EXCLUSIVE:

TV Tonight is on site at Neighbours studio on this historic final day of Production.

9:30am
I’m sitting in the cafeteria of NEP’s Nunawading studio as Neighbours cast and crew are undertaking their last ever day. I’ve been here many times before, for Neighbours, for Prisoner, Holiday Island and a once-glorious music show my parents brought me to.

I feel pretty sad to return for this occasion but grateful the team has given me such rare access this morning. I’ve never Live blogged from a studio production before, so while I don’t quite know what to expect, I’m keen to try and act as a link between production and you, the loyal fans in Australia, the UK and beyond.

I encourage you to comment, maybe share which city / region you are from, pass on messages to the cast and crew or ask a question I will endeavour to answer (may not get to them all sorry!)

And hit refresh across the next two hours as we update!

9:44am

TV Tonight paps the paps who are outside the studio fence…. a pity they are not inside. A 10 News+ crew is also here for the morning.

9:49am
I am frantically chatting with cast to bring you quotes… stay tuned.

10am:
Stefan Dennis swings by to share his feelings…. “I had a lovely send off from my wife this morning where she made the loveliest of last days, and it still hasn’t sunk in, because I’ve been absolutely flat chat since the second I opened my eyes. I think if you ask me this question, in about eight hours, you’re going to be talking to a different person. I know everybody’s going, ‘Oh, you know, you must be used to it’, because this is the second / third time round for me. It’s yet again, another ending. And endings are never happy, it’s sort of sad happiness, isn’t it?”

10:05am
Rebekah Elmaloglou reflects on her final day: “I’ve got a massive, massive day in pretty much every scene. So I’m kind of focusing on just getting through with that. I’ve got a bit of a head cold too, which isn’t ideal. Hoping that will get better before the wrap party tomorrow night. But it’s really kind of mixed emotions. I guess it’ll really hit me at the end of the day, when we’ve got the last scene with a lot of cast in. We’ve got a big party scene that we’re doing. So I’m hoping that I’m able to get through the day and focus on what I’m doing, character-wise. And then we’ll probably be able to celebrate. It was really weird driving through the gates this morning for the last time. What wasn’t weird is my last alarm, getting me out of bed. I was so glad to see the last of that moment!”

10:13am
The cafeteria is in a Christmas in July mood, especially for cast and crew on the last day (this room was famously the Prisoner cafeteria if you ever watched that). Around the walls are pics and clippings from recent years.

10:19am
Annie Jones admits to being emotional: “I sat in the makeup chair and burst into tears, so it didn’t start very well. They made me up, and then I went and did one of my final scenes, and burst into tears again. So it’s a little tricky, a little tricky….It’s a surreal day to be going through this again, saying goodbye to everyone, it breaks my heart a little bit, I have to say. I’ve been coming to this building a very, very long time. In the beginning I was probably 18. I came back again in 2018. It’s been a big part of my life. I’ve been Neighbourly for a long time.”

10:28:
Huge thanks to Tom Sage from the social team who is bringing me cast and crew for chats in the cafeteria. Legend.

10:35am
Riley Bryant who plays JJ Varga-Murphy is one of the younger cast members, one of hundreds to hone a craft through serial drama. He filmed his final scene yesterday, but is here to be with everyone: “It was actually really sad, there’s really no other word for it. It’s devastating. I cried right after my last scene when we wrapped. It’s just so special to be able to feel those feelings and develop those relationships with the people you work with. I’ve been on the show, nearly two and a half years now…. I’ve learned how to quickly learn a scene, I’ve learned a lot of naturalistic acting… acting classes can’t compare to what it’s like being on a show for two years. And learning from Stefan Dennis, Alan Fletcher, Jackie Woodburne.”

10:48am:
Executive Producer Jason Herbison pays me a visit to tell me how the day pans out: “We have one crew going today. Neighbours is traditionally shot with two crews and the location crew start the week before studio, so now the final week of the show we just have the studio crew going. The location crew actually finished on Monday. It’s a busy day in studio, basically, we’re filming all the final scenes in studio and we’re wrapping tonight. There’s a wrap party tomorrow night….We’re having Christmas in July, as you can see so it’s a bittersweet mood. We’re all sad to be seeing the end of the show. But as I said before, you know, very grateful that we’ve had this this chapter in this time together, and a little bit of hope, who knows, for the future. …A little reminder that we do have five months more of storylines. We have a big five months of Neighbours still to air. We absolutely are not slowing down story-wise. Lots of big storylines, lots of new characters, lots of big story locomotives still to play out. So whilst it’s the final day today on set, for our viewers, there’s still five big months of the show to watch.”

10:55am
Stefan and Rebekah filming one of their very last scenes. Cast are loving reading your comments and heartened by how far it is reaching right now.

11:00am
In the cafeteria there is music playing through the audio… Joe Cocker, “You Are so Beautiful.” Jeez, we don’t need help to cry thanks.

11:10am
I’m not going to turn around all these chats by 11:30… a dilemma!

11:12am
Emerald Chan who plays Sadie Rodwell is another of the show’s younger actors: “There’s definitely a lot of emotions, a lot of sadness, but also a lot of hope for the future. So that’s always nice.( My last scene was) really sad. And my last line just, I think, summed up my entire emotion and how I was feeling. A coincidence, but it was really nice…. This has been my only acting job and it’s been the best…. I thought this (shooting schedule) is normal. Apparently this is fast! But I’ve learned so much about the industry, so much about other actors and the manners that you have to have, the teamwork you really have to have with each other. And the trust as well. It’s collaborative … it’s not just the actors, just not the crew, it’s everyone together. ”

11:23am
TV legend Nadine Garner has been working behind the scenes with the team for several years. Coincidentally, her links to the show go back to its beginning at Seven: “We shot Henderson Kids at Seven. And of course, Neighbours was at Seven. So the very first Neighbours was happening while we were shooting. It was exciting, because I was a teenager, and the Neighbours cast were all 20-something and groovy and young, and it was going to be this next big, hip show. I was there when it was first launching, and I remember it being a big moment in Australian television. Everybody kind of knew it was going to be the big hallmark show. ..

“But here I am. I came back to help the producers the first time it ended because Eve (Morey) had turned into an intimacy coach, and they needed some cast support. So I’ve sort of stepped in as a cast support person. They call me a Coach, but I’m not that interested in coaching acting. I’m really interested in actor wellbeing, so I kind of provide a space for actors to come and talk about what’s going on for them, so that they can be match fit. Sometimes the schedule is so intense for some of them, that they just need a pit stop place to kind of recalibrate and go back out there.”

Having worked with its younger actors she also comments on the training ground that Neighbours has provided.

“Look, it’s just happened again with Xavier Molyneux just booking Bloodaxe. Neighbours has always been a training ground, not just for actors. We’ve seen incredible pathways for Guy Pearce and Margot Robbie, but also crew. There’s been a generosity of spirit in this place to train people up in every department, from props and art department, through to sound design and editing. Everyone’s been given a go. They’ve always got attachments and traineeships happening here and given the depressed nature of film making and television making in Melbourne, particularly Victoria, at the moment, this will be sadly missed. It’s going to be a sadly missed training ground. ”

11:30am:
While I’m formally wrapping this Live blog now, I still have some quotes to come, so I will update those later this afternoon.

Updated:

Sally-Anne Upton who plays Vera: “I never, ever, ever thought in my life that this building will be such a significant part of my life for 35 years. I came out for Bingles at the end of 1989, then we shot the Comedy Company out of here, all the Crawford’s Productions, like Law of the Land … I knew that Prisoner was shot out here from my my time with Annie Phelan and Betty Bobbitt and Lois Collinder. And then, of course, Bert Newton filmed out of here.before Como. I was a regular on his show.

“I got associated with Neighbours through working as a nurse for an actor who broke her leg, and she needed somebody to be here. Because I had nursing skills and acting skills, I could help her with the lines and then I just stayed on, whether as medical advisor, or nurse. When COVID hit, they went down to a very skeleton crew cast. Natalie Lynch locked herself in a room for two days (to create a world-first schedule), it was amazing.

“And then out of that, Vera had already been created, and they have honoured me by developing her even further and now I’m in the opening credits!

“Neighbours is like a metropolis. It’s really fantastic and I’m not just being biased. It’s been nominated for two Emmys, and now it’s going. The government needs to subsidise this.”

Series Producer Andrew Thompson explained that shooting today is: “Block 1786 directed by Eugenie Muggleton, the second to last, sets up the finale beautifully. It’ s a big day, emotional, obviously I’m bouncing on and off set to do cast final scenes and then jumping back into the edit……I haven’t had time to process it, to be honest, but I’m proud. Proud of the last 460 episodes and all that we’ve achieved and the workplace that we’ve created, the new talent that have had an opportunity to get their first gig here. We’re overwhelmed but with a great sense of pride and joy.”

Mark “Whits” Heuston is DP Camera Operator who has more than 3 decades on the show: “I started in staging, and worked my way through Assistant Focus Pulling, Camera and then into DP. So it’s been a good learning curve…. It’s very mixed emotions, sometimes sad, sort of happy sometimes. But I’ll miss the people -not the hours – because you spend more time here than you do at home. You get home late at night, sometimes you come here at dark and you’re leaving at dark…. I started here just doing one or two days. 35 years later, I’m still here.”

