By James Manning
• Rosie Waterland’s Just the Gist strategy
A popular new podcast recaps both The Bachelor and now The Bachelorette. But that has been a strategy by Just the Gist podcast host Rosie Waterland and PodcastOne to build an audience before Waterland launches a new weekly podcast after The Bachelorette wraps later in November.
Waterland comes with a big following and she won an ACTA for Best Original Podcast last year for her previous PodcastOne series Mum Says My Memoir is a Lie.
What will that new Just the Gist sound like? “I will recap anything and everything to my friend Jacob,” Waterland told Mediaweek. Jacob doesn’t work in media and Waterland has fun explaining the media to him. “People in media work in a bubble where they think everybody knows as much of what is going on as they do. On the podcast I will talk about things going on in the world now and then throw in random things.
“The idea with Just the Gist is that I will give the listener just enough to get them through a dinner party conversation.”
Waterland was initially not excited about recapping more seasons of the reality show, but she admitted it’s been quite fun this year. “I like talking about silly things for entertainment.”
She hopes the audience listening for the reality recaps will stay on with the new format.
Waterland agreed her podcasts were quite long. Most run for over an hour. “I said to PodcastOne I would like to go a bit longer and ramble on! I want the recordings to be relaxed and conversational. I never plan for them to be as long as they are.”
Waterland gives the platform raw audio and asks her producer to edit out anything they think might be too self-indulgent. “They really know what they are doing,” she said.
Waterland is also a contributor to a new podcast from Mark Humphries and Dan Illich we mentioned here last week. “There are a lot of exciting guest stars on that.”
Waterland is also writing her third book, this time fiction, and she embarks on a national standup tour next February. She is also working on developing TV show concepts.
“I am just happy I can pay my rent writing funny stuff.”
Daily Mail Australia has partnered with Acast to launch the new podcast Obsessed!
He new series dissects the biggest moments and rumours from the top reality TV shows, and examines why Australian audiences are still so obsessed with watching “normal” people find fame on TV.
The first season focuses on Love Island Australia, with hosts Josh Moss (a contestant from 2018) and Daily Mail Australia’s Crystal Andrews bringing listeners behind-the-scenes insights, news coverage and social commentary once a week.
Streaming service hayu is the launch sponsor of Obsessed!
Jessica Hunter, Daily Mail Australia commercial director, said of the new launch: “Daily Mail Australia is already the king of reality TV content, and with Obsessed! we are unlocking an exciting new platform for our audience to engage with us and our brand partners.”
Of the partnership with Daily Mail Australia, Acast Australia content director Guy Scott-Wilson said: “Love it or hate it, you can’t ignore reality TV and podcasting provides the perfect companion experience. Podcasts like Obsessed! are a great way for devout fans to go deeper with their favourite shows, and it’s great to see large reaching mastheads like Daily Mail Australia delivering well thought-out audio content for their well-established audience.”
Elle Marsh has been appointed features and field producer on the 7am podcast, with a grant from the Judith Neilson Institute.
The podcast was launched by Schwartz Media in May this year and has now published 100 episodes.
Marsh has a film and audio-storytelling background. She has worked in radio, podcasting and documentary making, previously at The Age and also for SBS, Al Jazeera, Vice and independent production houses.
Marsh said: “I’m incredibly excited to join the talented team at the 7am podcast, bringing the stories that matter straight from the field into the headphones of our listeners.”
Schwartz Media’s editor-in-chief, Erik Jensen, said Marsh would help expand the ambition of 7am and deepen the stories being told.
“With the support of the Judith Neilson Institute, Elle will help 7am follow stories into the field. She is creative and insightful and will push our storytelling in new directions.”
7am is part of the Schwartz Media stable, alongside The Monthly and The Saturday Paper.
One of the popular sessions at this year’s Radio Alive conference earlier this month drew together some heads of podcast organisations to get tips about what works and what doesn’t.
Kate Montague, founder of Audiocraft, had a sobering message early on for people looking for the next big thing. She spoke about just planning to have a recording that reaches a specific audience, it doesn’t have to be #1. Montague’s business hosts a podcast festival, presents live events, makes podcasts and even runs an agency. She said there are many incredible podcasts. One she recommended to listeners was Passenger List.
Jennifer Goggin, content director at PodcastOne, said she is currently looking at documentary projects and also fiction. She hinted that the platform had heard enough pitches from amateur podcasters working on their own. “For a podcast to be effective it needs to be produced.” PodcastOne has over 60 ongoing series. “Our content is evergreen – we don’t have much current affairs content.” When asked about an example of building a good show, Goggin referred to PodcastOne’s Romantically Challenged from Sami Lukis. “She now has an incredible connection with her audience. Sami has found plenty of people 40+ who are alone.”
