Commercial radio in Australia managed to grow its revenue in the last financial year, but the sector is not without its challenges – podcasts continue to grow in popularity, and smart home devices make music streaming even easier.
Is it correct to say commercial radio is surviving against digital disruption that has claimed a few media victims?
We not only survive, but we thrive. Radio is the great survivor and thriver, and that’s because we don’t get scared by new challenges.
When social media came in, people would say to me, “With social media, nobody will need radio anymore because they have those personal relationships through social media.”
Radio broadcasters said, “Okay, this is great, we can engage with our audiences and our on-air staff can engage with our audiences for a much longer period of time.”
Instead of looking in trepidation at new developments in technology, radio has thrived, saying, “Okay, how do I make that work for me? And how do I make it a better experience for my consumers, the listeners, through using this new technology?”
How have radio revenues been this year?
In the last financial year there was a 3.9% increase in revenue. That’s our ninth year of increases year-on-year. We would love to have a bigger increase, but we’ve got a bigger increase than many other traditional forms of media. The fact that radio is a very competitive medium within itself makes it better able to compete with other mediums.
Is the back half of the year traditionally a bit stronger?
Next year will be a great year for radio. There’ll be two elections, so that’ll be a very strong first half we believe, in New South Wales and then of course we’ll have the federal election. Radio gets a lot of use from parties and others during elections. I think the first half of next year will be very strong.
What are some of your biggest challenges as we head into 2019?
For commercial radio, one of our biggest challenges is always over regulation. And particularly over regulation in comparison to some of our media competitors. TV and radio are probably the two most highly regulated media communication sectors, we would say. Every time something happens, we seem to get a new code, or a new advertising restriction. We see that as a big challenge, when we have digital competitors who have little or no regulation or restrictions placed on them.
One of your members, Macquarie Media, has a new major shareholder. Does that mean you have a new member?
We welcome Nine into the radio industry, I’m sure they’re very happy to be in our industry. We’ll have to watch and see how that plays out.
You have had a big focus on regional radio with new surveys. Is regional a radio success story?
Regional revenues are up year-on-year as well. Regional broadcasters interestingly get 80% of their revenue, as a rule, from local advertisers, and 20% from national. For regionals, election years are great, because they get some political money coming through. Their secret is they’re so ingrained in their communities. We have 220 regional stations out of our 260 members, so they’re the biggest part of the industry in terms of numbers. They are pretty well immersed in their local communities, they’re there in emergencies, they’re there in disasters. They’ve got the sandbags on the door if there’s a flood coming, and still broadcasting emergency warnings.
Regional radio, because of its live and local content, is going to continue to be a success story.
Your members are very active in podcasting and streaming, was that a defensive move?
No, I don’t think it is, because radio broadcasters have been podcasting for a long time. We all started podcasting way before it became popular, and I guess the next buzzword.
We see it as another opportunity to extend the time our listeners spend with our content.
How much listening is done on DAB+ stations now?
Around 30% of listening is being done on DAB+. We’ve now got 60% of new cars with DAB+, and we are hoping that will increase. We’re expanding into regions, we’ve got regional operators putting their hands up. What we’ve always said is that we have to have DAB+ rolled out around Australia. We are doing an awareness raising campaign with the listeners in the first half of next year. You’ll then see another surge of interest in DAB+.
Top Photo: Commercial Radio Australia CEO Joan Warner (right) with Your Money’s Leeanne Jones and Mediaweek’s James Manning
The deal is reportedly worth $2.5m. Foxtel will show every game while Seven will show selected matches and all finals.
The partnership formalises Seven and Foxtel’s long-term commitment to AFLW, with all matches broadcast live around the country.
In 2019, the Seven Network will broadcast two games per round live in every state and territory plus all non-Victorian club matches into their respective local markets, while Foxtel will broadcast all 38 AFLW games live.
From 2020, the Seven Network will broadcast three games per round, with Foxtel continuing to air every game live.
Both networks will broadcast all finals matches live nationally throughout the four-year partnership.
All games will also be available live on the digital platforms of Seven and Foxtel and via the official AFLW Live App thanks to Telstra.