Alex Long, Head of Hair and Make Up, reflects on highlights: “It’s very sad. Obviously, we’ve been through this once before, but it’s a bit different this time,… It’s a pretty long day today. But it’s long days every day. We don’t wrap until 7 o’clock tonight. … I guess the last couple of years, the travel has been the highlight. Going to the Outback in particular was amazing, and Hamilton Island nice…. There’s 10 of us so it’s a large team and the mixture in this current team is probably half who were here from previous Neighbours and girls who are new to the current Neighbours.”

Script Producer Lisa Maroun has been in the writing dept since the reboot, and previously freelance: “My favourite thing about Neighbours are all of our really comedic, silly stories, the things that give you a belly chuckle. So there’ll be a few of those coming up. There will, of course, be high drama between all of our Neighbours, and there will be love stories where people will come back to each other, but also will be torn apart…. The last two years, I’ve mentored so many new writers, young people starting out. This is the place to do it. This is such a learning ground, and we need it in Melbourne. This place gave me my first writing credit at a time where I wasn’t sure if I wanted to keep pushing in the industry, because it’s so hard to get a break. It’s so hard to get your foot in the door.”

This concludes today’s on site interviews (and congrats to the team on a Daytime Emmy nomination today).

Please keep the comments coming as the cast and crew are reading!

A reminder you’ll see a story from Angela Bishop tonight on 10 News+.

My thanks to Neighbours and Network 10 for today’s unique access.

David.

Today marks the historic final day of production for Neighbours at their home of 4 decades in Nunawading.

Cast are grateful but melancholy about their last day of filming when they spoke with TV Tonight.

A Live Blog from the studio will also be published from 9:30am AEST today (12:30am UK) and you are encouraged to share your thoughts with the team.

EXCLUSIVE:

Alan Fletcher

“It does feel different. There’s obviously enormous sadness… we finished up with some crew in the studio on Monday and there were tears shed. Suddenly you think, ‘These people have been part of my life for a very long time.’ Realistically, it’s unlikely we’re going to see much of each other in the future unless we moveon to another job.

“There’s enormous sadness for the fans. I’m on all the social media platforms, so I get to see their comments about how desperate they are for the show to be saved. I try and console that as best I can, but there’s not much you can say. So I’m very sad for them. I’m fortunate because I’ve got a project to go straight to. I’m off touring the UK with music, and that’s going to to distract me. In fact, the same thing happened last time the show was cancelled. I went straight off to the UK and did my Dr. Karl stage show.

“I think if I had to sit at home next week and mow the lawn, it would hit me pretty hard, but it probably won’t hit me for a while yet., I imagine once I’m amongst the fans in the UK, that’s when I ‘ll see their palpable grief. I suppose that’s when it’ll hit me a bit more.

“I mean Neighbours as we know it is done. That’s the harsh reality. But Fremantle as a company are always forward planning and always looking at what they might do next. So, who knows what they might generate? Hopefully, if they generate something that’s kind of in the genre, the fans would connect with that ….with a new cast and a new look, new situation. Who knows? But it’s all spectacular conjecture.”

Annie Jones

“I think we’re even sadder because these last two years have been such a gift. We were so grateful to Amazon for saving us, but also we just felt so loved by all of the fans that took the time to write in and email and just make so much noise to let it be known how much they’re going to miss the show. That’s kind of continued. We get a lot of lovely, lovely comments from people online, just telling us how much the show means to them and how devastated they are now that it’s ending again. So we really feel the weight of all of that even more so, this time around. It’s gonna leave a big hole in a lot of people’s lives, unfortunately.”

Rebekah Elmaloglou

“If you ask me on Friday night, I’ll be probably an absolute mess. Look, I’m devastated as we all are. We’re such an incredibly close family and we have so much fun.

“Stefan (Dennis) and I have so much fun. We’re so naughty and we just love our characters, we love working with each other. It’s been a wonderful place to work at. I’m just devastated that I won’t get to see everyone every day. I think I’m just a little numb at the moment. It’s a very different feeling this time around….. I’m not sure, it’s a really hard one to explain.

“Jason (Herbison, producer) is very optimistic about the future. I mean, it’ll never be the same platform or episodes if it did come back. But honestly, the way he’s written it has kept it very open to a few really clever options.”

Matt Wilson

“We’ve had some practice with this, haven’t we?

“This time, I know that anything can happen because Amazon picked it up out of nowhere. So it wouldn’t surprise me if it did get picked up. And it wouldn’t surprise me if it didn’t. Last time it felt more like the end, because we didn’t know that was a possibility, whereas this time it would not surprise me.

“There’s a lot of reasons why somebody would pick up this show. It’s got to be the cheapest created drama in Australia. There’s so many reasons, particularly if streamers have to hit their local content quotas to be able to trade here. It’s got to be one of the only shows that can nail that local content quota in one purchase.”

State of Origin III has pulled a massive 3.9m viewers in National TV Audience.

That lifts on Origin I (3.76m) and Origin II (3.75m), making it the top TV audience so far in 2025.

City audiences were Sydney 1.00m / Brisbane 915,000 / Melbourne 397,000 / Perth 176,000 / Adelaide 123,000 -and the highest ever BVOD audience of all time with 978,000 watching on 9Now (beating FIFA Women’s World Cup Semi Final: Matildas v England by 7,000).

The game was a bloodbath for the NSW Blues, still on 0 at half time, with Queensland Maroons winning 24 points to 12 by the siren.

Nine easily won Wednesday with a massive 52% share.

Against such mega competition 7:30 drew (747,000) then Gruen (582,000), MasterChef Australia (513,000) and Border Security (425,000 / 366,000).

Later The Front Bar was 351,000 then Guy Montgomery’s Guy Mont Spelling Bee (330,000), and Elsbeth (200,000).

Nine News won with 1.49m so too did Tipping Point at 851,000 which topped Entertainment. Wimbledon was up to 335,000 in a late slot.

Seven News drew 1.44m then Home & Away (831,000) and The Chase (671,000).

ABC News averaged 927,000. Hard Quiz rpt was high at 374,000 then Spicks & Specks 189,000 and QI (147,000).

10 News pulled 356,000 for 10 then Deal or No Deal (349,000), 10 News+ (162,000) and FBI: International (124,000).

On SBS it was SBS World News (230,000 / 163,000), Tour de France (127,000), Mastermind (121,000), How Disney Built America struggled at 112,000 then Eat Smart: Secrets of the Glucose Goddess (91,000).

Sunrise: 379,000
Today: 300,000
News Breakfast:  233,000

National Total TV: Wednesday 9 July 2025

If you’ve watched Deal or No Deal you’re no doubt familiar with the gameplay basics of opening brief cases with cash amounts, trying to walk away with the most amount of money and learning when to accept or reject offers from the show’s own banker.

But how are people chosen, and who allocates the remaining brief cases?

Host Grant Denyer answers the questions you’ve always wondered….

How are contestants chosen? Is it all locked in prior to filming on the day based on their application and back story?

GD: No. We shift on the day a lot as well. Everyone who turns up has the ability of being chosen to play the game. That is 100% legit. Sometimes we have, maybe some preferred selections, but we watch them through the day as well. They don’t know it but we have secret cameras that film them to just see, ‘Are they into it? Are they feeling it? Do they know how the game works?’

So it’s a flexible thing. If someone turns up, and on paper seemed like a good potential, they might be a bit flat, or look a little disinterested. We’ll go, ‘Maybe they’re having an off day.’

I’m not involved in in the selection of the contestants at all. I do not know who they are until I call their name out.

How are the case-holders on the podium selected?

GD: They are just everyone who is in that same section of the audience where the main contestant was pulled.

We have a spare block of audience that comes in and replaces that block.

I would feel terrible if people thought that coming on the show that day, were made to sit through five episodes and they didn’t get their chance. This way someone sort of roughly gets pulled from every block. If you aren’t a main player, you still get the opportunity to go up and hold a case.

It’s kind of why the atmosphere in there is so off the charts because everyone is genuinely supporting of the player that’s currently playing. They could be next. If not, they’ll be holding the cases.

How are cases then allocated to those holding them? Do they choose them or are they handed out by production?

GD: We have our cases pre-loaded, done by a third party under strict regulation. We basically get (people) to go up there and take a spot. Whatever case lands in their hands, is the case that lands in their hands.

The cases come last, and they obviously are not allowed to open them.

Is the case given to their loved one strategically given a high or low value?

GD: We encourage them to bring someone with them, just so they’re not alone in the stand. It usually creates a bigger energy in the room and some encouragement.

People tend to leave their partner till last, for whatever reason. That’s the pattern. We don’t know why. We don’t tell them to do that. I think they want to keep their friends or family member in play until the very end, so they can lean on them for advice. But also it gives (their partner) a better chance of being able to correctly guess what’s in their case and win money if there’s only a couple of cases left to choose from.

Bu yes, if that person’s got a low amount left in their case, or high amount left in case, it can destroy or improve a game.

Case holders guess the amount in their brief case, but unless they are professional psychics is there any logic to this?

GD: I’m surprised, to be honest, how often it can actually be correct. That’s weirded me out a lot. Why we ask them is, obviously, it’s their chance to win some money for themselves, but you also start to learn and understand who’s trying to destroy this person’s game and who wants them to do well.

So sometimes you can see personalities emerge.

Has anyone ever accepted an early offer?

