Reflecting on his almost 40-year-long journalism career, Stan Grant said that he had seen “the worst that we could do to each other, and then the best that we can do. I would see people smiling in the face of horror, loving in the face of hatred. I would see the hope in young children, and it would give me hope.

“I believed that journalism was a way of making us better. But I don’t believe in journalism anymore.”

In May last year, Grant announced that he was leaving Q+A, and he would be stepping back from writing columns for the ABC. He cited racial abuse that he had been on the receiving end of since the coronation of King Charles III.

Speaking at SBS and NITV’s 2024 Elder in Residence Oration alongside Rhoda Roberts AO, Grant said that after a career “that has given me opportunities that I’m truly humbled by,” he walked away “as our country confronted its history.” 

Describing the abuse that he faced, Grant said “I found myself, and my family found themselves, at the centre of a firestorm of hatred.”

Throughout the ABC’s broadcast coverage of the coronation, Grant brought up points that he had previously made about the British monarchy and the theft of Indigenous land.

“I had spoken what I believe with the truths of our history, the truth of what invasion and colonisation, exclusion, and segregation had meant for us and how it still plays out in our lives. In return, I was vilified. My family was abused, and we were threatened. Our lives were threatened. 

“I realised at that point, that journalism, the media, no longer had the language or the love to deal with the fragile spirits of our country and our world,” Grant said. 

After the fallout, Grant told the room he had had to ask himself a particularly tough question: Was I to blame? 

“Yes, I was. Because I was part of a media ecosystem that made these things possible.

“I knew the games of journalism, I knew that we weren’t interested in debate, we were interested in hate. I knew how we put together panel programs – choose someone from that side and that side and have them perform hostility, have them yell at each other. It’ll be good TV. It might be good TV, but it’s bad for our society.

Further  to whether or not he assigned any blame to himself for being part of the wider media industry, Grant admitted he had to ask himself  “When I spoke the truths of my history, was I wrong?”

“Yes and no. 

“You’re never wrong when you speak the truth, but you might be wrong in how you speak the truth. I had to ask myself, did I prepare the ground for people to hear the truth? It’s easy to believe you’re right, and the facts may be on your side. But if you are not speaking to people with enough love, forgiveness, kindness, and grace, that they can hear you, what’s going to happen is people will turn off. They’ll turn away.”

For the past year, Grant concluded by saying he had found strength in a “hard word easily said”, that is sacred to the Wiradjuri people: Yindyamarra.

“It means respect, kindness, forgiveness, love. So easy to say and it’s so hard to do. It means this fundamentally, it means that I’m not responsible just for what I do, but I’m responsible for what you do. And I’m especially responsible for the people who hate me or disagree with me. Yindyamarra means I have to show them love.”

Watch the entirety of the 2024 SBS and NITV Elder in Residence Oration with Stan Grant and Rhoda Roberts AO here.

–

Top image: Stan Grant 

Phil Ely, former head of communication planning for Mediahub, told Mediaweek he would be “an ally to agencies, not a competitor” following the recent launch of his consultancy, Phil Ely Communications, after his role with the IPG Mediabrands agency was made redundant in March.

Ely, whose career has seen him work with Profero, Mediahub, 303 MullenLowe under the IPG Mediabrands umbrella, shared the news of his consultancy launch in a recent LinkedIn post.

He wrote: “A couple of months ago, I was made redundant by the place I’d worked for nearly 20 years… I did take plenty of breaks to talk to people about roles, scan through jobs on LinkedIn and apply for openings.

“After hearing some form of ‘you’re perfect for the role if you were in Sydney, but we don’t do remote’ more times than I choose to remember, there was a moment when I thought maybe I’m not going be able to do this anymore.”

“I love what I do, I think I’m pretty good at it, and people have been asking me for years why I haven’t started my own thing yet – I’ll just do it myself!”

“It just felt like we were going backwards”

He told Mediaweek that he and his wife had decided to leave Sydney in January 2023 because of the “out of control” rising cost of living.

“We couldn’t afford a home for our family and were stuck renting. No matter how hard we worked, it just felt like we were going backwards.”

The move allowed him and his family to buy a property close to Coffs Harbour, which he said was “easily the best decision we’ve ever made.”

Ely agreed to a remote working arrangement with Mediahub and said it worked out “incredibly well” and had support from clients. He acknowledged that while there were times it would have been better for him to be in the room rather than on screen, “everyone embraced the change.”

