Commercial Radio Australia CEO Joan Warner explains strategy, radio ratings innovation, restricting gambling ads and Jaime Chaux’s new role.
By James Manning
Commercial Radio Australia (CRA) has launched the next wave of its Radio Alive campaign in its bid to convince business not currently using radio as a medium that it should get on board.
The campaign includes four radio ads created by radio and specialist audio agency Eardrum that use more than 15 different sound effects to tell the story, including the honking of a cruise ship, the rev of a sports car, an angelic choir and sauce squeezing from a bottle.
“Given the great interest in audio at present, it is a really good time to be reminding media buyers about the power of radio,” CRA chief executive Joan Warner told Mediaweek. “We see radio continuing to get around 7.5-8% of ad spend.
“Some people think we are lucky because we haven’t lost revenue like some others. We actually think because of our growing audience reach and the role cross-platform broadcasting is playing that we should do better than 8%.
“We need to keep ourselves in front of the media buyers in an amusing and interesting way, and using our own airwaves, to try to bring this about.
“Our members are very competitive broadcasters, but we do come together on a lot of things and this is one of them. We feel our influences far outweigh our share of the ad dollar.”
• “There is a lot of work we are doing to improve content in the news feed”
By Kruti Joshi
Just days before Facebook founder Mark Zuckerberg was due to face the US Congress and as the tech giant alerts members who had their data misused by Cambridge Analytica, Facebook in Australia was trying to continue its work with publishers and the promotion of trusted content.
This year, Facebook wants to focus on promoting informative content, prioritising local news and working towards eliminating spam accounts and the distribution of fake news.
Facebook Australia hosted a breakfast on Friday April 6 at The Ivy in Sydney to talk about new tools and strategies it is working on to achieve the three goals. Just under 20 journalists, academics and internal Facebook employees were briefed by the organisation’s news partnerships lead for Australia and New Zealand, Andrew Hunter. The news partnerships leads for Central Europe and Indonesia, Guido Buelow and Alice Budisatrijo, were also present at the event.
In his presentation, Hunter first addressed the changes to the news feed announced by Facebook in January 2018, which would give priority to updates from family and friends over public pages. “What does this mean for publishers?” he said. “News before January was contributing to about 5% of the news feed content – that will be reduced to about 4%.
“There is a lot of work we are doing to improve the content in the news feed. Even if the public content is reducing slightly, we are elevating the quality of that content.”
Facebook is working on improving the integrity of the content that is shared on the platform. One of the major steps the social media giant has taken to achieve this is to work with third-party factcheckers. A number of trials have been carried out in Southeast Asia. Budisatrijo explained to the room that if a piece of content is classified as spam or fake news by the third-party factcheckers, the circulation of that content on Facebook is reduced by 80%.
When asked why not stop the circulation of that content completely, Budisatrijo explained that content like opinion pieces may be classified as spam or fake by the third-party factcheckers, but they do not breach community standards. Therefore, it would be not right to remove that content completely. Facebook does not want to choose what content the users should and should not see, Hunter and Buelow added. That is a power it wants to keep with its users.
One way Facebook is helping users identify genuine news stories is via the breaking news tag, which appears on the bottom left-hand side of a post made by a publisher. The feature isn’t yet available to all Australian publishers, but Facebook is trialling the tag down under via partnerships with Fairfax, News Corp, Seven, Nine and ABC News to trial the tag.
Facebook also prioritises content from local publishers in the news feed, an update announced at the start of this year. The change was first rolled out in the US in January 2018. Explaining this change, the organisation wrote in a blog post: “We identify local publishers as those whose links are clicked on by readers in a tight geographic area. If a story is from a publisher in your area, and you either follow the publisher’s page or your friend shares a story from that outlet, it might show up higher in news feed.”
In November last year, the company began trialling subscriptions on the platform with about 10 publishers who are based in US and Europe. “Publishers have full control of the payment process and customer relationship, data and pricing,” Buelow said. “There were some initial challenges with Apple, which we have solved now. Since March 2018, we have been testing on iOS devices as well. We are quite confident that this is another step forward in supporting publishers and their business models as we do with any other business models like native advertising.”