GD: No, not that early. It’s funny. People come in with an idea that, ‘If this gets to 20 grand, I’m taking it.’ But that could come in the first two or three rounds. It’s weird, people can still see all these really large green amounts on board, and then the old greed dragon kicks in and they can’t help themselves. They get caught up in the spectacle of the lights and the crowds cheer and all of a sudden, their heart’s racing and the temptation of winning bigger overwhelms them. No one’s ever taken such a drastic early offer that I’ve had to pad for 22 minutes, thank God!

The banker’s offer isn’t always [total remaining value  ÷ number of cases] so is there a formula to bank offers?

GD: I don’t want to give too much of the smoke and mirrors away, but the banker is a real person. If it was just an algorithm, it would be boring. Everything would be extremely predictable, right? So you would kind of know, roughly what offers are going to come in. Therefore, that would negate the purpose of a banker.

The banker has the ability to dial it up and down a little bit. If one of the contestants has given the banker some lip, you know, expect to pay the price in the next bank offer. But if we’re all in the room right behind this person, maybe we’ve fallen in love with why they need the money… occasionally, the banker is a little more generous. Sometimes the purpose of why you want to win the money can affect the bank offers, depending on how the banker is feeling that day.

Deal or No Deal screens 7pm weeknights on 10.

As she lean into the fourth film in their Zombies franchise, Meg Donnelly (Addison) is passing on the torch, along with co-star and Milo Manheim (Zed).

Both are now executive producers in the hit Disney+ musical horror franchise, but in Zombies 4: Dawn of the Vampires it’s also time to welcome new younger principal characters in Vampire, Victor, and Daywalker, Nova.

“Nova and Victor remind Addison a lot of herself and Zed, I think,” says Meg Donnelly. “Seeing them fall in love reminds her of how there’s way more important things than just trophies and achievements. It’s about connecting people and helping people.

“I think she realises that the world is such a bigger place and through helping the Vampires and Daywalkers come together. It kind of reminds her of what they went through in Seabrook.”

Such is the community of Seabrook, this time around filmed in New Zealand. As director Paul Hoen explains, there are important themes underpinning its splashy fuse of pop and horror, aimed at teens and tweens.

“Almost every Disney Channel movie that I’ve done -which is 15, 18, 20 a lot of them- you access who you are as a kid. I think we all feel that in some ways we’re inadequate. If we’re the cheerleader or the football star, we feel that we’re not the smart kid. If we’re the smart kid, we feel like we’re not the popular kid. If we’re the popular kid, we feel like ‘nobody really likes me’ or whatever,” he explains.

“But we’re all so special as adults and as children. For me, the one thing that I want to tell kids is that whoever you are, whatever your talents are, you’re special and not to be afraid of feeling different. Embrace your differences, embrace your uniqueness because that’s what makes you great. That’s what I’ve always tried to do in all these movies.”

Filming took place in and around the Auckland area in 2024 with a mix of US, NZ and Australian talent.

“New Zealand is absolutely wonderful. First of all the people are incredibly talented. They are also incredibly diligent and kind. I think it just makes it a pleasure to work with the crews. It’s also beautiful here, the landscape is spectacular and vast and varied. Especially since this is a camp movie, I just decided that this is the place to be,” he continues.

Donnelly recalls a magical scene at Bethells Beach, known for its black sand, surf and bushland located about 30 kilometers northwest of Auckland.

“There’s one shot where Addison is seeing the Vampire village for the first time, it was on a cliff so you can see the ocean and mountains. I think it’s like the most beautiful thing I’ve ever seen in my life. So I feel so lucky to be here.”

Joining are US actor Malachi Barton as Vampire Victor and UK actress Freya Skye, sporting an American accent as Daywalker, Nova.

“I’ve always loved music, it’s always been one of my main passions,” says Freya Skye. “Growing up I’d always call myself a singer and more recently, I’ve kind of explored the acting world which has been so exciting too. That’s why Zombies has been so exciting and so fun. I get to do my two favourite things, singing and acting.”

“I’m kind of the reverse to that,” adds Malachi Barton. “I have been acting since I was five. Getting into the Zombies world hasbeen a great opportunity to stretch my vocal cords and do something a little bit out of my comfort zone. However, my mum is a singer and songwriter, so I’ve been exposed to a lot of different genres of music for a long time.

“I love like rap, old R&B, that type of stuff. But when it comes to singing and stuff, it’s more pop especially with Zombies.”

“I’ve always loved pop music,” says Skye. “I’ve grown up heavily influenced by Taylor Swift and people like that. A big part of me getting into music was Disney and I was a massive Zombies fan when I was younger. I used to sing Sunday with my dad in the car. That was like our song. Disney shows in general really inspired me to get into music and performing in general.”

Barton says while Victor & Nova are polar opposites at the start of the story, the story encourages self-expression and community.

“Our story is like a romantic love story, but we’re also kind of going out of our own comfort zones, doing something a little bit out of the norm. Doing what our parents aren’t really used to and what we haven’t been taught. So it’s a really special moment to see growth. You may be different but sometimes it’s okay to go outside of your old traditions and try something new.”

Being yourself is integral to the Zombies franchise. Diversity is also represented throughout the ensemble, with Hoen explaining how a non-binary character led to a GLAAD Media nomination.

“One of the aliens identified as They / Them, so we tried to honour that. It wasn’t a movie about that, but it was an aspect of the movie that we really focused on. Learning about gender identity was an exercise for me and for the crew to do that.”

For Hoen, the importance of Disney Branded Television movies is also important as distinct from series television.

“I think it was Gary Marsh (President of Disney Channels Worldwide), who said, ‘We’re not really interested in finding the right series. We’re finding the right talent and then we’ll figure out the series and then the movies.’ Series television is much different in acting styles than this film. I think we have taught a lot of amazing talent through the years, how to be series actors and how to be film actors. And how to be stars.”

So as she passes on the torch, does Zombies 4 signal a departure for Meg Donnelly to new projects?

“I’m not sure because on the third one, I said it was and here we are,” she admits. “So I’m not gonna say it is, just in case bu this really does feel like a passing of the torch, leaving it to the next generation of kids. And that’s really exciting.

“But I assume, fingers crossed, if there’s more movies I’m sure we’ll be a part of it in some way, shape, or form.”

Zombies 4: Dawn of the Vampires premieres Friday on Disney+

Emmie Milligan, much loved member of the Gogglebox family, has died aged 96.

On Instagram Isabelle Silbery paid tribute to her grandmother, describing her as “..an orphan, a nurse, a wife, a mother, a grandmother, the oldest woman on TV, a great grandmother, an author and so much more. Thank you for loving her as much as we did and will forever. Have a big rest now- you deserve it. Xxxxx”

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A post shared by Isabelle Richards (Silbery) (@isabellesilbery)

Emmie featured in Gogglebox from 2016 – 2023, stepping back after being diagnosed with dementia, always known for her wit and candid comments on the television shows she was asked to review.

“Our hearts are so heavy with sadness,” wrote Gogglebox co-stars Keith and Lee. “Emmie was our adopted grandmother to Keith and I as we lost our grandparents years ago. You told us so many stories about your life and now they are memories for us to keep. Rest in peace, sweetheart you’ll never be far from our hearts.”

Matty Fahd wrote: “It was an honour to have met her. She was a truly special woman. May she rest in peace.”

Angie Kent said: “Beautiful Emmie. Words can’t describe what you meant to so many of us. Thank you for the countless laughs, tears, goosebumps and memories! Rest now. Your girls are so loved and looked after.”

“Ohh i’m so so sorry to hear. She was so beyond loved❤️,” Lainey Grech commented.

Holly Dalton wrote, “Sending all my love to you all. Rest in peace our beloved Emmie ❤️.”

This post updates.

EXCLUSIVE:

• • • First Nations people continue to be well-represented in on-screen roles but under-represented in off-screen roles.
    • Disabled people continue to be vastly under-represented compared to the population benchmark both on screen and behind the camera.
    • LGBQA+ people continue to have strong representation compared to the population benchmark, both on screen and off.
    • People with Asian and African ancestries / ethnicities continue to be under-represented compared to population benchmarks.
    • People with European and Anglo-Celtic ancestries / ethnicities continue to be over-represented.

The temperature of industry diversity, both on and off screen, has been measured in a survey, Everyone Counts 2.0, conducted for the Screen Diversity Inclusion Network.

The volunteer industry survey aims to document the diversity of all roles on TV and film projects in Australia – from extras through to on-screen leads; producers through to runners; and hair and make-up through to visual effects; working on productions ranging from Reality TV through to feature films.

The results draw from 12,900 on and off-screen contributor roles filled by 6,976 unique individuals in 395 Australian TV and film projects from July 2021 to June 2024.

The report reveals representation both on and off screen of women, First Nations people, people with disability, LGBQA+, transgender, intersex and gender diverse people, primary carers, people aged over 55 years, the ethnicity and socio-economic status of respondents, and people who speak languages other than English at home.

