-ups and celebrity news from the Carnival at 10daily.com.au/cupweekon10.
10 takes you inside the Birdcage
On AAMI Victoria Derby Day, Lexus Melbourne Cup Day and Kennedy Oaks Day, 10 Daily – via Studio 10 – will be broadcasting a live, pink carpet arrivals show from the Birdcage hosted by 10 News First reporter Georgia Love, alongside Elliot Garnaut, Victoria Racing Club’s official stylist. Coverage starts during Studio 10 each day and will continue to stream via 10 Daily as celeb guests start frocking up to Flemington.
As part of 10 Speaks’ Short Black podcast series, host and 10 News First presenter Sandra Sully is producing a special Women in Racing series where she speaks to racing icons Katie Page, Amanda Elliott and Gai Waterhouse who share their fascinating industry insight and experience.
CBS Sports Network
Through 10’s partnership with the VRC, CBS Sports Network will televise ‘the race that stops a nation’ on Lexus Melbourne Cup Day. The coverage will air exclusively in the United States in primetime on Monday, 4 November at 9:30 PM, ET.
10’s Melbourne Cup Carnival sponsors
Supporting 10 to bring the 2019 Melbourne Cup Carnival to life are major sponsors including:
• Lexus: Broadcast and digital partner of the Carnival, and the Principal Partner of the 2019 Lexus Melbourne Cup.
• ZYRTECR: Weather and Fast Finisher sponsor of 10’s broadcast and digital coverage.
• Myer: Broadcast sponsor and live streaming partner of Myer Fashions on the Field on 10 Daily and 10 Play.
• Harvey Norman: Sponsor of the Jockey’s Lounge which will, for the first time ever, take punters into the inner sanctum of race preparations.
• TAB: Official wagering partner for 10’s broadcast and digital coverage of the Carnival.
• Kennedy: Official timekeeper of 10’s coverage of the Carnival.
• G.H. Mumm: The official champagne of Melbourne Cup Carnival and sponsor of 10’s digital coverage of the Carnival.
Network 10’s national sales director Lisa Squillace said: “Our approach to the Carnival was all about delivering multi-platform opportunities that give advertisers access to all areas of the Carnival. Our teams developed a number of incredible advertiser-friendly ‘firsts’ for our Carnival coverage including a Jockey’s Lounge and a live fashion stream on 10 Daily.
“Advertisers have been really receptive to our vision and plans and we’re pumped to be working with so many partners to bring the Carnival to life.”
Network 10’s national sport director Nisar Malik added: “We’re really excited to be partnering with existing Melbourne Cup Carnival sponsors such as Lexus, Myer, G.H. Mumm and Kennedy to expand their Carnival sponsorship to broadcast and digital. It’s also fantastic to be collaborating with sponsors like ZYRTECR, Harvey Norman and TAB to integrate across our coverage, platforms and assets. It’s going to be a huge week and we can’t wait to get into it.”
The in-house News Corp Australia awards – now in their 15th year – showcase the publisher’s storytelling across broadcast, digital, print and book publishing that reaches more than 16 million Australians a month.
This year’s nominations demonstrate News’ increasing diversification through its investments in Foxtel, sporting broadcast rights, Sky News and content agency Medium Rare which produces the Qantas magazine.
Freedom of the press issues form a dominant theme this year, highlighting how much journalists are being forced to overcome hurdles imposed by governments and courts to suppress the public’s right to know what they are doing.
For the first time, Fox Sports stars Shane Warne and Matty Johns are finalists: Warne for commentary, Johns for a revealing personal interview with rugby league immortal brother Andrew.
Sky News has been nominated for specialist journalism after successfully branching out into documentary series with Bad Blood on the Liberal leadership crisis and Lawyer X.
The Herald Sun’s five-year campaign to reveal the alleged activities of Lawyer X barrister-turned police-informer Nicola Gobbo and failures at the highest level of law enforcement is also a finalist.