The manager of ABC Studios, Kellie Riordan, said the ABC is also gearing up for the fiction space. “It seems like we are going back to the radio play era.” When it comes to seeking and evaluating new audio, Riordan said she is close to banning the phrase: “I have an idea for a podcast”. She added: “We look for audience opportunities. What is the audience proposition? Who is the audience you are going after?”
That’s Incredible is a new factual storytelling podcast designed for shared listening between parents and kids. Hosted by Andrew Daddo, co-host of Mamamia’s family podcast This Glorious Mess, the series features 12 episodes covering incredible stories from scaling Mount Everest to growing up in a zoo to what it would be like living on the Moon. Each story runs for 10 minutes.
Holly Wainwright, Mamamia’s head of content, said: “The whole idea of That’s Incredible is to create moments of genuine fun, connection and curiosity between kids and parents in a very ordinary, mundane part of our day. I have loved being a part of imagining this podcast with our talented podcast team and Subaru, and will love having this show live to share with my kids on our everyday car journeys even more!”
That’s Incredible is produced by Elise Cooper, and drops weekly.
By James Manning
The outgoing executive chairman of Macquarie Media Russell Tate has the unenviable task of preparing the radio stations ahead of the arrival of the Nine Network when the biggest commercial media company in Australia takes total control at the end of next week.
Last week Tate told Macquarie CEO Adam Lang that he was no longer required ahead of Nine appointing their own radio boss. Earlier this week he shut down the original programming on the Macquarie Sports Radio network along Australia’s east coast.
Yesterday he had to tell 3AW director of operations Stephen Beers that his position had been made redundant. Beers had been with 3AW for 30+ years and was well regarded by all staff. During his years as the station’s chief engineer he became part of its #1 breakfast team Ross and John when they made their overseas broadcast trips.
Following a meeting with Beers, Tate addressed an all staff meeting.
There were many nervous people ahead of the meeting with fears there could be significant job losses. That hasn’t happened…yet.
“3AW is an iconic and successful Melbourne station focussed on local audiences and content and that will not change,” said Tate yesterday.
“The 3AW team will remain firmly focussed on serving its audience and advertisers as they have always done.”
3AW still occupies studio and office space at the top of The Age building in Melbourne. Much of the building is now sublet to the NBN. There is speculation that both the radio and newsbrand operations could be moved in the future, perhaps into the Nine building not far away if there is room.
Staff perhaps have good reason to be fearful when Russell Tate calls an all staff meeting at a radio station.
Back in 2011 Tate had to wind up the Melbourne talk radio experiment 3MTR after it failed to gain an audience in its first 12 months.
A little later he oversaw the demise of Macquarie’s first attempt at a networked talk format – Talking Lifestyle which rebranded the AM stations Magic, 2UE and 4BH. That format changed to Macquarie Sports Radio and that winds up in its current format tomorrow evening at 11pm.
Macquarie Media meanwhile yesterday announced the resignations of directors Monique Anderson, Louise McCann and James Millar following the off-market takeover bid by Nine Entertainment Co to acquire all of the ordinary shares in MML. Hugh Marks and Paul Koppelman (Nine CFO) join Russell Tate as directors of MML. Rachel Launders (Nine general counsel and company secretary) has been appointed additional company secretary. Lisa Young and Alessandra Steele continue as company secretaries.
Screen Australia’s annual Drama Report for 2018/19 shows expenditure on drama production in Australia has exceeded $1.17 billion, made up of a record $768 million spend on Australian stories including official co-productions, and increased foreign production spend of $410 million.
The expenditure on Australian titles was the highest in the report’s 29-year history, driven by an all- time record spend on Australian television and a five-year high spend on Australian features.
The Drama Report measures the health of the Australian screen industry by detailing the production of local and foreign feature films, television, and online programs plus PDV (post, digital and visual effects) activity.
“Drama” refers to scripted narratives of any genre and the report tracks productions from the commencement of principal photography, with some titles yet to be released. PDV is reported using two different methods.
The 2018/19 record expenditure on Australian titles included 37 TV dramas such as The Hunting, Five Bedrooms and Total Control and their combined spend was $334 million, up 13% on last year and above the five-year average. Spend on Australian feature films was up 15% on last year to $299 million.
Thirty-three Australian feature films were made including True History of the Kelly Gang and I Am Woman which recently had their world premieres at the Toronto International Film Festival.
Fifteen Australian children’s television programs went into production with $95 million spent on the likes of Bluey series 2, Alice Miranda Friends Forever and The Unlisted. This is the highest spend on children’s drama since 2008/09, and a 95% increase on last year.