These were the key findings across the 3 year survey:

• 3.4% are First Nations, with a higher rate of disability among this group (13%) than in the talent pool overall (8.2%)
• 8.2% are disabled, with this group having higher representation of women (54%), gender diverse people (9.5%) and First Nations people (4.2%) than the talent pool overall (50%, 2.4% and 3.4% respectively)
• 20% are LGBQA+, with this group having higher representation of women (57%) and gender diverse people (12%) than the talent pool overall (50% and 2.4% respectively)
• 2.0% are transgender, and 0.8% are intersex with a further 1.6% reporting ‘unsure/don’t know’ if they were ‘born with intersex variation(s)’
• 2.4% are gender diverse and 50% are women, although we know from other research that many screen industry roles remain gendered and that women may be more likely to respond to surveys
• 26% are primary carers and a further 5.8% occasional primary carers
• 20% are aged 55 years or over, a similar rate to Australia’s ageing workforce
• 8.9% speak languages other than English at home (or in addition to English)
• 54% have Anglo-Celtic ancestry/ethnicity, 36% European, 11% Asian, 2.8% Middle Eastern, 2.3% Pacific Islander, 1.6% Central or South American and 2.0% African
• 15% perceive their socio-economic status growing up as below average or least advantaged (considering their family’s work, wealth, and education), 44% average and 39% above average or most advantaged. (2% either selected ‘other status’ or ‘prefer not to say’)

Counting diversity in industry roles 2021–24

Significantly, the productions which participated were 70% Scripted and 30% Unscripted, dominated by Free to Air Television.

This means results would differ if the spread better represented production output in Australia.

Now in its eighth year of operation, the SDIN launched in 2017 under its original host Australian Film and Television Radio School, before moving to the South Australian Film Corporation in 2022.

From July 1 2025, SDIN will be hosted by The Everyone Project under a model focused on practical engagement with industry.

The new hosting arrangement will see the executive functions of the SDIN continue to be managed by agreement of member organisations, with The Everyone Project continuing to operate independently.

The SDIN acknowledged outgoing Co-Chairs, Head of Film, Screen and Culture at Monash University Olivia Khoo and independent producer Loani Arman and thanked outgoing SDIN Project Officer Anita Kimber, who provided admin support since August 2023.

Founder of The Everyone Project Adam Smith said, “As The Everyone Project continues to grow and evolve, we are pleased to note a continual increase in participation over the past three years, demonstrating SDIN members committed to increasing diversity and inclusion at all levels.

“With a clear alignment in our values and purpose, The Everyone Project is pleased to take on a new role supporting the administration of the SDIN, and we are committed to evolving The Everyone Project to ensure improved outcomes for industry.”

EXCLUSIVE:

Neighbours will wrap production this Friday, July 11, and finish on air on Thursday December 11 in Australia and the UK.

It’s the second time in three years the team based at Nunawading will say goodbye, and despite the pleas and petitions by fans, there is no imminent lifeline.

But Executive Producer Jason Herbison is still hopeful of a return some day, if conceding it won’t be in this form.

“It’s a mix of emotions,” he admits. “It is Groundhog Day here, it does feel very much like deja vu. We have been through this before. I’m sad, but it’s a different feeling to how it was, for me anyway, in 2022.

“But more than anything, I think we all just feel a sense of gratitude that we got another 460 episodes. Not many shows make it to 100 episodes. We just made another 460 on top of the 9000+ we made before. So I think we all just feel very grateful that we’ve had this extra chapter, and we got to tell these extra stories.

“Lots of people have had their their their foot in the door in the last two and a half years, they’ve started their careers, and they’ve had that opportunity, as I did, 25 years ago.”

There’s no big network send-off this time around, but cast and crew will share Friday away from the gaze of media. Neighbours will still go out as Australia’s longest-running drama, if somewhat disrupted, until it presumably gets superceded by its longtime serial challenger, Home & Away.

“Last time it was terribly, terribly sad,” Herbison recalls. “We’d been going for so long, and there were people that had been here continuously for so long that it was a lot to deal with emotionally. Not that it isn’t this time and I can’t speak for everyone, because it is different for everyone. But for those of us that did go through it in 2022 you just can’t go through the same thing twice, it’s gonna feel different.”

In February Amazon Prime announced it would no longer fund the series after its two year run, having folded the Freevee platform. That left Fremantle with no broadcast partner to join 10, despite its ongoing love from British soap fans.

“The show is not ending because it’s not still popular. We do still have a very loyal audience. That’s valuable. That means something, you can’t buy that kind of loyalty and brand awareness,” he explains.

“It was known a year ago that Amazon Freevee was going to be winding up, so we knew that could impact us. When you know the landscape is changing, you start to wonder what the future means….. we weren’t completely blindsided. We knew there were some challenges and we were able to communicate that to everyone as well.”

Jason Herbison

So how has he faced plotting the next farewell?

“I absolutely didn’t want to compete with our last finale. That was amazing. I’m very proud of it. I don’t think I could top that. But I am leaving the show on another hopeful, optimistic note,” he reveals.

“It’s different to the previous finale, but there are some thematic similarities here and there.

“When we get to the last three months of the show there are some big stories that start to dovetail into each other, and they do lead to a certain point for all the residents. There are some interesting possibilities that come out of that.”

Don’t expect another cavalcade of returning faces this time around, with Herbison describing the finale as a farewell to the Amazon era (2023 – 2025).

“When it comes to the actual finale you’re going to see a bit of a focus on people from this particular era, but that could include people that were on the show before, because they’ve come back.

“It is very much open ended as to how it might come back one day. There is absolutely that possibility, and that’ll make more sense when we get there, as to why I’ve gone the way I’ve gone. But there are definite ways that the show could return in the future.”

Just what is he hoping for? Sequels, prequels, telemovies, Christmas specials, road movies, podcasts and YouTube clips?

“It could be anything. It really could. Obviously, when we ended in 2022 and Amazon picked us up, we basically came back pretty much the same, although the new model was airing 4, we’ve still been making 5 episodes a week,” he continues.

“The narrative and the storyline, and I guess the overall tone and model of the show, was pretty much the same. All I’m really saying is, it doesn’t have to be.

“IBut  don’t want to make Neighbours like a student film. I think the brand is too important to do that. But there are other ways to go about it. Maybe it is less episodes, maybe it is a shorter run, maybe it is shorter seasons, maybe it is telemovies…. origin stories. All of these things are things that we talk about, but obviously, right now we are focused on winding up this chapter in a fulfilling way.”

Winding up, in practical terms also means tough decisions on cast contracts, sets, props, costumes and leasing of the Nunawading studio.

“We are winding the site up, and we are packing up. That doesn’t mean we can’t come back at some point. As far as I’m aware, the landlord NEP is still very keen to keep it as a functioning studio. It’s an amazing studio site. We’ve invested a lot and made a lot of improvements to it.

“In terms of carrying the whole site by ourselves, as we have for decades now, that’s not something that’s feasible for us going forward,” he confirms.

“We’ll definitely be storing some things. Some things might be repurposed. We’re developing other projects, other things are coming up. ….I’ll be able to talk to you about that very soon,” he teases.

Lastly, what is Herbison’s message to fans?

“I just want to say we appreciate all of you. It is incredible when news like this gets out and and you do see that fan response. Of course, we get letters and emails and all that sort of thing too. I’m just always touched time and time again.

“People say to me, ‘This show means so much to me, you don’t realise…’ and I’m like, ‘I think I do realise, now. Took me a little while, but I think I do realise how much it means to you, and I’m sorry that we’re not continuing at the moment.’

“Again, I think when you see the way I’m ending the show, there is hope for for the future, whatever that could look like.”

Neighbours screens 4pm Monday – Thursday on 10 / Prime Video.

Former TV chef Peter Russell-Clarke, who would constantly greet viewers with ‘G’day’ on his ABC cooking shorts and asking “Where’s the Cheese” has died, aged 89.

Surrounded by his beloved wife Jan and two children, Peter and Wendy, he suffered complications following a stroke, passing away on Friday, the Herald Sun reported.

Derryn Hinch tweeted, “G’Day. Me ol’ mate, Peter Russell-Clarke, the Egg Man, has died. He really was a talented likeable rogue.”

Wearing his signature neckerchief, he hosted a five-minute television show called Come and Get It, on the ABC from 1983 – 1992, broadcasting over 900 episodes -usually before The Goodies or Inspector Gadget.

Switch channels and ads would show him scrambling across the countryside for with a backpack full of cheddar, as onlookers shouted “Where’s the cheese?”  Victorian egg sales rose 5% in three years when he fronted Victorian Egg Board campaigns. Decades later, strangers would still ask him that question.

He would feature on The Don Lane Show, Good Morning Australia and play a cook on Prisoner. He appeared in the 1983 film At Last…Bullamakanka: The Motion Picture alongside Derryn Hinch; worked as a creative director in a top advertising agency, ran an unnamed pop-up restaurant in Carlton decades before they were a thing, wrote at least 35 recipe books and was a United Nations food ambassador. He was official chef for the Prince of Wales Silver Jubilee dinner.

Russell-Clarke was an accomplished painter, beginning his career as a freelance cartoonist.

In recent years he has been in the wars, battling covid, cancer and suffering a heart attack. But he never lost his spirit, larrikin humour or belief in Australian produce.

“I’ve never actually flogged anything, or in my belief I haven’t; anything that I have attempted to promote is always been grown on an Australian farm because I believe that the Australian farmer is the most efficient in the world. Not believe—he is the most efficient in the world,’ he once said.

‘”When I was a boy, 50 per cent of our export income came from agriculture, it’s now down to 12 per cent.