Asked how Facebook will be earning from this, Buelow emphasised, “We don’t take any cut from the subscription cost.” As to when the subscription feature is likely to become available, Buelow said that more trials need to be done and he would not like to put a timeframe on this.
By tapping into Australia’s love of property and providing a host of unique opportunities for advertisers, homes magazine brands are building a sustainable future.
By Magazine Networks’ Brooke Hemphill
With one of the highest rates of home ownership in the world, it’s no surprise Australian magazine brands in the homes category bat above their weight. It’s a fitting analogy given Claire Bradley, associate publisher of Homes at NewsLifeMedia, calls property “our national sport”.
According to the editors of titles in the space, at any point in time Australian homeowners are either renovating or planning a renovation. “They’re researching and they’re doing. Then they’re re-doing. They’re upsizing and they’re downsizing. We’re the bible to all of those processes,” says Lisa Green, editor-in-chief of Australian House & Garden.
From Australian House & Garden, Belle and Real Living, which are published by Bauer Media, to NewsLifeMedia’s Inside Out and Vogue Living, Pacific’s Better Homes & Gardens and Home Beautiful, there’s plenty of inspiration for people planning to update their personal spaces.
Sarah Burman, editor of Home Beautiful, says her title’s point of difference is in the name. “We’re about home. Other magazines in the category are about houses. We’re about creating a place where you want to be, where your friends and family want to come, a place that’s just for you.”
Elsewhere across the landscape, with its focus on architecture, Bauer’s Belle appeals to a more niche audience, Real Living targets a younger, urban reader, while Better Homes & Gardens has a much more practical bent offering step-by-step how-to guides.
While the offerings have their own unique personalities, the sense of place remains a constant across the publications and is a major selling point for advertisers.
Julia Zaetta, editor of Better Homes and Gardens, says, “Homes are where everything that matters happens. It’s where you rest. It’s where you build your relationships. It’s where you bring up your children. Your home is where you want the people who matter to you. It’s where you go when you want to seek refuge from the outside world. Why wouldn’t you want to be in that space if you were an advertiser?”
As readers turn to the trusted brands in the homes category for advice and inspiration, advertisers find a receptive audience as well.
In the case of Home Beautiful, for instance, readers spend around $10.3 million on furniture a month, $4 million on homewares and $35 million on electrical goods. Burman says: “We’re getting them in their research phase and that’s so important to anyone who’s trying to sell anything, from a fridge to a brand new home.”
This opportunity extends well beyond retail brands to life decisions opening up the space to any number of products including loan and mortgage providers. Bradley says: “When homeowners are making big renovation decisions, they’re also making other large lifestyle choices, so it’s important for advertisers to be a part of those conversations.”
The other factor homes titles have going for them is the amount of time readers spend with the brands. For example, Lisa Green says: “It’s not uncommon to hear readers spending two and a half hours a month with the magazine in their hands. It’s a pretty strong number.” This figure is a hefty increase on Magazine Networks research, which shows on average readers spend 1 hour and 17 minutes with a print magazine.
Zaetta says print offers readers something they can’t find online. She says: “When you go online, you’re looking for something specific. When you go to a magazine, you’re given a whole breadth of other ideas you didn’t even know you wanted. You’ll go looking for kitchens and you’ll find a million kitchens, but you’ll learn how to cook lemonade scones as well.”
Digital is providing a number of unique opportunities for homes titles to extend their reach and widen audiences. Case in point is Home Beautiful’s multiplatform video project House to Home Beautiful, which has seen interior stylist Aimee and her builder husband Frank transform a house into their home. This project went some way to driving the 131% increase in traffic to the Home Beautiful website last year and the additional 1 million Facebook followers the brand has acquired during that period.
Despite the massive reader engagement with print, Green and the team at Australian House & Garden also think well beyond the page when it comes to content. She says, “We don’t just commission a print story now without thinking of the wider applications. We’re always looking with a 360˚ view at any piece of content and how we can make more of that across all of the platforms.”
Bauer has taken a unique approach to digital with content from all of the titles in the category falling under the Homes to Love umbrella. Fiorella Di Santo, Bauer Media’s General Manager Publishing – Fashion, Luxury, Food and Home, says the platform is a visual feast. She says: “What Homes to Love does is give you the ability to navigate the different types of magazines and the content they offer. There is lots of great video because video is important to this category and there are lots of galleries.”