Twenty-eight Australian online drama titles with durations of half an hour or more went into production (up from 21 in 2017/18), collectively spending $40 million.
New South Wales accounted for the largest share of total expenditure in Australia (31%), closely followed by Victoria (30%), and then Queensland (24%). South Australia and Victoria set new records for expenditure in their states.
Of the titles featured in this year’s report that have already released, there have been a string of hits including The Hunting which became SBS’s most successful commissioned drama of all time, Disney’s acquisition of Bluey series one and two for international release and Seven’s Ms Fisher’s Modern Murder Mysteries which has sold into 26 international territories.
Michael Brealey, chief operating officer of Screen Australia said, “To have 65% of total expenditure driven by our home grown stories is remarkable and illustrates the immense demand for Australian content.
“It’s fantastic to see titles showcasing the diversity of landscapes and depth of talent from around the country. In the past 12 months H is for Happiness filmed in Western Australia’s Great Southern region, The Gloaming in Tasmania, Robbie Hood in Alice Springs, The Dry in regional Victoria, Stateless in Adelaide, Total Control in Canberra and Winton in Queensland, not to mention a second series of fan favourite Bluey being created in Brisbane.”
Australian TV drama production had a record high $334 million spend, with 37 titles generating 441 hours of content produced. Hours were up on last year due to the production of longer-running mini-series such as My Life is Murder (10 episodes) and Les Norton (10 episodes). Across the total TV drama slate the hours, budgets, spend and average cost per hour for all titles increased year-on-year.
New titles in production included the forthcoming Upright for Foxtel, Stateless for ABC and The Secrets She Keeps for Network 10.
Fifteen children’s TV dramas entered production in 2018/19, including two official co-productions. Of the 15, seven were for the ABC, one for NITV, six for the commercial broadcasters and one for Foxtel. The 15 titles generated a five-year high of 132 hours of content at a total cost of $105 million. The number of titles, hours, budgets and spend for the total slate were all above the five-year averages, and live action production significantly increased to 61 hours, the highest level since 2012/13.
Thirty-three Australian features went into production including three official co-productions, with a spend of $299 million being driven by the production of titles including Peter Rabbit 2: The Runaway, The Dry and Miss Fisher and the Crypt of Tears. Three official co-productions started production in 2018/19 including Dirt Music (UK), Escape from Pretoria (UK) and Buckley’s Chance (Canada).
The 33 features that started production in 2018/19 had total budgets of $316 million, with the largest proportion (79%) being made for under $10 million. The 2018/19 feature slate saw fewer titles in both the upper and lower budget ranges with 6% of films made for under $1 million (20% in 2017/18) and 21% for over $10 million (25% in 2017/18).
The Drama Report measures online dramas that were a single episode or series with total durations of 30 minutes or more that have premiered in Australia online. Online titles can premiere on social platforms such as YouTube and Facebook, subscription services such as Stan and Netflix, and broadcaster platforms such as ABC iview.
In 2018/19, 28 Australian titles were made for first release online including two single-episode and 26 series titles, an increase on last year’s 21 titles. Overall budgets remained steady at $53 million, however Australian spend of $40 million was down 25% on last year due to some titles spending a significant amount overseas.
Titles in production included ABC iview’s Content and Sarah’s Channel, Robbie Hood for SBS On Demand, Stan’s Bloom and The Other Guy series 2, and Australia/New Zealand Netflix Official Co-production – The New Legends of Monkey series 2. Titles made for release on YouTube included Aunty Donna’s Glennridge Secondary College and Canneseries Best Short Form Series winner, Over and Out.
Total spend on foreign shoot and PDV-only titles totalled $410 million in 2018/19, more than three times higher than 2017/18 ($111 million), and well above the five-year average ($378 million). Causing this spike was expenditure of $297 million on 11 foreign titles shot in Australia including Dora and the Lost City of Gold, Monster Problems and Godzilla vs Kong. $113 million was also spent on 26 PDV-only titles, up 16% on 2017/18.
Foreign feature expenditure totalled $296 million in 2018/19, almost three times higher than last year. Contributing to the result were seven foreign features shot in Australia as well as 21 PDV-only features that included Men in Black: International, It: Chapter Two and Jumanji: The Next Level.
Total foreign TV drama activity accounted for $115 million in Australian expenditure in 2018/19, up significantly on 2017/18 ($4 million) and the strongest result in more than a decade. Nine titles contributed to the result, including five PDV-only titles, however the increase was driven by the second-highest spend on record for the four foreign TV series shot in Australia – Reef Break, Preacher series 4 (US), If Time Flows Back (China) and Nirasha (Sri Lanka).