Other campaigning journalism vying for awards include the Brisbane Sunday Mail’s expose of regional maternity unit closures, news.com.au/Hobart Mercury’s Let Her Speak campaign supporting sex assault victims in Tasmania and News360’s success in getting free heart health checks.
Executive chairman for News Corp Australasia Michael Miller said the News Awards honoured the values and spirit of News Corp to be bold, courageous, creative and passionate.
“2019 has been a brilliant year for storytelling across the News Corp Australia family,” Miller said.
“From broadcast to digital, print and books, we’ve told stories that have moved, inspired and informed the nation.
“The commitment to professional and trusted journalism, and passionately serving our many communities demonstrated in the entries makes me proud of the people who work at News.”
The winners will be announced at the 2019 News Awards event later this year.
The 2019 News Awards finalists, across 18 categories, are:
Young Journalist of the Year
Chanel Kinniburgh – The Mercury
Natalie Wolfe – news.com.au
Tamsin Rose – Herald Sun
Innovation in Journalism
John McGourty – News Local: Digital masthead rollout
Jon Ralph, Glenn McFarlane and Daniel Freeman – Herald Sun: Sacked AFL coaches series
Matt Weiss – Fox Sports: Fox Cricket
Tanya French, Geoff Egan, John Croucher, Mark Flack and Sarah Lunney – The Courier-Mail, NRM and The Advertiser: Schools Hub
Visual Journalism of the Year
Alex Coppel – Herald Sun
Jason Edwards – Herald Sun
Phil Hillyard – The Daily Telegraph
Toby Zerna – The Daily Telegraph
Keith McDonald Award (Business Journalist of the Year)
Bridget Carter – The Australian
John Stensholt – The Australian
Ticky Fullerton – Sky News
Achievements in Sports Journalism
Jamie Pandaram – The Daily Telegraph
Leo Schlink – Herald Sun
Yvonne Sampson – Fox Sports
Achievements in Specialist Journalism
Grant McArthur and Alex Coppel – Herald Sun
Tom Sangster – The Daily Telegraph
Interview of the Year
Andrew Bolt – Sky News: Liberal MP Gladys Liu
Damon Kitney – The Australian: James Packer
Matty Johns – Fox Sports: Andrew Johns
Achievements in Commentary and Opinion
Adam Creighton – The Australian
Joe Hildebrand – news.com.au
Shane Warne – Fox Sports
Outstanding Achievements in Reporting
Anthony Dowsley and Patrick Carlyon – Herald Sun
Greg Bearup, Eric George, Nicholas Adams-Dzierzba and Charlie Peel – The Australian
Yoni Bashan and Claire Harvey – The Sunday Telegraph
Bill Leak Cartoonist of the Year
Eric Lobbecke – The Australian
Mark Knight – Herald Sun
Warren Brown – The Daily Telegraph
Headline of the Year
Andrew Piva – Geelong Advertiser
Baz McAlister – The Courier-Mail
Matt Williams, Stuart Thornton and Julian Ricci – NT News
Achievements in Campaigns
Jackie Sinnerton and Antonia O’Flaherty – The Sunday Mail: Bush Baby Crisis
Sue Dunlevy, Justin Lees, John Barker, Kathy Lipari and Evie White – News360: Serial Killer
Kate de Brito and Chris Jones – news.com.au and The Mercury: Let Her Speak
Scoop of the Year
Anna Caldwell – The Daily Telegraph
Brenden Hills – The Sunday Telegraph
Steven Wardill – The Courier-Mail
Achievements in Regional Journalism
Chris Jones – The Mercury
Jenna Cairney – Townsville Bulletin
Paul Murray – Sky News: Live Our Town
Achievements in Community Journalism
Ashleigh Pisani and Kate Uren – Portside Messenger
Eliza Barr – St George Shire Standard
Jake McCallum – News Local
Magazine/Lifestyle Brand of the Year
Brand of the Year
*The finalists and winner will be announced at the News Awards event
Sir Keith Murdoch Award (Journalist of the Year)
*The finalists and winner will be announced at the News Awards event
SBS will continue its celebration of cleverness with a second series of Child Genius Australia premiering on Wednesday, 20 November at 8.30pm.