The announcement is the latest in several developments for season three of AFLW, including expansion teams Geelong and North Melbourne joining the competition and a match to be played in every state and territory in 2019.
Head of women’s football Nicole Livingstone said the broadcast agreement was a significant moment in the history of AFLW and women’s sport across the country.
“We look forward to working with all of our AFLW teams to bring to life our competition, clubs and players, with dynamic and insightful coverage through our valued broadcast partners in Seven and Foxtel.” Livingstone said.
“The anticipation around season three of the AFLW continues to build and the new broadcast agreement is another important milestone in the journey we are on.
“Our supporters, players, clubs and the broader community will continue to embrace the growth of women’s football and we are thrilled that every AFLW match will be broadcast live on television for at least the next four years.
“We thank Seven and Foxtel for their fantastic commitment to and support of AFLW.”
Seven Melbourne managing director Lewis Martin said: “Seven is proud to be a partner in the continued growth of AFLW. As the first broadcaster of the women’s game along with our long history with footy, Channel 7 has been a key part of the development of the game.
“This new agreement, covering the next four years, will have a positive impact on the commercial future of AFLW and will guarantee access for AFLW fans Australia wide.”
Head of Fox Sports Peter Campbell said: “Foxtel was an inaugural broadcaster of the AFLW and we’re delighted to continue our relationship with this new four-year partnership which will see every match, including the finals, air live and ad break free during play on Fox Footy.
“The AFLW is an exciting competition that continues to grow, with two new teams added for the 2019 season, and we can’t wait to showcase the current and aspiring young female athletes on Foxtel.”
Season three of the NAB AFL Women’s competition kicks off on Saturday 2 February when Geelong takes on Collingwood at GMHBA Stadium.
Top Photos Nicole Livingstone with AFLW players (Source: AFL)
GroupM has expanded its investment intelligence team to enhance its digital strategy and approach to investment.
GroupM said Hunt’s remit is to lead the group’s digital direction. She will continue to work closely with all GroupM agencies and media industry partners to develop solutions built on trends and technologies that play a transformational role in consumers’ lives to meet clients’ objectives and give them a competitive advantage.
Hunt, who joined GroupM in 2015, was previously head of digital Investment and Partnerships.
was intelligence and data director, and has been with GroupM for 15 years, focused on building the group’s centralised data and trading intelligence capabilities.
In her new role she will work with GroupM CIO Nicola Lewis, and the digital strategy and investment officer, to identify and execute market leading data-led trading strategies and platform agnostic methodologies.
Nicola Lewis, GroupM Australia chief investment officer, said: “I am thrilled to recognise two team members of the calibre of Venessa and Liesa and strengthen our competitive advantage in investment strategy. We have the best talent in market within GroupM and being able to reward our people with promotions and new challenges that match their passions and expertise means we continue to inspire excellence in everything we do, and deliver the best outcomes to our clients.
“During her three years at GroupM Venessa has proven herself a highly skilled media executive, with a deep understanding and passion for digital media. As digital strategy and investment officer, Venessa will work both at a group level and with our individual agency brands to continually push the boundaries and further enhance our digital strategy and approach to investment, whilst working with our clients to navigate the role of digital within both brand and performance.
“Liesa has been pivotal to building GroupM’s centralised data hub and in her new role will be integral to ensuring that all investment decisions are grounded in GroupM’s unique approach to gathering and organising data.”
Both appointments are effective immediately. Hunt and Newland will also sit on the GroupM leadership team and report to Nicola Lewis.
They will work alongside Fahad Bashir, head of compliance and pricing, who joined in June from GroupM Indonesia where he was chief investment officer.
At the same time, Finecast managing director Brett Poole and Xaxis managing director Imran Masood, have also joined the GroupM leadership team.
Top Photo: Venessa Hunt
Western Melbourne Group will enter the competition in season 2019/20, with Macarthur South West Sydney entering the competition the following season 2020/21.
In deciding to expand the competition in this manner, the FFA board accepted the recommendations of the FFA senior executive. Two directors, Remo Nogarotto and Joseph Carrozzi, recused themselves from deliberations and decision-making on the matter.