Homes titles also connect seamlessly to more traditional mediums, in particular, television. Programs such as The Block are helping to drive readership while they provide talent that traverses all mediums.
Better Homes and Gardens is a prime example of a brand extending across channels. Editor-in-chief Zaetta says the magazine and the TV program it spawned work hand-in-hand. She says: “The magazine is our instruction booklet for all of the television segments. If they make something, cook something or plant something, we’re the backup to show you how to do it again. We call ourselves practical information with visual indulgence.”
The same digital developments that are transforming the way readers consume content are changing the homes around them. Of all the trends the editors of Australia’s homes titles are seeing, the connected home is one of the most exciting.
Australian House & Garden has partnered with Mirvac for the My Ideal House project, which sees a tech-enabled sustainable home being built including sun and wind sensors to set blinds to open or close at a certain light level, or in response to changing weather conditions.
Home Beautiful’s Burman says of the trend: “The smart home idea is about how technology is changing your home: how you live in it and how you kit out your spaces to make your life easier.”
On a more practical level, the real estate market has led to an increased population of renters. For a title such as Home Beautiful with a readership skewing slightly older, a shift could be on the cards as millennials come of age. Burman says, “We’re still figuring out what effect that is going to have and how our readership is going to change when we are speaking to, potentially, a generation of renters as opposed to homeowners.”
Better Homes & Gardens is only too happy to help renters spruce up their homes. Zaetta says: “You can make your rental place as much a home as something you own. We’re highlighting that more in our titles, showing renters all the things they can do with their homes.”
The housing affordability crisis has also seen the rise of multigenerational homes, which has led to homes titles striving to innovate smaller spaces. Green says, “It plays into the whole share economy. People are looking for ways they can actually make more money out of their homes. I think the era of McMansions is coming to an end. People are more conscious of the size of houses, which is important for long-term sustainability.”
Whether they’re renting or sharing with extended families, it seems the love Australians have for their homes isn’t going anywhere, which suggests a sustainable future for homes titles. But it’s not just about renovating. Burman says: “Renovating is a means to an end. At the end of the day, it’s all about life ROI. People are investing in their homes so that they can live a better life. For us, that means creating a place that they want to be.”
Bradley adds: “We love helping our audiences harness the passion they have for their homes and give them all the inspiration and tools they need to achieve their dream properties.”
• Challenge includes covering 18 sports disciplines at 17 venues
Television coverage at the 2018 Gold Coast Commonwealth Games is led by NEP Host Broadcast with the support of production partners the Seven Network and Sunset+Vine.
GC2018 is the fourth consecutive Commonwealth Games Contract for NEP Australia (formerly Global Television) following Glasgow 2014, Delhi 2010 and Melbourne 2006.
• 11 days of coverage plus the Opening and Closing ceremonies: April 4-15, 2018
• Approximately 1,340 hours of high definition live television coverage
• 1,600 hours of video archive material
• 17 venues (Gold Coast, Brisbane, Cairns and Townsville)
• 18 sports disciplines and a record seven para-sports events
• Daily media conference coverage
• Two daily highlights packages and edited previews
• Commonwealth Games channel
• Six long-form multichannels
The Host Broadcaster is also responsible for the International Broadcast Centre (IBC), which is the nexus of all Commonwealth Games broadcasting activity, handling incoming video and audio from the venues and distributing it to broadcast rights holders’ home countries.
The IBC, located at the Gold Coast Exhibition and Convention Centre (GCECC) at Broadbeach, will also manage outgoing worldwide transmissions from rights holders based on site.
• During Games time 1,450 broadcast technical and operational experts will work as part of the Host Broadcaster to deliver worldwide television coverage.
• 240 broadcast trainees working with the Host Broadcast Training Program will assist in delivering event coverage.
• 3,500 international media representatives will work from the IBC and venues to provide commentary and coverage to their home countries.