Overseen by Australian Mensa, and Quiz Master extraordinaire Dr Susan Carland (pictured), this 4-part documentary competition series brings together sixteen of Australia’s brightest kids (between eight and twelve years old) from all over the country as they undergo a series of challenging quizzes that would stump even the smartest adults. These gifted children all showcase extraordinary cognitive abilities in maths, general knowledge, spelling, history, science and memory.
Dr Susan Carland said: “I am so thrilled to be back for a new season of Child Genius Australia! There are even more surprising and staggering performances from the kids, including something I never thought I’d see any of the children do. And, as usual, I was just struggling to say the questions, let alone answer them.”
SBS Director of Television and Online Content, Marshall Heald, said: “We’re delighted to build on the success of the first season in highlighting what it’s like to be considered a gifted child in Australia today. It’s been fascinating seeing the different approaches to learning and life from the children and their parents. The competition can be dramatic and tense, but it also provides some really uplifting and funny moments. We’re excited to discover what this year’s children and families will bring and we’re proud to celebrate some more outstanding children in this unique celebration of cleverness.”
Child Genius Australia seasons one and two will also be subtitled in Simplified Chinese and will be added to the subtitled collection on SBS On Demand, available immediately following its premiere on SBS. Early this year, SBS launched the Chinese and Arabic collections featuring a range of diverse dramas, documentaries and current affairs programs to enable growing multicultural communities to engage with local and international stories in their first language.
Four-part series Child Genius Australia will air weekly from Wednesday, 20 November at 8.30pm on SBS. Catch up anywhere, anytime after broadcast on SBS On Demand.
The TV platform has detailed some of the scariest and spookiest content it will be streaming On Demand to help users celebrate Halloween:
Foxtel’s best thrillers and dramas include season one of Castle Rock, based on the stories of horror novelist Stephen King, and the first three episodes of Season 2 in line with its on air launch on FOX SHOWCASE.
Also from FOX SHOWCASE: the complete seasons 1-8 of Ryan Murphy’s American Horror Story with current Season 9 episodes available and dropping weekly Express from the US; the complete seasons 1-9 of The Walking Dead with current Season 10 episodes available and dropping weekly Express from the US, along with seasons 2-6 of Fear The Walking Dead; The latest seasons 10 and 11 of The X-Files; from HBO all seven seasons of True Blood, two seasons of Room 104 with Season 3 episodes dropping weekly, both seasons 1-2 of Carnivale, the first season of the hilarious What We Do In The Shadows, and the Sharp Objects series; plus the complete season one of Swamp Thing from FOX8.
Foxtel Kids is getting in on the Halloween fun with a range of programming available to stream On Demand. Check out the Halloween Laughs collection for the older kids and Trick Or Treat? collection for the pre-schoolers.
Halloween Laughs is available to stream now and includes spooky series, movies and scary episodes from: Nickelodeon’s Are You Afraid Of The Dark?, Double Dare, Haunted Hathaways, Henry Danger, Liar, Liar Vampire (movie), Nicky, Ricky, Dicky & Dawn, Spongebob SquarePants, and The Boy Who Cried Werewolf (movie); Disney Channel’s Jessie and Zombies (movie); Boomerang’s Mr. Bean: The Animated Series; and from Cartoon Network Foster’s Home For Imaginary Friends, Johnny Test, Summer Camp Island, Teen Titans Go!, Uncle Grandpa, and Unikitty.
Trick Or Treat? is available to stream now and includes spooky series and scary episodes from: Nick Jr’s Becca’s Bunch, Bubble Guppies, Corn & Peg, Dora and Friends, Dora The Explorer, Paw Patrol, Shimmer and Shine, and Team Umizoomi; CBeebies’ Charlie And Lola, Go Jetters, Hey Duggee, Katie Morag, Ruff Ruff Tweet And Dave, Sarah & Duck, The Furchester Hotel, and Thomas & Friends; and Disney Junior’s Vampirina.