“We’ve got a beautiful country with all the facilities to grow food for the rest of the world and yet we don’t. We’ve got politicians who’ve got their… where do politicians put their heads? Under their armpits or elsewhere. They don’t seem to understand that Australia needs to grow things.”

ABC said in a statement, ” The ABC pays tribute to much-loved television chef, author and artist Peter Russell-Clarke.  Peter became a household name in the 1980s on the ABC’s popular cooking show Come and Get It, hosting more than 900 episodes between 1983-1992. His passion for good food and ability to connect with audiences left a lasting mark on Australian food culture and television. He was known for his trademark neckerchief and signature catchphrases ‘G’day’ and ‘Where’s the cheese?’  Peter will be fondly remembered, and we extend our sincere condolences to his family.”

Source: Swillhouse, ABC

Ally Langdon is nominated for her first Gold Logie Award for A Current Affair and Olympic Games Paris 2024.

She’s also up for the very first Ray Martin Award for Most Popular News or Public Affairs Presenter.

What’s the best and worst thing about attending Logies night?
Best thing about the Logies is running into your old mates from the other networks. Hands down the worst thing is surviving the night in high heels.

This is an award nomination for your work for the past 12 months. What’s been the highlight of your work over the past year?
It’s been an incredible year – from my amazing day job hosting A Current Affair, to election coverage and filming the third season of Parental Guidance. It is so hard to pick a highlight but something well outside the box for me this past year was heading to Paris for hosting duties at the 2024 Olympic Games. An experience like no other that I am forever grateful for.

Why should viewers vote for you?
A vote for me is actually a vote for the incredible people I get to work with each and every day. ACA is a show for the little guy, the battler. When no-one else will help or listen we step in. And I am so proud of the results we as a team so often get. Everyone cares and I think sometimes our show is underestimated.

Who else from your network would you like to have seen nominated for Gold?
This is an impossible question to answer. Can I nominate everyone I’ve ever worked with?

If not you, then who?
I couldn’t pick a winner from this year’s line up. Each of us has followed our own path to this point, and I think most of us are a little overwhelmed to be nominated. I’d hand on heart be happy to see any of them win.

Vote at 65th TV Week Logie Awards, screening 7pm Sunday 3 August on Seven.

Actor Julian McMahon, best known for FBI: Most Wanted, Charmed, Nip / Tuck, Home & Away has died, aged 56.

“I wish to share with the world that my beloved husband, Julian McMahon, died peacefully this week after a valiant effort to overcome cancer,” his wife Kelly McMahon said in a statement to Deadline.

“Julian loved life. He loved his family. He loved his friends. He loved his work, and he loved his fans. His deepest wish was to bring joy into as many lives as possible. We ask for support during this time to allow our family to grieve in privacy. And we wish for all of those to whom Julian brought joy, to continue to find joy in life. We are grateful for the memories.”

McMahon was one of three children of former prime minister Sir William “Billy” McMahon and Lady Sonia McMahon, former husband to Dannii Minogue.

He started started his career on soaps The Power, The Passion and Home and Away, with 150 episode credits to his name on IMBb.

He found success in the USA starring in shows such as Another World, Nip/Tuck, Charmed, Profiler, FBI, FBI: Most Wanted and The Residence as the Australian Prime Minister.

Films included Fantastic Four, Premonition, RED, Paranoia, You’re Not You, Swinging Safari, and was praised for his most recent Australian film The Surfer, currently screening on Stan.

His final credit was 2024 film The Supremes at Earl’s All-You-Can-Eat.

“What shocking news,” FBI franchise boss Dick Wolf said in a statement. “All of us at Wolf Entertainment are deeply saddened by Julian’s passing and our condolences go out to his entire family.”

“Warner Bros. Television mourns the loss of our friend Julian McMahon. Our thoughts are with his family, friends, colleagues, and fans,” said WBTV.

Nicolas Cage, who recently starred in The Surfer, said, “Such deeply saddening news. I spent six weeks working with Julian, and he was the most talented of actors. Our scenes together on The Surfer were amongst my favourites I have ever participated in, and Julian is one of my favourite people. He was a kind and intelligent man. My love to his family.”

Rose McGowan, who starred with McMahon on Charmed, said, “Oh Julian you force of brilliance, wild talent and humour. For you, your family and loving fans all over the world, I pray comfort.”

Dylan Walsh his co-satr on Nip / Tuck said, “I’m stunned. We rode this wave together and I loved him. My heart goes out to Kelly and [their daughter] Maddy. Jules! I know you’d want me to say something to make you smile — all the inside jokes. All those years you had my back, and my god, we laughed. My heart is with you. Rest in peace.”

Kelly Carlson who played his wife in Nip / Tuck said, “I just heard about the passing of Julian McMahon….I’m completely shocked and saddened by it. I didn’t know he wasn’t well for a while.” She added, “my heart goes out to his family….thanks for a great six, seven years on Nip/Tuck together. We had so much fun. Everybody had so much fun.”

Ioan Gruffudd, from Fantastic Four said, “Even though we played each other’s nemeses, there was always so much lightness and laughter working together. Every encounter with him was a joy. It was an honor to be Dr. Richards to his Dr. Doom. My heart goes out to his wife and family. God speed Julian.”

Joely Richardson on Instagram said, “Woke up to the shocking news of Julian McMahon’s passing at 56. I can’t believe it. We worked together for many years, covering every possible storyline and then some… “ulian could be hysterically funny, was hugely charismatic (drama swirled in his wake), and most of the female population fell for him as ‘Christian Troy’….Ouff this is hard to write— seminal times we all shared, led by the insanely talented @ryanmurphyproductions, our ace producer Micheal [sic] Robin, beloveds @stephfowlermakeup @eyrichlou @kruegermekash — the whole team. Our love triangle with my tv husband Dylan Walsh (together you were giggly schoolmates)….. This has taken me back, and ABACK. I remember our 1st script reading, we knew we were onto something but no clue what a ride we were about to have— Julian suggested we do a meditation to quell nerves (we didn’t do it). I remember presenting with you at the Emmys when our autocue cut out and we somehow improvised our way through it on live tv. I remember the year we both got Golden Globe nominations and our show won best tv series— your mom, sat beside you, beamed with pride. I remember the episode when we all had to age up with prosthetics— how we laughed then, and how it’s making me cry today. My enormous condolences to your family and children. You lived a large life my friend, Bravo 🌟.”

Alyssa Milano said, “I’m heartbroken. ulian McMahon was magic. That smile. That laugh. That talent. That presence. He walked into a room and lit it up—not just with charisma, but with kindness. With mischief. With soulful understanding…. “We spent years together on Charmed—years of scenes, stories, and so many in-between moments. He made me feel safe as an actor. Seen as a woman. He challenged me, teased me, supported me. We were so different, and yet somehow we always understood each other….Julian was more than my TV husband. He was a dear friend. The kind who checks in. The kind who remembers. The kind who shares. The kind who tells you the truth, even when it’s uncomfortable—but always with love… My heart is with Kelly, with Madison, and with Iliana—his girls, his world. He adored them. You could feel it in every conversation, every story, every text. He was a family man above all, and he loved deeply. Losing him feels unreal. Too soon. Too unfair. Rest, my friend. I’ll carry your laugh with me. Forever Cole. Forever Julian. 🕊️💔”

This post updates.

Source: ABC, Deadline

In 2011 Poh Ling Yeow was nominated for Best New Talent.

In 2025 she has graduated all the way to Gold Logie nominee.

What’s the best and worst thing about attending Logies night?
PLY: The heels are the worst thing and I do find the red carpet really hard. Sometimes the questions are so random. Often they’re quite young and they (refer to) trends of things, and I don’t know what’s going on.

But I have had some really beautiful experiences at the Logies. I’ve met two of my dearest on the red carpet. One of them was Magda Szubanski. The first Logies I ever went to, I was so lost. I’d just popped out of MasterChef, and I managed to get myself a little nom for New Talent or something for Poh’s Kitchen. I just got thrown onto the red carpet and I felt like a fish out of water.

And so I got through that, and at the end of the night, I was just like, ‘Wait, can I find someone?’ Because no-one knew who I was. It was like I was a ghost, people were just looking through me. And I remember thinking, ‘I feel so lonely… I wonder if I can find a fellow weirdie around here.’ And I cast my eyes across the room. I just saw a Magda traipsing across, heels in hand, not giving an ‘F.” I just marched up to her and introduced myself. We’ve been really good mates since.

This is an award nomination for your work for the past 12 months. What’s been the highlight of your work over the past year?
PLY:  It’s just witnessing this incredible juggernaut. The machinations that are required for the show to operate, it’s really amazing. We are a bit of a giant family…. a lot of a giant family. We spend half a year together. I’ve made so many friends, and I love the contestants. I love every aspect of it. Like, I love the mentoring. I love,seeing people who come on the show and dare to expose their wildest dreams. I’ve become really good mates with Sofia it’s just all pluses for me.

Why should viewers vote for you?
PLY:  I hate this question… You’re selling your skills and your craft, not yourself. Whereas this is a bit too personal. It feels yucky.

Who else from your network would you like to have seen nominated for Gold?
PLY:  I’m going to say Melanie Bracewell, because I love her. She’s so chill and normal. I think she’s awesome.

If not you, then who?
PLY:  Julia Morris.

Voting at 65th TV Week Logie Awards screens 7pm Sunday 3 August on Seven.