• 25 outside broadcast vehicles and control rooms
• 325 High Definition cameras
• Two helicopters and one light plane with cameras
• Two lead vehicle, two boat-mounted and five motorbike-mounted cameras
• More than 140km of cable laid
• 121-week project schedule (February 2016-May 2018)
See below: NEP’s ultimate work experience gig at Gold Coast Comm Games (
• Host Broadcasters offer real-life experience to people seeking TV careers
By James Manning
A total of 240 students and recent graduates with their sights on television careers have begun their biggest real-life industry experience to date: working with the NEP Host Broadcast team to deliver the 2018 Gold Coast Commonwealth Games.
Representing 10 Queensland universities and TAFEs, the Host Broadcast Training Program (HBTP) participants are in roles spanning the gamut of Host Broadcast operations: camera control unit (CCU), camera assist/cable hands, broadcast technical assistants, broadcast information assistants, runners, loggers, camera operators at media conferences and audio technicians. On average, trainees will work around 100 hours on the events, which started last week on April 4.
NEP Australia and the NEP Host Broadcast team have supported the training program, providing trainees with 12-18 months’ preparation that included NEP-led workshops on the Host Broadcaster’s responsibilities, training for specific operations roles, and attending NEP outside broadcasts of NRL, AFL, Cricket and A-League for hands-on participation in live event coverage under the supervision of NEP and skilled freelance staff on location.
Among the trainees is Griffith Film School Bachelor of Film and Screen Media Production student Lily Mitchell, who is working with NEP Host Broadcast at the Beach Volleyball at Coolangatta as a Broadcast Information Assistant.
“It’s a little bit of everything,” Mitchell said. “I’m helping with accreditation, working with the commentators, making sure all the cameras are tagged and that people are in the right place at the right time.”
Despite a degenerative eye condition that impairs her sight, Lily is well on her way to a television and film career.
“I love the adrenalin rush of producing live TV and sports broadcasts, and the GC2018 traineeship is the perfect opportunity to combine my passion for film and broadcasting with my love of sport,” she said.
NEP Host Broadcast’s head of broadcast training Gerry O’Leary added: “The Host Broadcast Training Program (HBTP) is all about helping young people embarking on their careers to know about the interesting and challenging world of live broadcasting, the changes that are occurring, and how their skills as enthusiastic adopters of technology will provide the opportunities they seek.
“I am so proud of the passion with which our Host Broadcast team has embraced the training program, the collaboration and support our university and TAFE partners have extended, and most of all to see our up-and-coming colleagues rise to the challenge of delivering Gold Coast 2018.
“It’s incredibly rewarding to know we are enriching the local skills base, promoting gender equality in the broadcast technical industry, and that the Host Broadcast Training Program will leave a lasting, positive legacy from the Games.”
More information at:
Top photo: Mitchell with her GC2018 accreditation
Mediaweek editor James Manning looks at the weekend box office for April 5-8, 2018.
• Peter Rabbit moves back to #1 as total earn hits $15m
With Easter now but a memory, box office revenues cooled after the holiday break, yet they still remain stronger than across the four weekends prior to Easter.
The four-day weekend gross was $14.35m, down 17% from Easter.
There was just one new release in the top five this week and two in the top 10.
Takings were down 26% from Easter as the movie held on just over 400 screens with its screen average dipping from $9,600 to $7,100. After three weekends in cinemas, and a strong preview weekend, total revenue is close to $15m.
A second weekend saw ticket sales weaken 35% as the number of screens showing the movie dropped 76 to 404. Screen average was $6,332 with a gross to-date of $8.73m.
We love a scary movie in the top five and this US horror outing is directed by John Krasinski, who also stars alongside his real-life wife Emily Blunt. Opening on 282 screens, the movie had the weekend’s best screen average of $8,588.
The last of the four movies to trade over $1m on the weekend, Blockers has been on the chart for two weeks with revenue down 34%. Screen average was just under $5,000 from 349 screens with a gross of $6.85m.
Second weekend here too for this movie with 225 screens and a screen average a touch over $4,000. Total earn so far is $3.5m.
• Seven records biggest competition crowds with track and pool gold on offer
• Young Sheldon and Bachelor In Paradise best of the rest in Comm Games week
By James Manning
Seven has pulled its biggest competition crowds of the Gold Coast Commonwealth Games so far with over 1.3m watching both Monday night sessions and many highlights from the pool and the track keeping viewers entertained.