Visit the HISTORY channel streaming On Demand to learn more about factual encounters of the ghostly kind, black magic and paranormal activity with the following one off specials and series: America’s Hidden Stories, Hidden Killers.
By Trent Thomas
In a quiet weekend at the Australian box office, Joker tops an identical top five to last week with the only difference being that each film made less revenue than the week before which contributed to the 23% dip from last weekend’s revenue after making $10.60m.
However, the largest average per screen was outside of the top five with the Indian Tamil-language sports action film Bigil which was written and directed by Atlee making $13,085 per screen. While Gemini Man has continued its slide down the charts making $250,588 in its third week bringing its Australian total to $2.84m.
Four straight weeks at the top of the Australian box office has seen the films total swell to $32.64m after making an average of $9,086 on 316 screens. The Joaquin Phoenix lead film is already the highest-grossing film in 2019 beating the $16m made by Shazam!.
The sequel to the 2014 original starring Angelina Jolie has spent another week in the number two spot after debuting there last week after averaging $4,669 on 386 screens bringing its total so far to $5.14m.
DoubleTap makes it a double stint at number three on the Australian box office chart after repeating its effort last week in its opening weekend. It was the most screened movie in the country this past weekend being shown on 386 screens making an average of $4,092 and currently has a total of $3.68m
After three weeks in the top five, the film is spending a second week in fourth place at the Australian box office after bringing its total to $7.24m. The film averaged $3,672 on 289 screens.
The only Australian film in the top five has continued its strong ride since its release after extending its longest run for an Australian film in the top five for 2019 and adding to the highest revenue for an Australian film in 2019 with $9.80m. The Aussie riding flick averaged $1,880 on 295 screens.
By James Manning
• Cash crisis for Mitch & Mark as The Block’s best cut costs
• Nine wins the night as The Block grows week-on-week
• The Amazing Race underway, competitive on first night
• First team eliminated before they had to buy an airline ticket
• Seven News 930,000/949,000
• Nine News 810,000/879,000
• A Current Affair 725,000
• ABC News 616,000
• 7.30 588,000
• The Project 278,000/509,000
• 10 News First 350,000
• SBS World News 163,000
• The Drum 143,000
• Sunrise 271,000
• Today 186,000
Home and Away began its week on 624,000 after an average of 546,000 across the episodes screened last week.
Bride & Prejudice – The Forbidden Weddings continued at 7.30pm with 458,000 and 440,000 on Sunday and 407,000 on Monday last week.
The US dramas followed with The Rookie on 310,000 and then S.W.A.T.on 201,000.
A Current Affair featured footage of the final police interview with Ivan Milat. The show started the week on 725,000 after a week 43 average of 686,000.
The Block featured the start of the penultimate week with the teams doing the roof terraces and fixing any “disaster rooms”. The main talking point was a cash crisis for the team well ahead at this stage – Mitch and Mark. The Monday episode was on 945,000 after 896,000 a week ago when it was up against the series final of The Masked Singer.
Love Island then did 300,000.
It was a big night for visiting entertainers on The Project with US cross-over country artists Dan and Shay on just before 7pm and then comedian Beth Shelling later in the episode. The series did 509,000 after an average of 434,000 at 7pm last week.
The Amazing Race started life on 10 with 635,000 for the launch episode. People who enjoy the scampering on and off planes and travelling between countries will have to wait until tonight for the travel to start. The first episode saw the teams racing around the South Korean capital. The first team was eliminated before they even had to buy an airline ticket. The broadcaster was happy this morning – Network 10’s head of network programming Daniel Monaghan said: “An amazing result for The Amazing Race Australia last night. To be a top 3 show in under 50s, sharing the podium with two stalwarts, including HYBPA which was #1, is a great launch. We’re thrilled to continue our 2019 entertainment schedule with such an exciting brand that audiences responded to so positively.”
Have You Been Paying Attention? then dropped below 900,000 where it had been hovering, but it kept up its 800,000+ record with 816,000.