When Zombies producers looked to their fourth musical movie in the hit teen franchise they scouted sites in and around Auckland, NZ, to double as ‘Seabrook.’

This time zombies, werewolves, aliens and cheerleaders would be joined by all-singing, all-dancing vampires for its next instalment.

As Executive Producer Skot Bright found, New Zealand’s diverse backdrop would prove worthy enough to uproot the film from its previous home in Toronto.

“We’re in New Zealand for a reason and geography is a big part of it. But what we’ve been able to find here (is a) backlot that the greater Auckland area offers. It’s pretty spectacular and we’ve taken advantage of that in a very big way,” he says.

“You’ve got coasts here with white sand beaches and then opposite coast have the black sand beaches. Just everything about the islands offers the kind of geography that we’re really looking forward to serve the story.”

He adds, “The interesting thing about the filming history that Auckland area has is that we were in places seen that Xena, Hercules filmed. We were in places where Lord of the Rings filmed. Where Rings of Power filmed, where The Hobbit filmed and it actually was intriguing and interesting and exciting for us to be revisiting some of those locations. We were able to twist them up a little bit and not make them look the same.”

Zombies 4: Dawn of the Vampires has 400 crew members mostly from New Zealand or Australia plus US leads Milo Manheim as Zed, Meg Donnelly as Addison, Chandler Kinney as Willa, Kylee Russell as Eliza, Malachi Barton as Victor and UK actress Freya Skye as Nova.

Zed and Addison, having brought human and monsterkind together take an unexpected detour on their summer road trip landing them in the middle of yet another monster rivalry: Daywalkers vs. Vampires. But like all good Zombies tales, the two opposing supernatural factions must unite together before the credits roll, with a little help from musical numbers led by composer Tom Howe.

“The first three films were very much about Seabrook and Zombie Town and how those communities were coming together and acceptance. This movie is still very much about people accepting each other and getting along. But now we’re being introduced to two different warring tribes or warring communities that don’t really know that much about each other. Our zombie characters that we know and love help bring those two communities together and help them have an understanding of each other,” says Bright.

Working through their differences and finding commonality is part of the DNA of the Zombies franchise, whilst fanging out on pop songs, horror and romance. Milo Manheim and Meg Donnelly, who have led the franchise as zombie and cheerleader, respectively, both get an executive producer credit, and this time welcome new vampire characters such as Malachi Barton as Victor and Swayam Bhatia as Vera.

The OGs are passing on the torch to new characters who are encouraged to be their true selves, if subtly placed within storyline and character.

“Disney has always been focused on diversity and inclusion, especially on camera but just as important behind camera,” says Bright. “In fact that’s actually a very big part of what we do. I’ve been working for Disney now for six years with the various projects I’ve been doing. It’s almost always in the top three of the things that we want to focus on. Again, both on camera and (behind). The OGs have diversity within them and so do our new cast.

“To be pretty frank, New Zealand is overwhelmingly white for the most part, but we made a point of making sure that we knew the representation of the people that we’re working with. I’m proud to say that I think we’re it’s something like 18% Maori working on the film, which is really high.”

Part of the appeal of shooting in NZ is also the government incentives.

“New Zealand certainly offers that and we’re going to be one of the first to take advantage of the new uplift that’s been offered. So that’ll give us an extra 5%,” he explains.

“We have 24 core dancers, seven of which were brought in from Australia. The rest are a mixture of predominantly New Zealand and then four that came with the choreographers to work the development team from the United States.

“But there’s only a handful of us from the States, maybe five others and everybody else in the entire group is from NZ.

“We’re doing offline (post production) in British Columbia because that’s where the editor that has done this franchise is based. So we wanted to keep that person on for continuity reasons and we’ll do the sound mix and the online there, but everything else is being done here.”

For Bright, whose previous credits include music projects for Bee Gees, Tom Petty & the Heartbreakers, Janet Jackson, Brian Wilson, Lenny Kravitz, ‘Hannah Montana’ and MTV, Zombies keeps alive his musical passion.

“I just love a lot of musical comedies from Bob Hope to Jerry Lewis to Elvis to whatever, and I feel like Disney kind of tapped into that with the original High School Musical films that they did,” he recalls.

“Then Teen Beach Movie, I was part of the original version of that.

“So I’m just happy to be a part of this.”

Zombies 4: Dawn of the Vampires screens Friday July 11 on Disney+

The Seven Network and WIN Network have reached a new content agreement which has seen Seven’s channels return to the Riverland, Griffith and Mount Gambier via aerial transmission this afternoon.

It follows WIN TV switching off the signal earlier this week after failing to reach commercial terms.

In a joint statement the parties said, “Both Seven and WIN acknowledge the significant impact of free-to-air television in regional communities and the importance of providing news, sport, entertainment, and a voice to regional Australians.

“We thank the people of the Riverland, Mount Gambier and Griffith communities for their patience while we worked through this matter.”

Seven’s programming resumed at 5pm AEST.

The third and final new drama from SBS / NITV Digital Originals, Moni, is set in Western Sydney and centres around a Samoan – Australian community.

Moni is the name of the lead character played by Chris Alosio, a hunky young gay man returning home from London for his sister Hana’s (Ilaisaane Green) wedding. But he arrives with considerable metaphorical baggage.

Not only does his deeply-religious family not know of his sexuality, but he is also arriving six months after the death of his mother Tina (Tina Leaitua). All of the family are unimpressed with his in absentia at a time of sorrow, togetherness and mourning. The “prodigal son” is shamed in failing to uphold Samoan family values.

But Moni gets a bigger shock when Tina appears to him,  first as an apparation before ‘physical’ form which only he can see. And mum is not happy, before even she is shocked into learning that she has actually passed over.

This leads to numerous scenes of Moni talking to a ghost in the presence of family members, a comedy of errors perhaps. As the family continues to prepare for the wedding he is humiliated by head of the family, Uncle Pika (Maua Fuifui) over his inability to live up to male traditions.

“Samoans are horrible people when you forget your place” -Tina.

It even takes Aussie-born groom Brandon (Julian Maroun) to show him how to properly wrap a Polynesian lavalava around his waist.

The drama also flashes back to his teenage years where 16 year old Moni (Maiko Taukafa) and younger sister Hana (Maila Latukefu) are shown growing up with single mum, now the very present, Tina.

Even in these scenes young Moni is frequently hounded by his demanding mum, although it is clear there is also love given she is raising her children as a single mother.

Where the story turns next is most unexpected, but it speaks to why Moni fled home when he was old enough.

These scenes by director Alana Hicks are the drama’s most powerful.

Other characters of note include (older) Moni’s trans friend Sila (Ella Ganza) offering some much-needed advice.

“I’d like to think God sent Samoan kids like us to see if our parents could love, unconditionally. To test them.” -Sila.

Chris Alosio handles the script by Taofia Pelesasa with sensitivity. While NRL has shown Pasifiika communities expressing homophobia in recent times, Moni raises questions about acceptance, religion and family traditions.

Yet I can’t help but feel the flashback scenes are more successful steeped in their ‘real world’ narrative then the device of a ghost to represent Moni’s unresolved issues. It also raises a few questions that didn’t quite tie up for me, but to expand on those would be something of a spoiler.

SBS NITV continue to visit communities largely unrepresented in local drama and Moni has its heart in the right place, for those ready to hear new viewpoints and stories embedded in personal experience.

Moni screens 8:30pm Thursday on NITV and SBS on Demand.

Home & Away‘s Lynne McGranger has her very first nomination for the Gold Logie and a second Silver nomination for Best Lead Actress in a Drama.

What’s the best and worst thing about attending Logies night?
LM: The worst thing is spending hours getting made up, getting your hair done, getting ‘trussed’ up, often poured into a dress, and wearing really uncomfortable shoes (because it’s in the Logies handbook) and then having to walk a couple of kilometres along the red carpet. That’s the worst thing (although I always love meeting the fans).

The best thing is when you finally get to the table, you get to kick off your shoes and pray that you don’t have to get up again – because your feet are never going to fit back in your shoes – and have a nice, cheeky vino.

This is an award nomination for your work for the past 12 months. What’s been the highlight of your work over the past year?
LM:  Irene hitting the bottle again after Bronte’s betrayal. (And more recently -although this wasn’t on-screen during the nomination period- – my upcoming exit storyline).

Why should viewers vote for you?
LM:  Because I’m old and I might be dead by the next Logies.

Who else from your network would you like to have seen nominated for Gold?
LM:  Larry deserves a second outing. And I also think Sam Mac.

If not you, then who?
LM: If not me then Lisa or Poh.

Voting at 65th TV Week Logie Awards screens 7pm Sunday 3 August on Seven.

Australian audiences watched more Documentary content on global streaming services than subscribers in any other country, during the first quarter of 2025.

Research by British-based Digital i. shows that a 75% of Australian subscribers to Netflix, Disney+, Prime Video and Max* watched at least 20 minutes of a documentary or docu-series between January and March 2025.

The UK, Canada and the Nordics (Denmark, Finland, Sweden and Norway, which were measured collectively) were tied for second place, with 67% of subscribers to those services watching documentary content in those countries.

Japan ranked lowest, with only 32% of streaming subscribers in the country viewing Documentary content in Q1 2025.

Previous Digital i research has shown high Australian true crime viewership and correspondingly low subscriber share in Japan.