Football Federation Australia chairman, Chris Nikou, said it was an exciting time for football and the level of interest in joining the Hyundai A-League from prospective bidders highlighted the huge potential for the game in Australia.
“We have seen unprecedented interest from bids to be part of the Hyundai A-League and we are excited about our two new expansion clubs in Sydney and Melbourne.
“An expanded Hyundai A-League will connect new communities in our two biggest markets, create new rivalries, bigger television audiences, more derbies and importantly, further opportunities for Australian footballers to play at the highest level in this country.
“One of the key factors in our decision was the long-term growth opportunity for each club in each new geography. South-West Sydney and Melbourne represent some of the biggest growth corridors in Australia,” he said.
Nikou added today was the first step in a new phase of growth for Australian football.
“Our work on expanding the Hyundai A-League does not stop here. This is the start of a journey, which will see our competition grow beyond 12 teams in the future.
“I wish to acknowledge the strength of all bids, including those that were unsuccessful on this occasion. The expansion process has been long and extensive, with many passionate football people pouring every effort into their bid proposal. We look forward to continuing discussions with unsuccessful bidders for future phases of expansion. In particular, we acknowledge on this occasion that a license has not been granted to the Canberra region. We do, however, continue to view Canberra as an attractive opportunity for potential future expansion,” Nikou said.
Football Federation Australia chief executive officer David Gallop said the decision to grant the licences for 2019/20 and 2020/21 respectively will mean the benefits of expansion will be immediately felt, as well as allow sufficient time to establish operations.
“The expansion project commenced nearly 12 months ago, and the board has accepted the final recommendation completely. From day one we undertook extensive consultation with key stakeholders and there was broad agreement that expansion should occur at the earliest possible opportunity, provided it is sustainable and underpins the continuing growth of the Hyundai A-League. The successive entry of new clubs in Western Melbourne and South-West Sydney respectively delivers this outcome,” he said.
Gallop added one of the key strengths of the Western Melbourne Group is the proposal to build Australia’s first football-owned and football-specific stadium in the country.
“There were very attractive aspects to each of the bids, but the prospect of a facility owned by football for football will be a significant new milestone for the game in Australia. Football-specific stadia have been extremely successful in league expansion in other parts of the world and we are excited by the prospect of such a facility in Melbourne,” he said.
Gallop said the South West Macarthur region is represented by more than 50 grassroots and National Premier League Clubs with a large and diverse population base that will continue to grow.
“Macarthur South West is a region with a rich football history that when blended with a fast-growing demography creates an exciting future for the game. A ready-made rectangular stadium will also deliver an enjoyable match day experience for fans.
“Both of the new teams will start their life in the Hyundai A-League in grounds that will to allow us and our broadcast partners to present the league in the best possible way and at high quality venues,” Gallop said.
Seven West Media has released the entire 2018 season of Home And Away – all 228 episodes – on its BVOD platform, 7plus.
Seven’s BVOD platform has also revealed that in 2019, the series My Kitchen Rules season 10 and House Rules season 7 will see both series stack on 7plus following the broadcast premiere of each new episode.
Home And Away joins other shows on 7plus including The Good Doctor, 9-1-1, Bride and Prejudice and The Resident, together with all six seasons of Packed To The Rafters and 14 seasons of Blue Heelers.
There are over 7,500 titles to watch.
7plus recently claimed to be Australia’s leading commercial free-to-air (CFTA) BVOD service, with a its lead confirmed by OzTAM Video Player Measurement (VPM). In November it secured a 47.0% share of viewing of the three CFTA BVOD platforms.
Seven’s head of scheduling Brook Hall said: “Adding the whole 2018 run of Home And Away to 7plus is the latest demonstration of our commitment to giving viewers more of the best content to watch whenever they want to. Fans will be able to binge-watch Home And Away on 7plus this summer…whenever, wherever and on any device.”
All 228 episodes of Home and Away from 2018 are now available on 7plus.