SBS football commentator Craig Foster was profiled on Australian Story for his work in helping secure the freedom of Hakeem Al-Araibi from custody in Thailand. The episode did 576,000 after the series did 506,000 a week ago.
Four Corners featured a BBC report on influencers and pyramid selling with 513,000 watching after 533,000 a week ago.
Media Watch then did 477,000 with stories on reality TV scars and the photo editing skills of NW magazine.
Q&A was on 302,000.
The Royal House of Windsor filled the 7.30pm slot with 218,000.
24 Hours in Emergency then did 213,000 at 8.30pm.
|ABC KIDS/ ABC COMEDY||2.1%||7TWO||3.2%||GO!||3.3%||10 Bold||3.3%||VICELAND||0.9%|
|ABC ME||0.7%||7mate||4.3%||GEM||3.5%||10 Peach||2.1%||Food Net||0.7%|
|7Food||0.4%||SBS World Movies||0.6%|
|ABC||Seven Affiliates||Nine Affiliates||10 Affiliates||SBS|
|ABC KIDS/ ABC COMEDY||2.6%||7TWO||39%||GO!||4.7%||WIN Bold||3.7%||VICELAND||0.9%|
|ABC ME||1.1%||7mate||5.7%||GEM||5.9%||WIN Peach||1.8%||Food Net||1.0%|
|ABC NEWS||0.9%||7flix (Excl. Tas/WA)||1.7%||9Life||1.7%||Sky News on WIN||1.8%||NITV||0.1%|
|7food (QLD only)||0.5%|
|MONDAY METRO ALL TV|
16 – 39
18 – 49
25 – 54
Shares all people, 6pm-midnight, Overnight (Live and AsLive), Audience numbers FTA metro, Sub TV national
Source: OzTAM and Regional TAM 2018. The Data may not be reproduced, published or communicated (electronically or in hard copy) without the prior written consent of OzTAM
Val Morgan Outdoor (VMO) has announced the promotion of Val Morgan Cinema Group sales manager Liam O’Meara (pictured) to the role of VMO Sydney sales director.
O’Meara started his media career over 10 years ago gaining experience across OOH, print, and digital before joining the Val Morgan cinema advertising team in 2016 as group sales manager.
During his time at Val Morgan he has excelled at leading and inspiring his team whilst driving revenue growth across almost all major consortium and independent agencies.
In his new role, O’Meara will be leading the VMO NSW sales team and will report directly to national sales director, Geoff Cochrane.
Paul Butler, managing director, VMO commented, “We’re very excited to welcome Liam to lead our outdoor sales team. Liam has an excellent reputation and is well respected in the industry. Liam’s stellar track record and experience saw him become an integral part of the NSW Val Morgan Cinema sales team and we’re delighted to welcome him into the VMO division.”
O’Meara added, “It is an honour to have worked on Val Morgan Cinema for the past three years and testament to the business’ commitment to developing internal talent, I’m thrilled to join the VMO team as Sydney sales director. It’s a very exciting time for Outdoor as a medium, particularly for VMO and the significant growth it is continuing to experience.”
• Carly Williams to lead the Australian edition of the Verizon Media brand
HuffPost has announced the appointment of Carly Williams as senior editor and Alicia Vrajlal as editor of HuffPost Australia.
As senior editor, Williams will be responsible for leading the editorial operations of HuffPost Australia and overseeing the local team. Whilst reporting to HuffPost’s global managing editor, James Martin, in London, Williams and Vrajlal will be embedded in Verizon Media’s Sydney newsroom.
With more than 10 years experience as a journalist, Williams has worked at some of Australia’s biggest news organisations including Pacific Magazines, Australian Associated Press, Southern Cross Austereo and Yahoo Lifestyle.
Most recently, Williams held the role of editorial lead at Verizon Media’s award-winning branded content arm RYOT Studio, where she produced editorial content and campaigns for commercial partners including Amex, Flight Centre, 20th Century Fox and Kim Crawford Wine for distribution across Verizon’s house of brands.