Although we will probably never hear about subscriber numbers, the paid app should have been working overtime last night with Aussie teams competing in a number of sports not able to be covered in full on the “live and free” coverage.
Commonwealth Games on Seven
April 4: Opening Ceremony 2.0m, Primetime primary share 43.8%
April 5: Night 1 1.23m/1.16m, Afternoon 554k, Day 418k, Primetime primary share 33.0%
April 6: Night 2 1.01/1.09m, Late night 566k, Afternoon 468k, Primetime primary share 30.7%
April 7: Night 3 979/973k, Late night 499k, Afternoon 583k, Day 471k, Primetime primary share 32.3%
April 8: Night 4 1.24/1.24m, Afternoon 710k, Day 482k, Late night 466k, Primetime primary share 31.4%
April 9: Night 5 1.33/1.45m, Late 539k, Afternoon 458k, Day 321k, Primetime primary share 29.2%
A Current Affair Monday did 746,000 after a week 14 average of 721,000.
Episode 5 of Young Sheldon had the biggest entertainment audience with 767,000 after the episodes screened last week prior to the Comm Games averaged 916,000.
The Big Bang Theory then did 656,000.
The 2008 James Bond movie Quantum Of Solace was on 356,000.
The Project 7pm was on 490,000 after a week 14 average of 449,000. Features included coverage of Steve Price’s theatrical debut.
Bachelor In Paradise was on 673,000, which was down a little from 707,000 on a Comm Games-free Monday last week.
Two episodes of Law & Order: SVU then did 292,000 and 197,000.
Australian Story was on 553,000 followed by Four Corners with its partnership with Fairfax Media looking at ATO investigations with 627,000 watching.
Media Watch then did 521,000 with Q&A on 315,000.
Leonardo: The Man Who Saved Science was on 247,000 at 7.30pm.
The two episodes of The Bomb then averaged 150,000.
|ABC ME||0.4%||7mate||2.2%||GEM||1.8%||ELEVEN||1.8%||Food Net||0.8%|
|ABC||Seven Affiliates||Nine Affiliates||Ten Affiliates||SBS|
|ABC ME||0.6%||7mate||2.6%||GEM||2.8%||ELEVEN||2.5%||Food Net||0.8%|
|MONDAY METRO ALL TV|
16-39 Top 5
18-49 Top 5
25-54 Top 5
A US House of Representatives committee has released testimony from Facebook founder Mark Zuckerberg before he appears this week before Congress:
We face a number of important issues around privacy, safety, and democracy, and you will rightfully have some hard questions for me to answer. Before I talk about the steps we’re taking to address them, I want to talk about how we got here.
Facebook is an idealistic and optimistic company. For most of our existence, we focused on all the good that connecting people can bring. As Facebook has grown, people everywhere have gotten a powerful new tool to stay connected to the people they love, make their voices heard, and build communities and businesses. Just recently, we’ve seen the #metoo movement and the March for Our Lives, organised, at least in part, on Facebook. After Hurricane Harvey, people raised more than $20 million for relief. And more than 70 million small businesses now use Facebook to grow and create jobs.
But it’s clear now that we didn’t do enough to prevent these tools from being used for harm as well. That goes for fake news, foreign interference in elections, and hate speech, as well as developers and data privacy. We didn’t take a broad enough view of our responsibility, and that was a big mistake.
It was my mistake, and I’m sorry. I started Facebook, I run it, and I’m responsible for what happens here.
So now we have to go through every part of our relationship with people and make sure we’re taking a broad enough view of our responsibility.
HT&E’s esports league Gfinity Esports Australia has announced the second commercial partner for its upcoming May tournament: Logitech Australia.
Gfinity Australia partnered with Dell subsidiary Alienware for its inaugural Challenger Series in January this year.
As part of the new partnership, Logitech will supply gaming equipment for Gfnity Australia’s 2018 tournaments, which will see 42 live broadcast esports events.