“I don’t believe my relationships with clients changed at all, and if anything, my relationship with my team got stronger,” he added.

Ely said: “Ultimately, despite all this, the focus of the business shifted, and my role was made redundant because I was not in Sydney.”

“I thought 20 years of loyalty, commitment and hard work would protect me – it didn’t”

Across the industry, and particularly in recent weeks, many people’s roles have been made redundant.

Ely said allowing time to process and take stock was important for those in such a position.

“I genuinely went through the five stages of grief. You’ll make better decisions about what to do next and present yourself in a better light to prospective employers once you’ve dealt with those emotions.”

He added that it was important to “talk to as many people as you can” to share feelings and hear other people’s perspectives. 

“I’ll be eternally grateful to the many people that took the time to talk to me in the immediate aftermath – they let me vent, assured me I was better off, gave me clearer perspective and a lot of sage advice.”

Ely also highlighted the importance of building the foundations for a backup plan to keep the anxiety at bay, whether building one’s LinkedIn network or developing business ideas and finding inspiration in podcasts.

“It can’t hurt to do a little prep just in case. This is definitely a mistake I made. I knew moving away was a huge risk, but I guess I thought 20 years of loyalty, commitment and hard work would protect me – it didn’t.”

“I’ll bring the passion, inquisitiveness and determination to find it”

In addition to being an “ally to agencies,” Ely said he hopes his consultancy can provide extra firepower for a pitch, fix rocky client relationships, mentor talent or “a safe pair of hands” to agencies that need help solving bigger business challenges.

Meanwhile, Ely hopes to help marketers build and maintain positive long-term relationships with their agencies, better understand their return on advertising investment, and avoid pitches as much as possible.

“We should learn from the past, but in a world changing so fast, the solution for the next problem has to be different to the last. There is always a better way and I’ll bring the passion, inquisitiveness and determination to find it.”

Moving into communications consulting was not a stretch for Ely, who spent most of his career working with creatives, developers, UX strategists, technology problem solvers, and social and PR experts.

“This led to fundamentally disagreeing with the idea that creative strategy and media strategy should be two separate things developed independently – maybe with some FYI sessions to make everyone feel collaborative.”

Ely said that communications strategy is a bridge between creative and media, taking a holistic view of all the elements in an advertising ecosystem.

He said his consultancy will focus on how people behave, consume media, think about brands, and make purchase decisions.

“The hope is that this business will enable me to do that with as many different people for as many interesting brands as I can fit into every week. Alongside helping agencies run more successful businesses and work better with their clients,” he added.

Ely on the outlook ahead

For Ely, the reality of the immediate future ahead is about growing the business “to a point where I know I can pay the mortgage every month as quickly as possible.”

Further ahead, he hopes to help agencies and marketers: “I want to be able to reflect on a list of multiple agencies that I have meaningfully helped to grow and get better.”

“I want to have helped at least one client who could not avoid going to pitch to do it in a different way. How we pitch now doesn’t work for anyone, except maybe the consultants.

“I’m pretty confident I’ve come up with a way that will make it much less work for agencies, less time-consuming for clients and still increase the likelihood the best agency will win,” he said.

“I hope to find a couple of clients who’ll let me show them a better way and hopefully start to change things for the better across the industry. That’s a pretty lofty one isn’t it,” he added.

Ely added that his other goal is to help someone else in the media leave the city, buy a home, and make a better life for their family while still being able to work in the industry.

–

Top image: Phil Ely

Celia Garforth, head of strategy at Special, has told Mediaweek that the most common misconception about her work is “that ‘strategy’ is a single discipline.”

Garforth took home the win for Creative Agencies at Mediaweek‘s 2024 Next of the Best Awards.

Mediaweek caught up with Garforth to speak about what excites her about creative agencies in the industry right now, how Special stands out amongst other agencies and what the industry can expect next from her.

The awards have been judged by an all-star line-up, what does it mean to you to be recognised by this group?

It’s incredibly gratifying, and a wonderful moment to ‘look up’ from the day-to-day that’s spent mostly consumed in your own small pocket of the industry.

What is the most common misconception about the work that you do?

That ‘strategy’ is a single discipline. It’s not. Creative strategy is vastly different to media strategy, which is very different again from business strategy or marketing strategy or brand strategy.