Several factors contributed to the growth in foreign production such as the fall in the Australian dollar, the Federal Government’s $140 million Location Incentive announced in May 2018, and the introduction of 10% PDV rebates by the NSW and Queensland state governments, to match those already offered by Victoria and South Australia, and which complement the 30% Federal PDV Offset. Additionally, the Australian Government announced in April 2019 that television series and mini-series for online streaming platforms are eligible for the Location and PDV Offsets.
The Location Incentive has already had an impact on future production with six titles announced as shooting in Australia – Marvel’s Shang-Chi and the Legend of the Ten Rings and Thor: Love and Thunder are headed for NSW, while TV series Shantaram and Clickbait will shoot in Victoria. The Federal Government has also announced it will be providing $30 million to Dick Cook Studios to shoot two new adventure/fantasy films, Ranger’s Apprentice and The Alchemyst in Victoria and other locations in Australia.
Screen Australia’s Annual Report was tabled in Parliament on 22 October 2019, and revealed that the agency provided nearly $48 million in production funding for drama titles. That included $19.57 million for television drama, $13.98 million for features, $6.86 million for children’s television, $4.33 million for online productions and $3.23 million for Indigenous productions.
Of the Australian productions tracked by the 2018/19 Drama Report, 61% of feature films, 54% of television shows, 60% of children’s television and 86% of online projects received production funding from Screen Australia.
By Claudia Siron
Sarah Wills and Lise Carlaw are ‘Those Two Girls’ you may listen to on a very early commute to work at 5-6am on the Hit Network. Their playful on-air (and off-air) humour has captured listeners all around the nation since 2018.
Lise and Sarah shared with Mediaweek what it’s like getting up at the crack of dawn to entertain Australia, their history of live performances, and how it felt being named in Radio Today’s Top New Talent To Watch 2019.
With their like-minded humour, it would feel as if the two peas in a pod have known each other their whole lives, yet they only met in their mid 30s. “We actually should have met during our 20s after piecing together weddings we were both invited to attend, mutual friends in common, and similar career backgrounds in communications, but we didn’t meet until we were 34 and – surprisingly – it was through Facebook!” they said.
Lise added that they were both on maternity leave, so they were freelance writing to outlets at the time they met. “We both originally started out in journalism – Sarah went down the PR route for years, and I worked in event production and copywriting,” said Lise. “Mixed bag, but both a strong background in communications.”
“From a performance perspective, Sarah has an honours in theatre and I modelled professionally overseas for close to a decade. That’s a little side note, but it does play into our penchant for live performance and humour. Lord knows our theatre and modelling days made us laugh regularly.”
Lise and Sarah explained to Mediaweek how their radio careers started. “We joined the Hit Network in 2017 when we were offered a weekend breakfast show on Brisbane’s Hit105.
“It was completely out of the blue given we had no radio background, but it was a welcome opportunity. We think it came down to chemistry. Gemma Fordham (head of Hit Network) got wind of the live shows we were producing in Brisbane. We’d had guests like Zoe Foster Blake and Mia Freedman, and I think she had heard good things about our on-stage presence and banter.”
In 2018, after one year of Saturday mornings on-air, they were then given the brand new timeslot of national ‘Early Breakfast with Those Two Girls’ from 5-6am weekdays.
“We continue to do the early show and, since July 2019, are also half of the Hit 90.9 ‘Brekkie Crew’ on the Gold Coast.”
Lise and Sarah co-host the 6-9am Gold Coast breakfast show with Dan Anstey and Ben Hannant (pictured below). “They’re both good guys, great at what they do and have welcomed us with open arms (and vice versa!).”
In regards to maintaining a sleep schedule to be up and ready to start off their national audience’s day with bouncing energy, Those Two Girls said their bedtime would make toddlers jealous. “It’s a case of early to bed/early to rise for these two black ducks. Fortunately, we thoroughly enjoy the teams we work with, which makes the slog of stupid-o-clock alarms well worth it.
“Generally, we’ll leave the station around lunchtime depending on workload. That gives us a couple of hours to rest or runaround before family life takes priority.”
The women were named in Radio Today’s Top New Talent To Watch this year. “It gave us all the warm-and-fuzzy feelings to be included. Every person likes to be acknowledged for their work regardless of industry, and we were no exception,” they said.
Aside from their radio gigs, Lise and Sarah also co-host live performances where they interview guest speakers using their same comedic tone and banter. The women just recently co-hosted a Business Chicks event where they spoke to Sarah Jessica Parker about her personal life, her career in acting, and her business endeavours. “It was wonderful to represent the Hit Network on stage in Sydney in front of a 2000-strong crowd a couple of weeks ago. We love live events and we love Sarah Jessica Parker, so the combination of the two was quite the thrill.