Home And Away’s 30th Anniversary year highlights
2108 facts from the global soap hit which chronicles life at Summer Bay:
• Reaches 2.3 million broadcast viewers nationally each week (1.5 million metro viewers)
• Broadcast telecast averages 1.1 million combined (metro + regional) viewers, with 684,000 metro viewers
• Ranked in the top 3 Aussie regular dramas for year to date in key demos (P25-54, P16-39 & P18-49)
• Delivers more broadcast viewers than 10’s Neighbours
• Delivers a Total Video Audience of 1.2 million viewers each episode – saw +13% uplift when adding broadcast timeshift and online viewing (Live + VoD) to Overnight broadcast viewing
• Increased VPM (Live + VoD) audience by more than twofold this year
The first episode back on 29th January 2018 was the highest ratings episode of the year with 1.4 million combined (847,000 metro).
Source: OzTAM (Metro), RegionalTAM (Regional). Total Individuals. Combined: Metro + Regional. Home and Away (Seven): Wks 5-49 2018 (excl. Easter/Comm Games). Network National Reach Estimate based on Metro + Regional for consecutive 5 minutes viewed of H&A. Ave AUD excl. any repeats/encores. Metro Merged Regular Aussie Drama Ranking: Wks 5-49 2018 (multiple programme descriptions merged into one description, excl. overseas/special/event TV drama). Delivers more audience based on Combined Ave AUD. Seven’s Total Video = Broadcast Overnight (Live + As Live) + Broadcast Timeshift (Cons 28) + VPM (Live + VoD, 28 days). Data: Consolidated (Live + As Live + TSV28) where applicable. Digital: OzTAM (National) VPM.
Copyright: Data is owned by OzTAM (Metro) and RegionalTAM (Regional). The Data may not be reproduced, published or communicated (electronically or in hard copy) without the prior written consent of OzTAM (Metro) and RegionalTAM (Regional).
One of our favourite podcasts this year has been The EFTM podcast that features tech guru Trevor Long and motoring commentator Chris Bowen.
The two former 2GB colleagues talk about their trips around the world this year as they attended tech and motor vehicle launches.
Mediaweek’s James Manning hears about what entertainment subscription services they think are worthy and there’s lots of laughs as they often wander off topic.
Both guests were involved in radio projects earlier this year that have since stopped so they are now full steam on the EFTM editorial offering and they have opened a Sydney office.
Trevor and Chris have much to say on auto entertainment tech and home automation, plus Trevor is a massive fan of the new sports streaming service Kayo Sports.
In the final Mediaweek television podcast for 2018, Andrew Mercado and James Manning deliver their Best of 2018 lists.
Andrew has 12 shows and James has 20. They both agree on Bodyguard and Killing Eve, but what else are on the lists?
They also discuss the ARIA and AACTA Awards telecasts, 10 Bold, Neighbours on Xmas Day, Bloom on Stan, Tidelands on Netflix, TV Week and Andrew also lists his worst of the year!
• Throwback Thursday: Nine wins with Getaway in the schedule
• Home And Away signs off for 2018 with half a million metro
By James Manning
The Seven super soap Home And Away has wrapped for 2018 with another mini marathon last night with 515,000 watching.
The season final of the short debut series of Orange Is The New Brown did 267,000.
An episode of Modern Family then did 231,000.
The 21-year-old Chevy Chase movie Vegas Vacation then did 147,000.
A Current Affair did 641,000 with reports on video gaming violence, toy shopping and German retailer Kaufland.
Déjà vu for viewers with good memories as the long-running Getaway franchise returned to its Thursday timeslot with 467,000 watching Great Getaways at 7.30pm.
An hour of RBT moved later to 8.30pm with 489,000 as the ob doc easily won the timeslot.
The Project again delivered the channel’s biggest audience with 377,000 with Latika Bourke reporting on Brexit from London.
The sitcoms took the 7.30pm hour with How To Stay Married on 281,000 and then The Conners on 214,000.
An episode of Law & Order: SVU then delivered 201,000.
Grand Designs Australia did 485,000 followed by Endeavour on 373,000.
The final episode of Alex Polizzi’s Secret Italy visited the Puglia region with 188,000 watching.