What excites you most about creative agencies in the industry right now?

The epic rise of Indie agencies, and strong strategy-led start-ups. Clients’ needs have radically changed in the last couple of decades, and while this has broken the old model, it’s also opened up so many more opportunities for differently-shaped and sized offerings, many of which have an up-stream approach to creative strategy consultancy baked into the heart of them.

How does Special stand out amongst other creative agencies?

It’s an independent, local partner-owned and operated agency that’s punching far above its weight on a global scale. I can’t think of many (or any?) other agencies here in Australia that would provide the opportunity to run an entire account across so many markets, on a huge global brand, with the calibre of strategic and creative opportunities that we get, all from here. We are essentially exporting strategic and creative thinking that starts in Australia through Asia, and sometimes when we are lucky, beyond.

Being Next of The Best – what can the industry expect next from you?

Hopefully more interesting strategy work that leads to brilliant creative work, that in turn drives outsize business impact!

–

Top image: Celia Garforth

Executive head of LiSTNR Podcasts Grant Tothill has appointed Clair Weaver to the newly created role of head of factual for LiSTNR.

Weaver’s career includes working with 60 Minutes as a producer, 9News Sydney as an investigations editor, The Australian Women’s Weekly as a senior journalist, and, as a reporter for the Sunday Telegraph and London’s Evening Standard.

More recently, as LiSTNR’s investigations editor, Weaver has worked across different areas of the news and information podcast slate.

Tothill said: “Clair’s contributions have been instrumental in the success of The Briefing and her strong understanding of crime reporting and long-form storytelling has contributed to the creation of LiSTNR’s compelling docu-series, including seasons one and two of the highly successful Secrets We Keep.

“Clair is well credentialled to build on the achievements of the teams led by both Melanie Withnall and Jennifer Goggin. I am confident she will provide strong leadership of the newly formed Factual team as LiSTNR continues its investment into a growing sector of the podcast audience landscape, allowing LiSTNR original podcasts to continue to grow the audiences that matter, for improved commercialisation opportunities.”

Reflecting on her new role, Weaver said “I’m really excited to take up the reins as we enter a new chapter in Factual. It is a privilege to have the opportunity to lead a team of such talented, creative and dedicated people, and I’m looking forward to working with them to create excellent podcasts and continue growing our audiences.”

Clair’s appointment is effective immediately and follows the pending departure of head of news and information, Melanie Withnall, and the recent departure of LiSTNR original podcasts head of factual and drama, Jennifer Goggin.

Goggin oversaw the documentary department and the LiSTNR produced The Children in the Pictures podcast series, which won gold in the ‘narrative/documentary podcasts’ category at the 2023 New York Festivals Radio Awards.

See also: SCA’s head of news and information, LiSTNR’s head of factual and drama exit the business

Paul Luckett has shared news of his departure from News Corp Australia after almost a decade with the publisher.

He took to LinkedIn to say that his role as head of ad tech and commercial innovation was among those impacted by the recent restructuring.

“I arrived at NCA nearly 7 years ago, with one goal, change the way News Corp Australia views and does Ad Tech,” he said.

“When I arrived there was no dedicated ad tech department, and I was given the privilege and honour of building it up from scratch. Doing so, alongside an amazing boss and legendary employees, was the highlight of my career to date.”

He said that although the department he and his team built had come to an end, he was proud of all they had achieved together.

Luckett noted that it wasn’t until recent weeks he had realised he had achieved his goal a long time ago.

“As a very competitive person with a very high standard for output, I never stopped to take a moment to reflect on my teams’ achievements, just always pushed harder and aimed higher. But the number of people across the business that reached out and said such amazingly kind things, telling me how much of an impact I’d had on them, was heart-warming, to say the least,” he said.

Luckett went on to share his pride in the work he and his team achieved and thank News Corp Australia colleagues and friends across the industry for their support over the years.

“As the cliché goes, the end of every journey, is the start of another, and I already know the next one will be incredible. My new goal won’t be just changing a business, but changing an industry. See y’all soon.”

Luckett’s departure from the company comes after a number of exits from News Corp last month including Michael Wilkins, managing director of national sport brands, Marcus Hooke, general manager of print production, Michael Desiere, head of sales – NSW independent agencies and major direct, Alexandra Bliekast, head of national trading and NSW consortium agencies, Lisa Muxworthy, editor-in-chief of news.com.au and John McGourty, the Editorial Innovation Centre’s group director.