“We’ve also had the privilege of sharing a stage and interviewing the likes of Julie Bishop, Leigh Sales, Mia Freedman, and Sarah Wilson, to name a few. Rest assured, we still get nervous – you should have seen us backstage at this year’s ACRAs just before presenting a few award categories.”
In regards to future plans, it appears Lise and Sarah are more than content with where they are now. “We’ve been so surprised at our career trajectory so far – we couldn’t have planned for any of it, let alone what may be ahead of us. Staying employed in radio would be ace! We love it here and we’d love to keep going, whether that be in breakfast or drive, local, or Australia-wide.”
Southern Cross Austereo (SCA) has appointed 20 internal “innovation champions” to lead its The Lab project, calling on its people to act as “torchbearers” for the new initiative.
The Lab project, which launched in April, is focused on nurturing innovative thinking and supporting SCA’s people to develop ideas to implement across the business.
The innovation champions, selected from 13 SCA offices across Australia, have been trained to mentor employees as they test their proposals, supporting them through the development and implementation phases.
SCA CEO, Grant Blackley, said the new network of champions was designed to keep innovation at the forefront of the business.
“We are looking to increasingly make innovation part of SCA’s DNA and the ongoing development of The Lab project is a fundamental part of that. Our innovation champions have been selected based on their active participation in The Lab, and their clear passion for innovation and new ways of thinking.
“It’s great to have such a diverse mix of champions from across the business and at different levels of the organisation – I’m confident this new network will really help to drive engagement in The Lab initiative.”
The Innovation Champions are:
Emma Barbato – Digital Marketing Specialist – Gosford
Matt Bartlett – Head of Commercial – Melbourne
Jack Bingham – Digital Content Producer – Newcastle
Shane Bromilow – Regional Sales Manager – Busselton
Mitch Byatt – Campaign Ideas Manager – Sydney
Daniel Carmichael – Creative Writer – Gold Coast
Taylor Casu – Research Analyst – Brisbane
Matt Dickson – National Head of Creativity – Perth
Tammy Dobrow – Account Manager – Sydney
Inger Flathaug – Campaign Ideas Manager – Gold Coast
Shaun Gough – Triple M Content Manager – Melbourne
Benuo Hamera – Program Coordinator – Canberra
Lara McLaren – Brand Assets Director – Melbourne
Jeanna Manifold – Head of Studio – Brisbane
Cameron Marlowe – Campaign Creative Director – Adelaide
Scott Menz – Content Director Triple M – Brisbane
Sam Morrison – Audio Production Triple M – Adelaide
Cat Pegoraro – Promotions Coordinator – Townsville
Breeana Russell – Senior Tactics Coordinator – Hobart
Leigh Ryan – Announcer – Wagga Wagga
The Lab atSCA has also launched a contest internally, with ambassadors Carrie Bickmore and Tommy Little calling for entries. The first initiative launched out of The Lab earlier this year was The Papa Project, creating a safe place for men to come together and share the trials and tribulations of fatherhood.
SCA’s people have been encouraged to put their innovative ideas forward for the latest contest, particularly focusing on how SCA can deliver greater return on investment to its clients. Shortlisted ideas will be presented to the SCA Leadership Group in the coming months.
Brian ‘Spoonman’ Carlton will host a brand breakfast show, Brian Carlton – The Spoonman, on Triple M Hobart from next month.
The veteran radio presenter launched onto the national stage as the youngest News Talk host on Sydney’s 2UE in 1990 and rated #1 within a year. By the late 90s Spoony was covering the US Presidential press conferences in Washington DC and hosted the first News Talk show on Australian commercial FM radio as The Spoonman on Triple M in 1998.
Carlton had most recently been hosting Tasmania Talks on LAFM Launceston and he will replace the recently departed Dave Noonan at Triple M Hobart.
In 2008 The Spoonman was iTunes’ #1 News and Politics podcast, and by 2011 he was nominated for the Brian White Memorial Award for journalistic excellence. Carlton was also the first metro FM broadcaster to be nominated for an Australian Commercial Radio Award (ACRA) for Best Current Affairs Commentator.
In 2015 Carlton decided to permanently relocate to, and settle in, Tasmania. Since then he has led the Tasmania Talks team to six ACRA wins from 12 nominations.
Carlton has been at the forefront of major decisions that have helped average Tasmanians. He lobbied to save the Tamar Valley Power Station from sale or closure, and for changes to the Federal Childcare Rebate in the 18/19 Budget, with Tasmanian Senator Jonathon Dunium crediting him as being instrumental in these changes.