The average subscriber account viewing time to Documentary content on these services is also growing year on year.

In 2024, subscriber accounts on these streaming services viewed an average of 4 hours and 34 minutes of Documentary content per month –  up on 4 hours and 8 minutes per month in 2023, and 4 hours and 5 minutes per month in 2022.

Digital i measures streaming audience data in the U.S., Canada, Argentina, Mexico, Brazil, Colombia, the UK, France, Italy, Germany, Spain, The Netherlands, Poland, Denmark, Finland, Sweden, Norway, Australia, South Korea and Japan.

*Max launched in Australia in April.

Stan and Binge were not included in the research.

WIN TV has switched off Seven in Riverland, Griffith, and Mount Gambier ater failing to reach a deal with Seven West Media to renew the current broadcast agreement.

Seven West Media Managing Director and Chief Executive Officer, Jeff Howard, said: “Despite our best endeavors, we have been unable to reach a mutually acceptable commercial agreement with the WIN Network to provide access to Seven via aerial transmission in Riverland, Griffith, and Mount Gambier.

“Seven has not turned off our signal. We continue to provide our content to WIN for broadcast into these markets and WIN has made the decision to switch off the Seven signal to these communities.

“While we are disappointed WIN has made this decision, these communities are important to us and they can access Seven’s news, sport and entertainment content live, free and on demand on 7plus,” he said.

“In the meantime, Seven is seeking the assistance of the Federal Government and the Australian Communications and Media Authority to help resolve this matter as quickly as possible.”

Last month WIN CEO Andrew Lancaster said, “While we are disappointed with Seven West Media’s decision, we respect their right to pursue their own commercial strategies. WIN remains committed to serving our regional audiences with a strong local presence and programming.”

Communications Minister Anika Wells recently said, “The Government urges the parties to continue negotiations and work together to deliver for these communities.”

Meanwhile Southern Cross Media Group has completed the sale of its remaining television assets in Tasmania, Spencer Gulf, Broken Hill, Mt Isa, Darwin and Remote, Central and Eastern Australia to Seven West Media.

SCA has applied the upfront cash consideration of $3.75 million from the sale towards reducing net debt.

The total consideration from the sale of SCA’s television assets is, in aggregate, in the range of $19 to $24 million. This includes both the SWM proceeds of $3.75 million and the previously announced profit share proceeds of $15 to $20 million from the sale of the 3 TV licences to Network 10.

John Kelly, SCA CEO, said: “With the successful divestment of our regional TV assets, our entire strategic focus is now All About Audio. This clarity is already delivering results. As our share of audio revenue grows, we remain disciplined on costs and are committed to giving advertisers unmatched. access to the ‘Audience That Matters’ – Australians aged 25 to 54.”

Jeff Howard, said: “Seven is proud to be Australia’s largest regional commercial television network. We’re excited to expand into these new markets and further harness the strength of our news, sport and entertainment content – across both Seven and 7plus.

“Following the acquisition of Southern Cross Media’s television assets, 7News has unparalleled breadth and depth across regional Australia, and we will be upscaling our investment in news across these markets to reflect the importance of these communities. Ownership of these licences will allow us to connect directly with these regions moving forward.”

Seven will be continuing Tasmania’s one-hour, locally produced bulletin seven nights a week. Seven will soon provide news updates in Spencer Gulf (Whyalla and Port Pirie, South Australia), Darwin and Broken Hill, alongside updates in Newcastle, Wollongong, Canberra, Bendigo, Ballarat, Gippsland and Mildura.

Seven’s Director of Regional News, Paul Patrick, said: “7News is an intrinsic part of the communities we operate in, with the only local 6.00pm bulletins in all our major regional markets. From our journalists to our camera operators, and production teams across the country, we are passionate about telling local stories that resonate with our local audiences. We are their voice.”

Seven states it is committed to regional jobs in regional communities, with regional news hubs in Maroochydore (Queensland), Bunbury (Western Australia), Launceston (Tasmania) and Canberra. In addition, Seven has journalists, camera operators and production teams creating local content in Cairns, Townsville, Mackay, Rockhampton, Bundaberg, Hervey Bay, Sunshine Coast, Toowoomba, Ballina, Coffs Harbour, Port Macquarie, Taree, Tamworth, Orange, Dubbo, Canberra, Wagga Wagga, Albury, Launceston, Hobart, Geraldton, Bunbury and Albany.

Seven’s National Sales Director, Regional Sales, Greg Gabel, added: “Seven is proud to go above and beyond to support our local communities. From sponsoring the 7Rocky River Run to supporting Volunteer Marine Rescue and junior AFL teams in every state, we thrive on being an integral part of regional Australia.”

Don’t mess with Australian Survivor fans.

Social media is flooded with fury over the decision to axe Jonathan LaPaglia as host of Australian Survivor.

Most are summed up by the sentiment, “JLP is Australian Survivor.”

“We cannot allow this change to happen without voicing our strong support for JLP to remain the host of Australian Survivor,” a petition at Change.org states.

“The host plays a crucial role in maintaining the show’s appeal, and Jonathan LaPaglia has proven himself time and again as the perfect fit for this role. His deep understanding of the game, combined with his rapport with contestants and viewers alike, makes him irreplaceable.”

The petition currently has more than 2300 signatures.

It follows JLP taking to Instagram yesterday to confirm an “epic blindside” when he was contacted by Network 10 to advise they were going in “a different direction” for 2026.

“I have loved and will dearly miss the immensely talented crew, all the crafty players and our loyal sassy audience. I’m a huge fan of this incredible game, always have been, always will be. It has been one of the greatest adventures of my career to helm Australian Survivor, so it is without a doubt the hardest challenge of all to snuff my own torch but here goes:  JLP the tribe has spoken.”

10 thanked JLP for his “authority, intelligence and empathy…. over the last 10 years” but did not detail why he was eliminated in a brutal TV twist.

That only leads to speculation around cost-cutting but also suggestions of clashing with producers.

In his Insta post JLP referred to “non-elim bullshit” which follows from him telling TV Tonight,  “I don’t like the non-elims in our show. I’m not a fan.”

Some years ago he also upset producers when the pandemic hit, saying there was no way Australian Survivor could film in Queensland due to its hefty infrastructure. That came at a time when producers were liaising on location incentives to do just that.

But fans recognise LaPaglia’s commitment to the show. If he’s outspoken it’s because he cares about a quality product and the viewer experience.

If there were production differences, it’s to Endemol Shine Australia and Network 10’s detriment that they could not find a satisfactory resolution.

Anyone who watches Survivor knows, it’s not just about announcing challenges and hosting a Tribal Council. You need to be across the gameplay machinations, and you need the ability to live call the Challenges like a football match -it’s not something that can be scripted.

10 is yet to confirm a new host for 2026, but rumours suggest ‘Golden God’ David Genat. While he’s been a good villain for the franchise, the host needs likeability. After one season hosting Rush on Nine, Genat best serves the genre as a contestant (my pick would be former TV host Eden Gaha, who previously produced the US Survivor).

Dumping JLP has massively pissed off fans. This is one of those times when 10 needs to acknowledge “We have listened to the fans” resolve its differences with him and turn a negative into a positive.

But it depends if there is an executive willing to dig deep.

“We urge Channel 10 to reaffirm their commitment to excellence by keeping Jonathan Lapaglia at the helm of Survivor Australia. His dedication to the show has enriched the lives of many, and the loyalty of the viewership should not be underestimated,” says the petition.

Sadly for ever-popular Australian Survivor host Jonathan LaPaglia, the tribe has spoken.

Alas, his torch has been snuffed out in a Reality TV twist nobody saw coming…

Network 10 has confirmed his exit which TV Tonight understands was not his choice.

View this post on Instagram

A post shared by @jonathanlapaglia

“10 can confirm that the upcoming season of Survivor: Australia V The World will be the last series hosted by the formidable Jonathan La Paglia (JLP),” the network said in a statement.

“JLP has brought a unique blend of authority, intelligence and empathy to his role as host of Australian Survivor over the last 10 years. Acting as a referee and managing the intense pressure of the game while also acknowledging the human drama unfolding, JLP has been a compelling and memorable figure in the world of Survivor.

“We look forward to JLP hosting the next epic instalment of Survivor: Australia V World coming soon to 10. We extend our sincere gratitude to JLP for his outstanding contribution over 10 years on Survivor. We wish him continued success in his acting and presenting career.

“We will be making an announcement shortly about who will take over hosting duties for the 2026 season of Australian Survivor.”

Daily Mail yesterday reported LaPaglia was to be replaced by ‘Golden God’ David Genat, who has played twice in Australian Surivor, hosted Nine series Rush, won Search for a Supermodel and won Deal or No Deal Island in the USA.

He features in Australian Survivor: Australia vs the World alongside returning players George Mladenov, Luke Toki and Janine Allis competiting with players from Survivor US, Québec, South Africa, New Zealand and Finland. It is expected in Q3.

This post updates.

When Martin White, Vice President, News at Paramount Australia came to hiring anchors for 10 News+ he reached out to Denham Hitchcock, who had only returned to 7News Spotlight in February after a two year break.

“When Denham picked up my call and said ‘Let’s go for a beer,’ I nearly fell off my chair. I was like, ‘Brilliant. He’s a legend. Fantastic!'” he tells TV Tonight.