 See also: News Corp sales roles made redundant, Alexandra Bliekast exits

Paramount ANZ is partnering with The Pinnacle Foundation, Australia’s LGBTQIA+ education charity.

The partnership marks Paramount ANZ’s fifth year of collaboration with The Pinnacle Foundation and includes a multi-year funding of a flagship scholarship, the newly created ‘Paramount Scholarship’.

This scholarship will be awarded to a young LGBTQIA+ Australian to study media, providing them with a pathway into the industry.

Daniel Monaghan, SVP content & programming and PROUD Employee Resource Group co-chair, said: “The Paramount Scholarship underscores our commitment to fostering a more diverse and inclusive society. By extending our support to The Pinnacle Foundation’s scholarship program, we aim to amplify LGBTQIA+ representation in the media landscape.

“This partnership not only supports educational aspirations but also celebrates the unique narratives of our scholars.”

The Pinnacle Foundation’s flagship scholarship and mentoring program plays a role in providing educational opportunities to LGBTQIA+ youth facing adversity due to their identity. Each scholar receives personalised mentorship from individuals who share similar experiences and professional interests.

Andrew Staite, chief executive officer and managing director of The Pinnacle Foundation said: “We are delighted to welcome Paramount ANZ as a gold partner and are grateful for their continued support of The Pinnacle Foundation program.

“Their commitment to funding the Paramount Scholarship reflects a shared vision of empowering LGBTQIA+ Australians to achieve their full potential. This partnership not only enhances educational outcomes but also raises awareness about the challenges faced by LGBTQIA+ youth.

“Recipients of the Paramount Scholarship will be carefully matched with mentors who have walked their paths, providing scholars with wise counsel, encouragement and inspiration to successfully complete their studies.”

Applications for the 2025 Paramount Scholarship are now open until August 31, offering eligible candidates the opportunity to apply for full-time university or TAFE studies.

The Pinnacle Foundation’s latest campaign via UnLtd, Cocogun, Good Oil, Initiative and TBWA was made to encourage parents to ‘Make Awkward Awesome’. It can be found here.

Lauren Dawber, senior director of media, operations, and performance at Optus, wants agency partners to “really think about markets outside of the capital cities.” According to Dawber, this approach leads to more exciting and effective media plans.

Dawber was part of a panel of senior marketers at media collective Boomtown’s Masterclass on July 4, alongside Rob Maxwell, head of investment at The Speed Agency, and Manelle Merhi, general manager of marketing and customer experience at Kennards Hire.

Together, they discussed the importance of targeting regional audiences and the potential for strong returns on investment.

“We know our customers are all over Australia – I think it’s remiss [of any brand] to think they only find customers in metro cities. Now, we don’t look at our customers as ‘metro versus regional’; we look at them based on demographic and channel – the digital ecosystem is powerful, it doesn’t matter where you live.”

Merhi highlighted that 35 percent of Kennards Hire’s branch network and operations are in regional Australia.

“It means that we ensure to focus a significant portion of our marketing spend in supporting regional markets,” she said.

Merhi noted the company’s campaigns in regional areas often achieve double or triple the impact compared to metropolitan campaigns.

“These types of regional results make it hard to argue with the data and easier to align on decisions in the organisation’s broader strategy.”

The Speed Agency’s Maxwell pointed out the data supporting regional advertising.

“The facts and figures about regional are compelling for agencies and clients and demonstrate how much opportunity there is, particularly when you look at the size of the population, as well as other socioeconomic factors,” he said.

He advised brands to approach regional markets without preconceived notions and to consider the data showing strong growth potential.

“Brands really need to park any preconceptions about regional and come at it from a neutral place…  Whether you’re an online business, a brick-and-mortar establishment or just looking for new expansion territories, regional is such a happy hunting ground and should be treated the same as any other market.”

See also: Boomtown opens registrations for winter Masterclass

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Top Image: Wade Kingsley, Rob Maxwell, Lauren Dawber & Manelle Merhi

The Monkeys, part of Accenture Interactive, has launched the latest campaign for sports retailer rebel under its existing Sport is Calling brand platform established in 2020. This iteration carries the message: Sport can change your life.

The work builds on The Monkeys’ recent success at the Cannes Lions International Festival of Creativity last month, where the agency won the Film Grand Prix for its Sydney Opera House campaign, Play it Safe.