Carlton was first to publicly inform Senator Jacqui Lambie that she appeared to be in breach of Section 44 of the Constitution and may need to resign from Senate. His interview with the Federal candidate for Lyons, Jessica Whelan, was also seen as one of the catalysts for her Liberal endorsement being revoked by the party.
On his move from Launceston to Hobart, Brian ‘Spoonman’ Carlton said: “Name a better job than waking up the greatest city in Australia on Triple M.
“Triple M is my spiritual broadcast home and I’m stoked and privileged to be joining Triple M Hobart for breakfast. If you like your breakfast radio well stirred, I hope you’ll join me in Hobart. I can’t wait!”
Southern Cross Austereo Tasmania executive general manager, Ally Bradley, said: “We are excited to welcome Brian Carlton – the Spoonman to our Hobart team and back to the Triple M family. Brian brings a wealth of experience tackling the biggest issues inside and out of Tasmania.”
Brian ‘Spoonman’ Carlton will be heard on Triple M Hobart from Monday, 18 November from 6-9am.
Photos: The Mercury
By James Manning
• Nine #1 with just over a week until The Block auctions
• Best of the rest: Bachelorette, Gruen and Motorbike Cops
• Seven News 888,000/872,000
• Nine News 773,000/764,000
• A Current Affair 672,000
• ABC News 577,000
• 7.30 466,000
• The Project 252,000/407,000
• 10 News First 309,000
• The Drum 147,000
• SBS World News 110,000
• Sunrise 277,000
• Today 163,000
Home and Away did 542,000 after previous outings on 624,000 and then 578,000 this week.
Highway Patrol was on 446,000 followed by Motorbike Cops with 487,000.
The Good Doctor did 477,000 after returning last week with 495,000.
A Current Affair had a night under 700,000 after two nights close to 730,000. Stories included Woolworths botched payroll.
The Block is getting close to the end with just one more week to go. The teams got together for an emotional catchup remembering the good and bad times. The episode was on 804,000 which was still enough to outrate everything on air yesterday apart from Seven News.
An hour of Love Island Australia then did 320,000 which is up slightly on the FTA audiences so far this week.
The Project featured Waleed Aly touring around the UK trying to make sense of Brexit. Good luck! Christopher Pyne was on the desk as the 7pm half hour did 407,000.
The Bachelorette had plenty of highlights for the TV recaps with a secret life, a dismissal and a walkout. The episode did 593,000 after 628,000 on Wednesday last week.
Playing For Keeps was on 231,000 after 220,000 a week ago.
The final of BH90210 did just 97,000.
ABC News and Gruen made the midweek top 10 with both close to 580,000.
Julia Zemiro’s Home Delivery was with Bill Bryson and a metro audience of 438,000. That is up from 394,000 last week.
Frayed was on 310,000.
Britain’s Ancient Tracks with Tony Robinson did 196,000.
The final of the four-part Struggle Street was on 249,000.
The series final of The Looming Tower then did 87,000.
|ABC KIDS/ ABC COMEDY||1.9%||7TWO||3.1%||GO!||3.9%||10 Bold||5.4%||VICELAND||1.1%|
|ABC ME||0.8%||7mate||3.3%||GEM||3.5%||10 Peach||2.3%||Food Net||0.9%|
|7Food||0.8%||SBS World Movies||0.7%|
|ABC||Seven Affiliates||Nine Affiliates||10 Affiliates||SBS|
|ABC KIDS/ ABC COMEDY||2.5%||7TWO||3.7%||GO!||4.8%||WIN Bold||4.7%||VICELAND||1.6%|
|ABC ME||1.1%||7mate||4.0%||GEM||5.9%||WIN Peach||2.3%||Food Net||0.9%|
|ABC NEWS||1.4%||7flix (Excl. Tas/WA)||1.6%||9Life||2.2%||Sky News on WIN||2.1%||NITV||0.2%|
|7food (QLD only)||0.5%|
|WEDNESDAY METRO ALL TV|
16-39 Top Five
18-49 Top Five
25-54 Top Five
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
Seven West Media’s proposed takeover of regional broadcaster Prime is in the spotlight in more than one way, reports The AFR’s Street Talk.
As Antony Catalano made good on his plans to try and disrupt the deal, the ACCC kicked off its informal merger review.
The competition regulator sent a letter to industry participants on Tuesday, seeking their views on the proposed $64 million scrip offer.
The review also set out to collect views on how the proposed acquisition would impact prices, quality, choice and service levels for advertisers and consumers.
Responses were due on November 19. ACCC set a December 18 provisional date to announce its findings.