Gfinity Esports Australia CEO Dominic Remond said: “We are extremely pleased to have Logitech Australia join the inaugural Gfinity Elite Series Australia, as a Major Partner across all three of our game titles in 2018.
“This is an exciting step, following on from our news earlier in the year announcing Dell as Presenting Partner for the Series.”
“Given the Gfinity Elite Series Australia will broaden the audience of esports fans in Australia, as well as creating new heights for esports entertainment, I’m delighted that Logitech has identified this partnership as the best way to continue to prove out its market-leading brands with the highly sought-after esports audience.”
Logitech ANZ MD Damian Lepore said, “Logitech G and Astro are an integral part of the gaming community, and our partnership with the Gfinity Elite Series Australia in 2018 demonstrates our commitment to the growth of esports.
“We have been working with professional players over the past few years while developing sophisticated and innovative pro products and are excited to back this world-class championship, which is a first for Australia. This is exactly what is needed to take Australian professional gamers to the next level.”
Southern Cross Austereo’s in-house client creative services team, The Studio at SCA, has expanded beyond radio to produce TVC campaigns for partner OVO.
The latest 30-second commercial promoting OVO’s 100GB prepaid Mobile Broadband Plan marks the third TVC for the client.
This latest spot follows a launch campaign for OVO’s Mobile plan for kids, aimed at parents of first-time phone users, and a subsequent animated campaign for the same product.
Head of The Studio, Luke Parsons, said, “Our position in market as Australia’s leading audio innovator is well-known, but this work with OVO signals a turn to a more comprehensive multiplatform approach for SCA’s clients.
“We’re uniquely situated now as a publisher to not only provide unrivalled reach for clients but also produce creative completely in-house, from initial concept through to the final product, be that an audio or visual campaign.
“Our production capabilities exceed that of our competitors and now even rival some of Sydney’s more established creative and production houses.”
The latest campaign is on-air now, having been rolled out across the Hit and Triple M networks and SCA’s regional TV network.
Watch the SCA OVO TVC here.
The AFR’s Street Talk reports former Foxtel chief executive Peter Tonagh has agreed to oversee a cashed-up consortium of financial investors and corporates who are bidding for a lucrative contract to run Australia’s visa processing system.
Tonagh is believed to be on board as chief executive of the new venture, dubbed Australian Visa Processing, which also involves investment from National Australia Bank, Australia Post and Qantas Airways, Ellerston Capital and buyout firm TPG’s The Rise Fund, among others.
Social-first digital agency and publisher Jaden Social has announced five new hires across its digital and creative teams, as strategy director Sam Korotkov moves into the newly created role of agency director.
Cristian Campano joins as art director from Rolling Stone Australia. Campano has previously worked with Junkee Media, Chugg Entertainment, ACP/Bauer, Laneway Festival and Universal Music.
Samantha Leighton will lead an all-new new division, Jaden LIVE, overseeing integrated campaigns for music, festivals, conferences, performing arts and concerts. Leighton brings over 20 years of music marketing experience to the agency as Account Director – Jaden LIVE.
There are three new hires in Jaden Social’s digital services team, including Hamish Lane (account manager) from ABC Music, Stella Hobbs (account manager) from Augusto Media NZ and Meg Wardrop (account executive) who joins from Shona Joy.
CEO and publisher Jake Challenor said: “2018 has shaped up to be an incredible year of growth for Jaden Social as we expand into new verticals and extend our core services beyond social, into strategy, storytelling, publishing and web and app development.
“It’s exciting to see so many new faces in our sunny Crows Nest office, which will ultimately bring new ideas and fresh thinking to our key accounts.”
All agency-side roles will report to Korotkov.
Pacific Magazines group sales manager Cara Norris joins Social Soup as sales director based in Melbourne.
In Sydney, Georgia O’Brien has joined as sales director with extensive agency experience across Leo Burnett, DDB and M&C Saatchi. She was most recently sales director at PINCHme.
Justine Estigoy has also joined the Sydney team as campaign manager. Estigoy was most recently content and brand partnerships manager at Multi Channel Network.
“The influencer marketing landscape has evolved significantly since we launched Social Soup more than a decade ago, and it’s growing like never before as it becomes a key pillar in most marketing strategies,” Social Soup founder and CEO Sharyn Smith said.