Later in the evening Vikings was on 150,000.
|ABC 2||2.9%||7TWO||3.2%||GO!||4.2%||10 Bold||3.4%||VICELAND||1.8%|
|ABC ME||0.7%||7mate||3.7%||GEM||3.9%||10 Peach||2.3%||Food Net||1.6%|
|ABC||Seven Affiliates||Nine Affiliates||10 Affiliates||SBS|
|ABC 2||3.5%||7TWO||4.9%||GO!||4.7%||WIN Bold||3.2%||VICELAND||2.4%|
|ABC ME||0.9%||7mate||3.2%||GEM||6.6%||WIN Peach||1.6%||Food Net||1.3%|
|ABC NEWS||2.1%||7flix||2.0%||9Life||1.8%||Sky News on WIN||0.7%||NITV||0.3%|
|THURSDAY 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 has announced that Channel Seven Perth managing director Mario D’Orazio has resigned.
SWM chairman Kerry Stokes said D’Orazio had played an important role in the company’s success in WA.
Stokes said: “Mario is a talented, hard-working executive who has been an important member of the team of Channel Seven Perth ensuring its performance over many years.
“As part of his role at Channel Seven, I appreciate the enormous contribution he has made as a trustee of Telethon.
D’Orazio said: “It’s with immense pride that I reflect on my time with Australia’s best media company.
“Seven is full of wonderful people, who all work very hard to build deep connections in the community. Channel Seven has a long history of supporting the people of WA, and I am particularly proud of my time at Telethon, which has gone from strength to strength. We broke the $300m barrier this year, and that’s fantastic. I’m looking forward to beating last year’s record total in 2019.”
SWM CEO Tim Worner said: “I have worked with Mario for most of my time at Seven and knew him since our cadet days in Perth. Appreciate his contribution over the time at Seven Perth. We’re going to miss him.”
Seven Perth this week also said goodbye to veteran staffers Dave and Robyn Hemingway.
Perth Today Tonight reporter Syan Dougherty called them “the Rick and Sue of behind the scenes” at Seven. They met each other early in their careers at Seven and later married.
David Hemingway was manager of on-air promotions at Seven Perth and first joined the broadcaster in 1995. Robyn was a news director at Seven.
Foxtel has paid a $25,200 infringement notice for breaching laws that require telemarketers to end a call immediately when asked.
An ACMA investigation found that Foxtel continued to sell its products and services within calls after consumers indicated they wanted to end the calls. The ACMA also found Foxtel did not have adequate contractual arrangements in place with a call centre it used.
“Consumers have the right to end a telemarketing call at any time during the call. It’s unacceptable for a call to continue once someone has indicated they want it to stop,” said ACMA chair Nerida O’Loughlin.
“The ACMA will act when aggressive marketing practices don’t meet acceptable standards,” said O’Loughlin.
This year, the ACMA has cracked down on businesses breaking telemarketing laws. Businesses have paid a total of $343,200 in infringement notices.
The Telemarketing Industry Standard sets out minimum obligations for all telemarketing calls that set out clearly permitted calling times, the information to be provided during calls and when calls must be terminated.
Publishers are making confusing claims about digital offerings for women.
News Corp claims WHIMN is the largest digital women’s network in Australia. Mamamia promotes itself as Australia’s largest women’s media brand.
Now in a new release, Pacific says it is the home of Australia’s biggest digital network for women.
As part of that offering, Pacific has launched The Beauty Network and BeautyWorks content studio.
The Beauty Network combines Pacific beauty brands marie claire, InStyle and BEAUTY/crew.
These three brands have a claimed combined digital, social and print reach of more than 3 million as well as the highest average page duration in the competitive set.
“Our client partnerships’ teams is actively leveraging insights developed through Pacific’s re-imagined capabilities to connect brands with the right audiences and drive meaningful growth. The Beauty Network is a natural extension of this. It has been purpose-built to help clients understand and respond to the shifting needs and interests of beauty consumers,” said Nicole Bence, Pacific’s commercial director.
The BeautyWorks content studio offers an end-to-end content creation process supported by consumer insights and data, well-known talent, category expertise, beauty writers, stylists, videographers and art directors. The studio has the capability to produce TVCs, photography, campaign imagery, interactive and shoppable video as well as tailor-made social content for beauty brands, which can then be amplified across the brand’s owned channel as well as The Beauty Network.