Antony Catalano has made a move to take a major shareholding in Prime Media as a potential roadblock to the regional broadcaster’s merger with Seven West Media, reports The AFR’s Max Mason.
Catalano and associates, through a number of different entities, have revealed a 10.26 per cent stake in Prime. The entities include his private investment vehicle Kirant and his friend Alex Waislitz‘s Thorney Investment Group.
“We don’t like the [Seven] deal as it is,” Catalano said. “We think there is a broader opportunity for consolidation to strengthen the position of all the media companies that are facing challenging times.”
Catalano has not made a counter-offer to Seven’s deal.
“We’ve got one transaction in front of us and that’s focusing all our attention,” Prime chairman John Hartigan said.
Antony Catalano’s blocking stake alongside billionaire investor Alex Waislitz will see the pair get a seat at the negotiation table with Kerry Stokes-backed Seven and Prime, reports The Australian’s Lilly Vitorovich and John Durie.
Catalano and Waislitz who bought Fairfax Media’s regional operations earlier this year, said Seven’s acquisition of Prime will harm regional media.
“I don’t think this deal by Seven achieves the best outcome for regional media, there are broader discussions that could be had that would produce a better regional media company and therefore better serve regional Australians,” Catalano told The Australian.
“Given what needs to happen in regional Australia, there’s an opportunity for a broader consolidation play, not simply allowing a metro company to buy a regional business.
“The best interests of regional Australians are served by having a very strong, robust, healthy regional media business, and the only way that’s going to be achieved is by regional media companies consolidating,” he said.
The Australian privacy commissioner has revealed it is also examining Google’s handling of personal data as the search giant prepares to fight the consumer watchdog in court over accusations it misled users, reports The Sydney Morning Herald’s Jennifer Duke.
The Australian Competition and Consumer Commission announced on Tuesday it would sue Google over claims it misled the users of the Android mobile phone and tablet operating system over how it collects location data. Google intends to fight the claims.
Contacted for comment a spokesman for the Office of the Australian Information Commissioner confirmed the organisation “continues to make its own inquiries” on Google but declined to elaborate.
The national regulator is able to undertake investigations into whether the actions of private sector or government organisations have interfered with someone’s privacy.
A 60 Minutes crew is being deported from the tiny Pacific atoll nation of Kiribati, reports The Australian’s Ben Packham.
It’s understood the five-member crew, including journalist Liam Bartlett and producer Gareth Harvey, had a dispute with local authorities shortly after their arrival on Monday over a visa matter.
Kiribati, which unexpectedly switched diplomatic relations from Taiwan to China last month, tightened its criteria for media visas following a ferry disaster last year that killed 95 people.
A Nine Entertainment spokesman said the crew had submitted applications for filming approval before travelling to Kiribati, but the permits had not been granted before they departed Australia.
The spokesman said the crew was not being “detained” or under “house arrest” as reported by some Pacific outlets.
“Schapelle Corby has something to say.”
Do you want to hear it? Fifteen years ago, the answer to that question was ‘yes, oh yes’, reports The Australian’s Caroline Overington.
Millions of people watched as Corby’s body began to shake, as she was sentenced to 20 years in a Bali prison.
Now she’s out, and doing a publicity tour for her book. She appeared on Network 10’s Studio 10 this morning and maybe you’re thinking: ‘oh my God, I am so sick of her’.
But she is sick, too. This tour cannot be in Corby’s best interests. She was trembling and crying on set, and it was not fake. It was a terrible thing to watch. Corby herself admitted that she is not well. At times she was talking in a little girl’s voice. Then she’d be smiling. Then crying. She said she felt raw. She at one point grabbed Kerri-Anne Kennerley’s hand.
For four days in the northern autumn almost 5000 program buyers converge on the south of France looking for the next big thing. Swimming in a sea of reality formats, dramas and comedies, TV “stunt” shows and TV “event” shows, they’re sifting through millions of pebbles in the hope that when the sand washes away they will be left holding a pearl, reports The Sydney Morning Herald’s Michael Idato.
For some, the annual Marché International des Programmes de Communication – Mipcom, for short – is the crystal ball which offers a glimpse into global television’s trends. Scripted or unscripted? Drama or comedy? Local or international?
It might beggar belief that television network programmers will spend more time asking which shows are number one in Finland, Iceland and Greenland than listening to the mood of their own audience, but such is the strange, sometimes eccentric and often ridiculous world of television.
Some of the trends are self-evident. Of the almost 5000 buyers at the market, almost 2000 of them were buying content for digital or streaming platforms. That’s a whole lotta Hulu for a business still driven, in the main, by very earthly free-to-air broadcasters who send their programs to the audience using transmitter towers that go beep-beep.