Vrajlal also joins HuffPost Australia from within the Verizon Media family, moving over from her role as entertainment editor at Yahoo Lifestyle. Prior to Yahoo, she worked at the Daily Mail Australia as senior showbusiness reporter and contributing writer for MailOnline India. Vrajlal is the founder of diversity blog, Draw Your Box, encouraging people to be their own person in all facets of life.
In addition to Williams and Vrajlal, Josie Harvey has recently joined the team from Storyful, and will be focusing on US trending news, bringing the total number of HuffPost staff in Australia to four.
HuffPost is a Verizon Media owned and operated entity. Combined with HuffPost’s 14 editions around the world, HuffPost Australia is supported locally by Verizon Media’s production, audience, data and commercial teams, along with RYOT and newly built in-house studio.
The competition watchdog’s proposed code of conduct for business relationships between digital platforms and Australian media companies is a “sensible” idea says Richard Gingras, Google’s vice-president of news, however the search and advertising giant does not believe revenue sharing should be included, reports The AFR’s Max Mason.
He spoke as the technology and media sectors in Australia are awaiting the government’s response to the Australian Competition and Consumer Commission’s Digital Platforms Inquiry, which is due later this year.
“I think the commission’s report and analysis was in many regards helpful in understanding the differences and understanding areas that maybe deserved attention versus those that did not,” Gingras said.
Gingras said Google believes it acts appropriately in the market, but it respects the work the ACCC has done and will engage with government and media should a code of conduct be implemented.
The most senior executive in charge of news at Google says tech giants alone cannot alone be blamed for the spread of misinformation online with policymakers and traditional media companies also responsible for the “societal problem”, reports The Sydney Morning Herald’s Laura Chang.
“There has been misinformation and disinformation since the earliest means of communications. What is different with the internet is the opportunity for scale,” said Richard Gingras, vice president of news at the $US877 billion ($1.2 trillion) search behemoth, in an interview.
Gingras also said the Australian Competition and Consumer Commission’s (ACCC) digital platform inquiry, which was handed down earlier this year, provided “good insights”.
The inquiry made 23 recommendations, including that tech giants such as Google and Facebook design a code of conduct for commercial negotiations with Australian media companies in a move the regulator hopes will also address the imbalance of bargaining power between them.
The government is expected to hand down its response to the inquiry by the end of the year.
But Gingras said the next stage would be to look at what can be done to “best protect open markets and open environments for information”.
Netflix co-founder Marc Randolph revisited his filthy rugs to mega riches story at an invite-only dinner in East Melbourne on Monday night, reports News Corp’s Nui Te Koha.
“Most people are curious about Netflix since its become a huge global behemoth. But people don’t realise it started out as a small company in a tiny office with dirty carpets,” Randolph told Confidential.
“The broader lesson is, every place has a start. Those steps are important.”
He added: “I never in a million years thought (Netflix) would be this size and scope. Part of being a start up is worrying about the immediate thing ahead of you. You struggle and scrape and climb to the top of this hill, collapse, look up, and there’s an even bigger hill ahead of you. Then another one.”
The tech entrepreneur and advisor is in Melbourne to promote his new book That Will Never Work: The Birth of Netflix and the Amazing Life of an Idea.
The Daily and Sunday Telegraph are to be put up for sale, as the billionaire Barclay brothers consider whether to dispose of their media outlets, reports The Guardian.
The pair have owned the newspaper group since 2004, but are now conducting a review of their many businesses, which also include the Ritz hotel in London.
A source familiar with the brothers’ thinking confirmed that the sale of the Telegraph was being discussed but that no deal was imminent.
Profits at the Brexit-backing Telegraph Media Group slumped to £900,000 last year, in the middle of a turnaround plan led by the chief executive Nick Hugh, who hoped to turn the company into a business based on digital subscriptions.
Music streaming giant Spotify on Monday reported a surprise swing to a third-quarter operating profit and said it grew its user base to 113 million premium, or paid, subscribers and 248 million total active monthly users as of the end of September, reports The Hollywood Reporter.