Gereurd Roberts, CEO of Pacific, said: “Through the power of our brands, Pacific has always been a leader in the beauty category. This position is strengthened by the launch of The Beauty Network and BeautyWorks studio which give our partners everything they need to develop customised content, connecting with women of all generations as they move through the path to purchase.”
In the final Rear Window column until January 21, The AFR’s Myriam Robin reports The Age’s Adele Ferguson is working on Banking Bad, an in-depth examination of how the banks got into the mess they’re in.
But she won’t be alone. Louise Adler’s Melbourne University Press has two books in the works. Out a few weeks before Ferguson’s will be The People vs The Banks, from The Australian’s business reporter, Michael Roddan. A little bit later, MUP will release Sky News political reporter Annelise Nielsen’s book, Money Spinners, focusing on the financial advice round and the history of that sector. Meanwhile the ABC’s Dan Ziffer is writing his own book for Henry Rosenbloom’s Scribe. It’s title: Wunch of Bankers.
Apple is preparing to relaunch Texture, an app it agreed to buy in March that offers unlimited access to about 200 magazines, reports Bloomberg.
Some changes have already been revealed. Over the summer, Apple switched to a single price for the service, instead of its former two-tiered plan that charged US$5 more for weeklies like the New Yorker.
The Texture reboot will test whether the all-you-can-eat subscription model popularized by Netflix and Spotify Technology can work for news.
In recent months, Apple has met with media executives to address concerns that a new Texture could siphon off subscribers. A team led by Eddy Cue and former Conde Nast executive Liz Schimel has argued that Texture subscriber growth could generate enough revenue to exceed what media companies get from their own subscription businesses.
Apple executives have also compared the opportunity with Texture to their success with music. Since the company bought Beats Music in 2014 and used it as the basis for Apple Music the following year, the service has grown to more than 50 million subscribers.
The question now is whether Texture can achieve that kind of growth. The app had roughly 200,000 subscribers when Apple acquired it, a person familiar with the matter said. In 2015, the service paid out more than $15 million in revenue to publishers, which get compensated based on how much time readers spend with their articles.
ARN as announced new roles and changes across Sydney’s WSFM and Melbourne’s GOLD104.3 teams.
Jason Staveley has been appointed head of music for Gold104.3 and WSFM. As well as the role of music director for Gold, Staveley will assist in formulating the music strategy for both Gold and WSFM and will present and produce network music features. This new role will be effective from January 1, 2019 and will see Staveley relocate from Sydney back to his home city of Melbourne. As a result, Zoe Sheridan will host drive on WSFM until a permanent host is announced in 2019.
Gold 104.3’s Bryan Madigan will move back to his home city of Sydney from Melbourne to take up the role of music director at WSFM in 2019.
WSFM’s Laura Bouchet has been promoted to assistant content director of WSFM in addition to her role as executive producer of Jonesy & Amanda’s breakfast show.
ARN national content director Duncan Campbell said: “As valued members of our team, ARN would like to congratulate Jason, Bryan and Laura on their new appointments for 2019. They each play a fundamental part in ARN’s ongoing success, and we look forward to them bringing their individual strengths, vast knowledge and experience to their new roles.
“These appointments come as part of ARN’s strategy to build the next wave of content leaders from within the talented teams of our Pure Gold and KIIS Networks.”
Southern Cross Austereo has rolled out new websites for the Hit and Triple M Networks.
Stations across the entire Hit and Triple M metro and regional markets will now feature this new platform with a focus on audio and personalisation. Users will have the option to create a log in via www.hit.com.au or www.triple.com.au so that their preferences will be saved for their next visit and content can be recommend based on their habits.
Chris Johnson, SCA’s head of product said, “This is an audio-first and personalised experience for the Hit and Triple M networks. SCA’s new websites deliver a continuous radio listening experience, with listeners able to listen and browse simultaneously. Whether it’s live streaming one of our 80+ stations, catching up on show podcasts or getting the latest local news, the new sites ensure content is relevant and make it simple to access.”
Features of the new SCA websites:
• Simplified, network-wide design & navigation: Easier for listeners to navigate each network, with sections such as Listen, News, Win and VIP/Club.