Though the Mipcom market has pushed scripted content to the centre of its stage, unscripted content has made something of a comeback in the streaming era, both as streaming platforms soak up dramas and create gaps elsewhere, but also as streaming platforms begin to dabble in reality formats themselves.
A US duo says The Masked Singer Australia stole “note for note, beat for beat” their arrangement of Billie Eilish hit Bad Guy, reports news.com.au’s Bella Fowler.
Arizona-based band Halocene claimed the cover, which was performed by Kate Ceberano as The Lion on episode three of the musical guessing game, also included an original riff the band had written for one of their own songs, Why Wait?
Channel 10 have not commented on the potential copyright claims and there is no suggestion Ceberano was aware the Halocene version of the song.
Posting a 12-minute video to their YouTube page, Halocene’s Brad Amick and Addie Nicole said they published the song 22 weeks before the episode aired, and outlined exactly why they believe The Masked Singer Australia ripped their arrangement.
Along with side-by-side sound bites to outline the similarities between each song, they also shared a clip of Ceberano explaining that her song choices came from her daughter’s playlist.
“Regardless of how they came across our version, someone with the music department of the show had to go over the intricate details of our recording,” Amick said.
Doctor Doctor’s 4th season will air in the UK from mid-November, before it screens in Australia, reports TV Tonight.
The drama starring Rodger Corser was held back by Nine and will now air in 2020, after its British premiere on UKTV’s drama channel on November 16th.
That could make avoiding spoilers somewhat tricky, at least for those looking online.
A Nine spokesperson told TV Tonight that in order to get funding they have had to change the windowing.
“Doctor Doctor has enjoyed huge international success, and our overseas partners have always played a key role in how the series is financed,” Nine said in a statement.
“With the fourth season of Doctor Doctor (known as The Heart Guy in overseas markets), the series will be broadcast in the UK before Australia. Drama is an international business and Nine and [producer] Easy Tiger are thrilled with the series’ ongoing popularity in the UK in particular.”
WarnerMedia executives took the stage on Tuesday in Los Angeles to formally introduce the streaming service HBO Max, the future exclusive US online home for Game of Thrones, Friends, The Big Bang Theory, the Harry Potter films and movies centered on DC Comics superheroes like Batman, Superman and Wonder Woman, reports The New York Times.
The big reveal, which came two hours into the event, was the cost of HBO Max: US $15 a month.
That price puts the service at the top of the market. Netflix’s standard plan costs US $13 a month. Apple charges US $5 for Apple TV Plus, which will become available Friday. Disney Plus, the service from the Walt Disney Company scheduled to start Nov. 12, will charge US $7. WarnerMedia was already charging US $15 for HBO Now, a streaming service with content from HBO.
HBO Max will offer some 10,000 hours of programming to start, much of which has been announced in recent months. One show that will not make it to HBO Max is a previously announced Game of Thrones prequel starring Naomi Watts. HBO said on Tuesday that the show had been scrapped.
Toward the end of the event, WarnerMedia announced a replacement for that series: House of the Dragon, a show set 300 years before the action of Game of Thrones. It is based on the book Fire & Blood by George R.R. Martin, whose A Song of Ice and Fire novels were the source material for the epic HBO series, and it focuses on the House Targaryen.
Mangrook Footy Show founder and producer Grant Hansen confirmed the show’s cancellation today, saying it was a “really crazy decision”, report News Corp’s Nui Te Koha and Jackie Epstein.
“I can’t understand their reasoning, it was the most popular show on the network and brought people to NITV,” he said.
“People are just stunned. They were lining up to be on it, musicians used to call us to get on the show, players and their managers would want to come on.
“It’s a really crazy decision. Hopefully someone will come to their senses at SBS.”
Hansen said he had already fielded some interest from mainstream networks.
“It’s a decision that’s been made without any foresight. We would hope mainstream TV would be interested in it.
“It would go gangbusters if they are prepared to take a punt on a footy show for everyone.”
Hansen took to Facebook to thank the show’s loyal fans.
The popular AFL show started on Channel 31 in 2007, before moving to ABC2, and SBS.
It was nominated for Logies, for best sports program in 2015 and 2016.
NITV’s channel manager Tanya Orman said: “The Marngrook Footy Show has been an important part of NITV’s schedule for 12 years. The media landscape has changed significantly over that time, and we have to make tough choices about how we spend our limited budgets across our programming.
“While it was a difficult decision to make after such a long run, NITV remains committed to delivering quality AFL coverage from a uniquely indigenous perspective.
“We are looking at formats for a new show that will join our existing sports coverage including the Northern Territory Football League, the Koori Knockout, Over the Black Dot and the National Basketball League.”