“We have experienced massive growth, thanks largely to the partnerships we’ve forged with our clients resulting in long-running influencer programs.
“I am so pleased to welcome Cara, Georgia and Justine to the team as we grow our commercial and client service team to meet the increased demand for our influencer marketing expertise.”
Actor Geoffrey Rush is virtually housebound, barely eats and is taking medication for anxiety, according to documents filed in a defamation lawsuit against The Daily Telegraph newspaper, reports Ashleigh Raper from ABC News.
The claims are contained in an affidavit as part of his legal action against the newspaper being heard in the Federal Court in Sydney.
His lawyers have detailed the “ongoing hurt” caused by the newspaper’s articles, which alleged he engaged in inappropriate behaviour towards a fellow performer during the 2015-16 Sydney Theatre Company (STC) production of King Lear.
The Daily Telegraph has chosen to name one of the confidential sources it used to confirm its front-page story on Rush.
Lawyers for the newspaper have claimed in court documents that STC executive director Patrick McIntyre was one of the people who confirmed to its reporter Jonathon Moran that a complaint had been made against Rush.
The defamation case is likely to go to trial in December.
Former Sydney Morning Herald arts editor and literary editor, Angela Bennie, has died. She was 73, reports Fairfax Media’s Nick Galvin.
Ms Bennie was the Herald’s arts editor from 1989 to 1994 and literary editor from 1998 to 2003. Additionally, she was well-known for her extensive work as a theatre critic.
Known for her grace, intelligence and sense of humour, Ms Bennie died in Sydney on Saturday surrounded by close family and friends.
Media Watch last night included an item about AFR columnist Joe Aston and what it labelled “relentless bullying” of The Australian’s media editor Darren Davidson.
Media Watch host Paul Barry said:
Why on earth has Fairfax allowed it to happen and does it endorse this sort of abuse?
Well, we don’t know, because the editor of the Financial Review declined an invitation to defend his columnist.
We think it’s vile. And to echo Joe Aston’s own words: is this really the kind of man we want presiding over one of The Australian Financial Review’s most popular columns?
Read the transcript and watch the video here.
Australia has failed to make the top 10 countries that admit to bingeing on TV along with a pet.
According to a new survey released by Netflix, when it comes to watching TV, most people (58%) find pets to be the best binge partner.
The top five countries the binge with pets were India, Thailand, USA, Spain and South Korea.
Not only do pets not hog the remote or judge your entertainment tastes (well, maybe), they make the perfect partners for the company, the cuddles (one in three have turned to their furry friends for comfort during a sad or scary scene) and even the conversation (22% have talked to their pet about the show or movie they were watching).
Though you should be warned that pet bingeing can also be ruff. More than a third of respondents (37%) have moved where they were sitting so their pet would be more comfortable, 22% have bribed them with treats to watch longer, and some (12%) have even gone so far as turning off a show because their pet didn’t appear to like it. The snuggle is real.
The survey was conducted by SurveyMonkey from January 9-25, 2018 and based on more than 50,000 responses. The sample is representative of an adult online population who watch Netflix with their pets in Argentina, Australia, Brazil, Canada, Chile, Colombia, Denmark, France, Germany, India, Ireland, Italy, Mexico, Netherlands, New Zealand, Peru, Poland, Portugal, Romania, South Africa, South Korea, Spain, Sweden, Thailand, Turkey, USA, UK.
Stranger Things continues to top the Digital Original charts this week in Australia and New Zealand while The Walking Dead is #1 on the Overall TV Shows rankings.
The Netflix series Lemony Snicket’s A Series of Unfortunate Events has returned to the Digital Originals chart in both markets as Netflix releases a second season of the comedy-drama based on the children’s novels.
Arrow is new to the Overall TV Shows chart coinciding with news last week that the US network The CW had renewed the superhero drama for a seventh season.
Nine News has topped the Non-Sport category this week with a big lead and TEN’s Bachelor In Paradise is the only non-news program in that category.
In Sport, AFL matches on Seven, 7mate and Fox Footy fill four of the top five spots despite the start of the Gold Coast Commonwealth Games, which takes up position #4 on the chart.