That compared with 108 million premium and 232 million total active monthly users as of the end of June, 100 million premium and 217 million monthly users as of the end of March and 96 million and 75 million, respectively, as of the end of 2018.
The company’s third-quarter user figures exceeded Wall Street estimates and its own forecast for premium users. “Net subscriber growth exceeded our expectations and was led by strong performance in both Family Plan and Student Plan,” leaving premium subs up 31 percent over the year-go period, the firm said. “Total monthly active users grew 30 percent…outperforming the high end of our guidance. Developing regions continue to be a significant driver of this outperformance.”
Spotify also addressed the competitive landscape. “We continue to feel very good about our competitive position in the market,” it said. “Relative to Apple, the publicly available data shows that we are adding roughly twice as many subscribers per month as they are.”
In an open letter, the social network’s employees said letting politicians post false claims in ads was “a threat” to the company, reports The New York Times.
The letter was aimed at Mark Zuckerberg, Facebook’s chief executive, and his top lieutenants. It decried the social network’s recent decision to let politicians post any claims they wanted – even false ones – in ads on the site. It asked Facebook’s leaders to rethink the stance.
Facebook’s position on political advertising is “a threat to what FB stands for,” said the letter, which was obtained by The New York Times. “We strongly object to this policy as it stands.”
The message was written by Facebook’s own employees. For the past two weeks, the text has been publicly visible on Facebook Workplace, a software program that the Silicon Valley company uses to communicate internally. More than 250 employees have signed the letter, according to three people who have seen it and who declined to be identified for fear of retaliation.
Veteran newsman Larry King has attacked Australia’s draconian freedom-of-speech laws, saying he would “react with violence” if police raided his home in a bid to identify the source of a story, reports The Australian’s Steve Jackson.
The American broadcaster, who hosted the eponymous Larry King Live on CNN for a quarter of a century, called on Scott Morrison to introduce legislation properly protecting whistleblowers and journalists, describing them as the cornerstone of a robust democracy.
King said he was outraged to learn Australian Federal Police had raided the home of News Corp Australia reporter Annika Smethurst and the ABC’s Sydney headquarters in June, in a crackdown on public interest reporting reliant on whistleblowers.
“I am not a violent person but, if that had happened to me, I would have reacted with violence,” the 85-year-old told The Australian.
Apple doesn’t do things by halves, and it’s certainly going to swing big when it comes to its foray into streaming TV, reports news.com.au’s Winlei Ma.
So it should surprise no one that Morning Wars (called The Morning Show elsewhere), the centrepiece of Apple TV+’s launch slate, is a showy, expensive series headlined by three A-listers: Jennifer Aniston, Reese Witherspoon and Steve Carell.
When you have Apple money (reportedly more than $US150 million per season), you can call in the big guns.
Set in the dog-eat-dog world of breakfast TV, the 10-episode Morning Wars is a heightened drama that taps into the rage of the #metoo era by crafting a story about power and control – who has it, who thinks they have it and, most significantly, who gets to have it.
And really, there are few settings more conducive to exploring these dynamics than the dirty, abrasive world of TV.
The pilot borders on melodramatic and it seems like everyone is keen to get their Emmy reels locked and loaded ASAP because there’s some overplayed speechifying. But by the latter half of the second episode, it starts to settle into its paces.
It’s pacy, brash and compulsive – which all adds up to something worth sticking around for.
Fox Sports has parted ways with high-profile host Neroli Meadows, reports News Corp’s Scott Gullan.
After more than a decade with the pay TV network it’s understood Meadows is a victim of cost cutting which is sweeping the business.
The respected journalist was one of the faces of Fox Cricket last year. She also had a prominent role with Fox Footy, hosting AFL Tonight and the popular On the Mark program.
There’s no doubt Meadows’ short-lived defection to Channel 9 to host the revamped Footy Show earlier this year put her out of favour with some at Fox.
After lengthy negotiations she was eventually given the all clear to join Nine while also remaining on the books at Fox.
Fox will look to within to replace Meadows with Kath Loughnan, who emerged last season as one of the faces of the cricket coverage, to have her role expanded further over the summer.