This campaign was one of two awarded the Grand Prix in the Film category, alongside Paris-based agency Marcel’s WoMen’s Football campaign for French telecom company, Orange.

See also: The Monkeys take home Grand Prix for Play it Safe campaign on the final day of Cannes Lions

Credits:
Client: rebel
Chief marketing officer: Rosemary Martin
Head of marketing: Brock Coleman
Content director: Catherine Makinson
Marketing specialist: Beth Thom

Creative agency: The Monkeys, part of Accenture Song
Chief executive officer: Paul McMillan
Chief creative officer: Ant Keogh
Chief strategy officer: Michael Derepas
Strategy director: Dave Collins
Chief client officer: Jaimee Kerr
Head of design: Raph Tamkalis
Creative directors: Adam Slater and Connor Beaver

Art director: Ben Horewood
Copywriter: Michelle Canning
National head of production: Romanca Mundrea
Senior producer: Simone O’Connor & Katherine Muir
Account director: Ella Goldberg
Account manager: Eden French-Putu 

Production Company: Finch
Director: Chris Nelius 
Managing director: Corey Esse
Producer: Anna-Tara Sneddon
DOP: James Brown, Max WalterPost 

Casting company: Felicity Byrne Casting
Casting agent: Felicity Byrne

Post production: Heckler 
Producer: Jess Walley
Editor: Andrew Holmes
Colourist: Fergus Rotherham
Online and VFX: Drew Downes & Julian Ford
Motion designer: Jordan Sykes
IO: Dan Page & Liam McConville
Sound: Squeak E. Clean Studios
Executive producer: Ceri Davies
Senior engineer: Paul Le Couteur & Dee Gjedsted
Music: Terry Mann

Good Drinks Australia has appointed dentsu Queensland as its agency of record, managing the business’ strategy and media. 

The win for the agency follows a successful 18 months with the launch of its Tourism and Events Queensland partnership in March 2023.

The agency has expanded the portfolio under the management of specialist industry marketing services iMATE, including successful tenders for Experience Gold Coast, Visit Sunshine Coast and other industry operators. These complement ongoing relationships with the Brisbane Economic Development Agency, Tourism Tropical North Queensland, and Australia Zoo.

Chris Ernst, dentsu Queensland managing director, said: “We are thrilled to partner with Mick and the wider team at Good Drinks Australia. We connected instantly, which is incredibly important to us, and this partnership provides a wonderful canvas for the dentsu Queensland team to show the intelligence, creativity, and challenger mindset which runs deep in our agency.

 “The growth journey of Good Drinks Australia is one that is that is similar to ours at dentsu Queensland,” Emily Cook, dentsu Queensland manager, and recent Mediaweek Next of The Best award winner, said.

“We’ve heavily invested in the development of the whole person in recent years which has created a unique connection in our team and been the foundation of our growth as a business,” she added.

“We love that Mick and the team felt that and I know I speak for our entire organisation where we have loved diving in with Mick and his wonderful team and building a connection and getting started on some great work.”

Mick McKeown, head of sales and marketing, Good Drinks said of the partnership: “When I was first introduced to the dentsu QLD crew I could immediately sense the unique culture they are cultivating with a very talented group of people, who are passionate about media, creativity and our brands. I knew our teams would work well together to expand our portfolio of brands across Queensland and Australia.”

The shift of this account’s handling into Queensland is significant, as the region continues to cement itself as a growth city in the APAC region.

The agency is focused on ensuring it has the most diverse and experienced team it can offer clients, as evidenced by three of its leadership team shortlisted in Mediaweek’s ‘Next of the Best’ Awards.

Emily Cook’s win of the Culture Award in recognition of her role in driving the agency’s culture focused on personal development of its people designed to empower them to be set up to deliver exceptional results for their clients.

Thursday 4 July 2024: VOZ Total TV Ratings Overnight Top 30 – Programs ranked on reach

Total People TV Ratings

Nine’s NRL – Eels v Rabbitohs recorded a total TV national reach of 1,424,000, a total TV national audience of 628,000, and a BVOD audience of 76,000.

Seven’s The Chase Australia recorded a total TV national reach of 1,337,000, a total TV national audience of 665,000.

Also on Seven, Home & Away recorded a total TV national reach of 1,333,000, a total TV national audience of 711,000, and a BVOD audience of 89,000.