• Improved switching experience: Easier for listeners to switch between stations, including all DAB+ Stations, allowing them to explore each network’s full offering.
• Increased accessibility to audio: Listeners can now find content quickly. While streaming live radio or catching up on podcast, users can browse the site, read news and enter competitions without interruption.
• User login: Allows SCA to identify listeners and provide them with a personalised experience. Tracking their consumption habits to tailor the sites to their tastes.
• Revenue opportunities: With increased audio consumption across the sites SCA can grow audio inventory on both live and on-demand streams. As users login SCA is able to target ads to specific demographics.
House Rules judge Laurence Llewelyn-Bowen (pictured) will also host and judge Seven’s Instant Hotel series in 2019.
“I live in hotels rather than at home these days, so I have an enormous amount of experience and believe it or not, a few opinions!” said the London born style expert who has also designed hotel interiors in London and Thailand.
In his new role, LLB will travel to some of Australia’s most amazing locations in search of Australia’s best Instant Hotel – from lush tropical rainforests, to romantic wine country, pristine coastal havens and the majestic Outback with fellow judge and award-winning designer Juliet Ashworth.
Looking forward to exploring more of Australia, LLB said he finds the Instant Hotel concept “fascinating” and a refreshing alternative to the traditional hotel experience.
“Instant Hotel gives you the opportunity to look at where people live and judge for yourself whether it is an experience you want to share in.
“You could go to an international hotel chain and get the same ‘beige’. And it’s a very relaxing and wonderful experience, but the joy of an Instant Hotel is to feel you are inhabiting someone else’s life for a couple of days.
“You are escaping who you are and what you do and immersing yourself into the experience of how somebody else lives,” explained LLB. “From a design point of view, its great fun to be able to see how people’s personalities are expressed in an Instant Hotel offer.”
Tapping into the massive worldwide trend of holiday home rentals, Instant Hotel sees teams of two compete for the title of best Instant Hotel.
Teams score each other on; the house, location and local attractions, value for money and the all-important quality of the night’s sleep. Each hotel will be scored out of 10 by the teams and the judges.
Teams will explore some of the most diverse and beautiful locations in Australia and get to know their quirky competitors a little better along the way.
Woo! Netflix is finally spending real money in Australia, with its first original Aussie series dropping on Friday.
Boo! It’s not great. It’s actually kind of bad.
What could be generously described as a cross between a later, off-the-rails season of True Blood and Home And Away, Tidelands is not the show Australia deserves to represent us on the US streaming service.
Shot in southeast Queensland, and made by Australian production company Hoodlum (Secrets & Lies), the underwhelming Tidelands is a supernatural crime thriller. Two of those words are true — there are supernatural elements and there is crime, but there’s nothing thrilling about it.
TV Tonight’s David Knox gives Tidelands 2.5 stars:
In the salty, sea-spray world of Tidelands there sure are a lot of pent-up emotions.
But the cameras are there when they manifest themselves in either sex, brawling, or both at the same time…
A youthful, chilled out cast of buff bods and alluring femmes populate this mysterious fringe community, possibly located just north or south of the more juvenile H20: Just Add Water.
In the humid Queensland climate, Tidelands certainly looks inviting on screen and, in the hands of director Toa Fraser, is prone to getting horizontal very quickly.
And there are a lot worse ways to spend your summer.
Stan has announced that Get Shorty, from MGM Television, has been renewed for a third season.
The dark comedy, based in part on the 1990’s bestselling Elmore Leonard novel of the same name and created for television by Davey Holmes (Shameless, In Treatment) will return in 2019 to Stan with all-new episodes available immediately after the US debut.
The series follows Miles Daly (Chris O’Dowd), muscle for a Nevada crime ring who tries to become a movie producer in Hollywood with the help of a washed-up producer, Rick Moreweather (Ray Romano), as a means to leave his criminal past behind.
In season two, Miles struggles to reconcile his ambitions as a filmmaker and a family man with his skill set as a career criminal. His progress in Hollywood is jeopardized when the washed-up producer, with whom he partnered in season one, agrees to wear a Federal wire.
In season three, Miles embraces more ruthless methods as he settles scores and attempts to climb the Hollywood ladder.
The cast of Get Shorty season three is led by Screen Actors Guild Award and BAFTA TV Award nominee O’Dowd (Miss Peregrine’s Home for Peculiar Children, The Sapphires, Bridesmaids) and multiple Emmy winner Romano (Everybody Loves Raymond, Men of a Certain Age, Parenthood), and also includes Sean Bridgers (Rectify, Room), Lidia Porto (Horrible Bosses 2), Carolyn Dodd (The Adventures of Catty Wompus), Goya Robles (11:55), Megan Stevenson (Review), Steven Weber (Ballers) and Sarah Stiles (I’m Dying Up Here).
Get Shorty season three is executive produced by Holmes and Adam Arkin (The Americans, Sneaky Pete). The series is produced by MGM Television and internationally distributed by MGM.
Get Shorty season one and two are available in Australia exclusively on Stan.
The A-League will finally expand, providing the lift it so desperately needs and Football Federation Australia the financial windfall they have been longing for following the decision to add two new teams to the national competition, reports The Australian’s Ray Gatt.
After an almost 12-month process likened to a game of snakes and ladders, FFA will reap close to a $30 million dividend after granting the Western Melbourne Group and Macarthur South West Sydney A-League staggered licences.
It is believed WMG has paid close to $17m for the licence while MSWS have stumped up close to $13m. Once consultancy fees are taking out, FFA will end up with a decent bank balance that will alleviate some of their financial issues.
In winning the bids, WMG, who will initially play out of Kardinia Park in Geelong and MSWS, who will play out of Campbelltown Stadium, beat challenges from Canberra, South Melbourne, Team 11 and Southern Expansion.
Kayo Sports has announced it would continue to provide cricket fans in Australia with alternative Hindi commentary for the Australia v India Test in Perth, starting from Friday, December 14.
Exclusive to Kayo in Australia, the added commentary will be available throughout the entire second Test and the remainder of the series.
Kayo’s Hindi commentary team consists of current and former players including: one of cricket’s greatest ever batsmen, Sunil Gavaskar, specialist spin bowler, Harbhajan Singh, as well as Ashish Nehra, Vivek Razdan, Deep Dasgupta, Murali Kartik and Mohammad Kaif.
Julian Ogrin, Kayo Sports CEO, said: “We’re thrilled with how popular the alternate commentary was during the first Test so we decided to continue to provide the additional Hindi commentary across the remainder of series. This exciting initiative delivers choice and control to cricket fans and is exclusive to Kayo subscribers across Australia.”
Kayo Sports users will be able to navigate to the match by locating the tile written in Hindi on their Kayo homepage.
Kayo’s Key Moments feature will also be available in the alternate commentary and coverage, which means users will get quick access to all the match highlights. Selected from the video player timeline, users can easily jump any Key Moment and the live action.
The UK gambling industry has confirmed plans to press ahead with a voluntary ban on betting adverts during sport programs from next summer, amid mounting pressure to protect children from excessive exposure to gambling, reports The Guardian.
Jeremy Wright, the culture secretary, said gambling firms were “stepping up and responding to public concerns”, as the Industry Group for Responsible Gambling (IGRG) – which coordinates five trade bodies – announced details of the proposals.
Companies in the sector would submit to a “whistle-to-whistle” ban on adverts beginning five minutes before pre-watershed live sport events and ending five minutes after. The curbs exclude horse and greyhound racing, which are seen as intrinsically linked to gambling.
Eleven Sports, the self-styled “Netflix of Sports” controlled by the Leeds United owner Andrea Radrizzani could be facing closure in the UK & Ireland after failing to attract enough subscribers, reports The Guardian.
The service, which launched less than four months ago, has the UK rights to sports including Italy’s Serie A, Spain’s La Liga and the Ultimate Fighting Championship.
Eleven Sports, which was forced to stop its controversial practice of broadcasting European games on Saturday afternoons after pressure from football stakeholders, is aiming to renegotiate rights deals to avoid pulling the plug on its service.
Eleven Sports is aiming to renegotiate its sports rights deals at a much cheaper rate to try to continue to operate a much smaller, commercially viable operation in the UK.