10’s airing of Taskmaster Australia recorded a total TV national reach of 857,000, a total TV national audience of 430,000, and a BVOD audience of 19,000.

10’s airing of The Project recorded a total TV national reach of 798,000, a total TV national audience of 336,000, and a BVOD audience of 16,000.

See also: TV Report 4 July 2024: Rabbitohs record fifth-straight win after beating Parramatta

People 25-54

Nine’s NRL – Eels v Rabbitohs:
• Total TV nation reach: 570,000
• National Audience: 246,000
• BVOD Audience: 45,000

Seven’s The Chase Australia:
• Total TV nation reach: 314,000
• National Audience: 160,000
• BVOD Audience: 16,000

10’s Taskmaster:
• Total TV nation reach: 376,000
• National Audience: 221,000 
• BVOD Audience: 13,000

Seven’s Home & Away:
• Total TV nation reach: 430,000
• National Audience: 226,000
• BVOD Audience: 49,000

People 16-39

Nine’s NRL – Eels v Rabbitohs:
• Total TV nation reach: 281,000
• National Audience: 120,000
• BVOD Audience: 29,000

Seven’s The Chase Australia:
• Total TV nation reach: 110,000
• National Audience: 59,000
• BVOD Audience: 8,000

10’s Taskmaster:
• Total TV nation reach: 169,000
• National Audience: 112,000 
• BVOD Audience: 8,000

Seven’s Home & Away:
• Total TV nation reach: 191,000
• National Audience: 100,000
• BVOD Audience: 29,000

Grocery Shoppers 18+

Nine’s NRL – Eels v Rabbitohs:
• Total TV nation reach: 1,072,000
• National Audience: 471,000
• BVOD Audience: 58,000

Seven’s The Chase Australia:
• Total TV nation reach: 1,081,000
• National Audience: 546,000
• BVOD Audience: 26,000

10’s Taskmaster:
• Total TV nation reach: 669,000
• National Audience: 331,000 
• BVOD Audience: 15,000

Seven’s Home & Away:
• Total TV nation reach: 1,057,000
• National Audience: 575,000
• BVOD Audience: 71,000

Data © OzTAM and Regional TAM 2024. Not to be reproduced, published or communicated (electronically or in hard copy) in whole or in part, without prior written consent of OzTAM and Regional TAM.

TV Report 7 July 2024:

Nine TV Report

Travel Guides

Nine’s evening began with Travel Guides.

It was bucket-list time as the Guides popped over to Peru. The guides visited historic Cusco, Machu Picchu, and then out into the middle of the Amazon jungle.

NRL – Knights v Raiders

The Raiders v Knights game on Nine saw the Knights dominate, winning the game 16-12 at GIO Stadium in Canberra.

Seven TV Report

Dancing with the Stars

On Seven, Dancing with the Stars returned for it’s 21st season. The first group of Dancing Stars entered the ballroom including actress Lisa McCune, AFL Champ Ben Cousins, SAS Tough guy Ant Middleton, Home & Away’s James Stewart and home Cooking Star Julie Goodwin.

7NEWS Spotlight

The program conducted an investigation into why a 14-year-old girl killed a 10-year-old and why the victim’s parents have been stopped from sharing their story.

10 TV Report

The Sunday Project

The Sunday Project looked into Malcolm Turnbull calling Peter Dutton a ‘thug’, the town divided over nuclear energy and spoke to Mahalia Barnes.

MasterChef Australia

On 10’s MasterChef Australia, the contestants faced off with some of the world’s most extreme ingredients. The ingredient ‘beasts’ are the spiciest, sweetest, most sour, most bitter and most pungent on offer.

ABC

Spicks and Specks

Marlon Williams, Geraldine Hickey, Big Wett and Rhys Nicholson join Adam, Myf and Alan as they hit such musical heights they have to go into falsetto by the end of it.

Austin

Austin organises a bespoke celebrity bus tour while Julian contemplates hiring someone to scrub his image. Ingrid decides to expand her career, combining her illustrating career with writing.

SBS

Structures of Marvel: Medieval Paris

In the heart of Paris, Ile de la Cite once featured one of the most majestic palaces of medieval times: The Palais des Rois. With only two parts of this palace remaining, viewers are invited to travel back in time and discover how the Sainte-Chapelle and the Conciergerie became the most accomplished buildings of the Middle Ages.