For Hitchcock (pictured second from right), who had returned to Spotlight on a Casual basis, the fluid format of what White (pictured right) was proposing won him over.

“The moment that he explained the show and his vision for it, I was hooked,” says Hitchcock. “Having a programme that is on six nights a week, but has a format that is changeable…. we could do long format investigations, it might be half the show. If it’s big enough, it might be the whole show. We’ll also tackle news of the day.

“We’re not stuck with a two minute by two minute rundown of the news days of events. It can change and morph as the show sees fit. It’s news that matters to people, so less of the factory fires and the car crashes, more of the cost of living or big world events like what’s going on in Israel and Iran at the moment, coupled with stories that will be breaking ourselves. The whole concept of that is so exciting to me. You would probably know more than me, but I don’t think that there’s been a format like this done before.”

Hitchcock anchors alongside former Seven journalist Amelia Brace (pictured second from left) from Sunday – Thursday with Ursula Heger and Hugh Riminton leading Friday nights.

White is also excited for the show’s availability on multiple platforms including 10, YouTube and Spotify.

“We have to put our product where people are,” he explains. “So we’re putting it on all these different platforms, in all these different ways. And yes, linear is vitally important …the viewers at six o’clock we want all of them, and regional Australia, suburbia, inner city, wherever they are. We want to do something that can appeal to absolutely everybody. But we do have to appeal on a whole bunch of different platforms, and I think that’s going to be the strength of this.”

But YouTube and Spotify are not part of the VOZ ratings panel -and 10 isn’t even selling ads on Spotify, so is it a push to create awareness?

“We’re just trying to get as many people on as many platforms as possible, and then monetise as we go, as partnerships develop.”

10 News+ also goes head to head with TV’s biggest drawcards, Seven and Nine 6pm bulletins, and follows its own local 10 News at 5pm. Is 10 confident its audience is wanting news at 6pm, given recent noises about no longer consuming The Project in the same way it once did?

“We do run our own race a little bit at 10. We don’t need to think about what other people do. We don’t need to put ourselves up as being competition for anybody else. While we’re taking everybody on, we’re doing it in a very much our own way.

“The reason it came about was the success we’ve had with our news brand, particularly over the over the last 12 months,” says White. “It’s a bit of multi platform success. To give you a few numbers, in VOZ we’re up 12% 5pm year on year, 31% Lunchtime, 44% Afternoon, 18% Late News. Our streaming numbers are up. We are a million subscribers on YouTube, a million subscribers on Tiktok. So we are a successful and growing news brand on all platforms. The genesis of it was that we were asked whether we’d like to expand. And so we are. This is kind of a natural fit for something that really complements what we’re already doing. We have our local flagship bulletin at five, and now we have more of a national network news bulletin at 6 as well.

“We had a lot of research about about what viewers want and where the gaps are and we know that viewers want live news, they want sport ….our research shows as well, that people are needing to find more things to trust. There is a bit of an issue around that, particularly with social media and the proliferation of misinformation. So we decided there was a real place for a news product that felt very grown up. That still has heart, still has humour, but is essentially something people can trust, and that’s what we’re rooting into everything that we do.”

Hitchcock is promising a big story for tonight’s premiere episode.

“You’ve got to bring out the big guns on night one,” he insists.

“It’s a story on a Melbourne mother of five called Debbie Voulgaris. She was in the news cycle not too long ago. She got caught going into Taiwan with seven kilos of heroin and cocaine in her suitcase. She said that she was not guilty. In February this year, the day before her trial, she pled guilty. She was sentenced to 16 years prison in Taiwan, and since then, she’s disappeared from the news cycle.

“The real truth behind that story is something quite different. At the heart of it is a scam, and she was asked to go by someone that she knows very well, to go and deliver a suitcase. She did not know the contents of that suitcase. Now this investigation that you will see, will have all of the messages, the scam, how it started, who the person is, who sent her there who asked her to go and what is currently happening with her in Taiwan. In fact, you’ll hear from her from a Taiwanese prison cell.”

The show will also feature live interviews at its desk, with reporters Political Editor Ashleigh Raper, Bill Hogan, Brianna Parkins, Samantha Butler, Carrie-Anne Greenbank, Claudia Vrdoljak and 10’s Entertainment Editor Angela Bishop. Even with the tall order of 6 hours a week to fill, White says he doesn’t expect to rely on international feeds.

“That’s not the plan, no. I mean, we will do international stories, but no, we’ll be making everything with Australian journos here. And, of course, we have a correspondent in the US and the UK and we’ll use them as necessary.”

Shifting to 10 is also keeping things in the family for Hitchcock, following in his father’s footsteps several decades earlier.

“When I was a kid, dad worked at Channel 10 News,” he recalls. “He was one of the main reporters here, and he went on to become the News Director here, before he broke his neck in a spinal accident. He’s still with us, mentally still very sharp, but he’s in a wheelchair and was unable to work anymore. But I used to watch him heading out the door, going off to work.

“I watched him on the on the TV in far flung places, and so coming in here has been a little bit like coming home, to be honest. Because it was such a part of my childhood, old stickers all over the bunk bed, and I used to sing the theme song. Dad would come home and quiz me on the news. He’d give me newspaper articles, and I would write television stories off a newspaper article, and then he’d grade it for me when I was eight years old or so. So Channel 10 was very much part of his DNA.

“I gotta say, it probably was one of strong reasons that I also wanted to come across after speaking to Martin. Just to kind of close that loop. Dad, who’s still here, is more excited than me.”

10 News+ 6pm Sunday – Friday on 10.

10 and 10 Play ➔ 10
10 Peach Comedy ➔ 10 Comedy
10 Bold Drama ➔ 10 Drama
10 News First ➔ 10 News
10Play.com.au ➔ 10.com.au

In a first for Australian broadcasters, Network 10 is consolidating its free-to-air (10), streaming (10 Play) and programming handles under one unified 10 brand.

Described as “a brand evolution” it sees a consistent identity system across all touchpoints – no matter where audiences watch.

10 Bold Drama becomes 10 Drama, 10 Peach Comedy becomes 10 Comedy, 10 News First becomes 10 News and 10 Play simply becomes 10 with shows teasing “watch and stream free.”

10Play.com.au will trim to 10.com.au.

The logo has also dropped the long-familiar circle for a cleaner look.

Karen Song, Head of Network Design, Paramount Australia said, “We’ve cleaned up our brand architecture, and that means getting rid of a lot of those sub-brands that didn’t service or didn’t have a place or needed to resonate differently in the current market.

“Really, it’s just streamlining, building on that equity that we already had, making sure that we’re modernised and future fit.”

Claudio Amati, Head of Network Creative, Paramount Australia said, “It’s about simplifying what is a really cluttered market with so many brands out there. There’s subscription, there’s free TV, and we really wanted to just make sure that 10, the master brand, is the hero.”

Paramount’s portfolio, includes MTV Studios, Comedy Central, Nickelodeon, CBS, Showtime, and select hits from Paramount+. Currently, viewers have access to an abundance of live, free, ad-supported TV (FAST) channels powered by PlutoTV spanning entertainment, lifestyle, drama, kids, reality, comedy, talk shows, TV series, boxsets, movies, and more.

10’s digital library will expand further this year with the launch of new FAST channels: My Strange Addiction, Homicide Hunters, and Aftershock, plus Australian comedy favourites from Working Dog – The Cheap Seats and Thank God You’re Here – will also be joining the FAST channel line-up in August.

10 will also welcome a new British drama channel from All3Media Demand Drama, which will include TV series’ adaptations from novels by screenwriter Lynda La Plante.

L to R: Claudio Amati, Karen Song,

According to Amati, the refresh follows similar moves in the UK.

“We’re taking Channel Five’s lead with the ‘watch and stream free’ messaging. They actually used ‘watch and stream’. But we did research to make sure that we were hitting all the touch points. And what came out of the research five or six months ago was that there was confusion in the market as to what services were free and what services you paid for,” he explains.

“We decided to add the word ‘free’ on the end of that tagline… it also differentiates us from Paramount+, which is obviously our SVOD.”

The redesign has been led internally, in the pipeline for six months with minimal outsourcing to third parties.

“Production-wise, creative-wise we’ve done that all internally, in parallel of our (Business As Usual),” says Song. “The promos that we have to produce across all of our distribution channels, billboards, socials, everything.

“We’ve probably had no more than six people work on it since October, but more so in the last eight weeks when we’ve ramped it up.”

“We’re both veterans at 10. I’m coming on to 25 years, and Karen is coming up to 20 years,” Amati continues.

“We lived through the whole evolution of the Seriously brand, and then the evolution of bringing in the digital channels, 10Play. We started when there was just one 10, so we understood back then who we were, what we stood for.

“Then all these other things started coming from left, right and centre, and really started to clutter the market.

“Really, this is us just pulling it back now and stripping it down and making it actually easier for the consumer to understand.”

Often when I review shows I think to myself “I’m not really the target audience for this.” Dating shows, I make no apology.

And so it is with Kids TV as I gaze upon Do Not Watch This Show, the latest creation from Andy Lee, based upon his book Do Not Open this Book. At least we were all kids once.

There are 12×11 min episodes in the first season. Just one, “Frog” is available for preview.

Lee voices Wizz a tall, egg-shaped monster whose home life is interrupted by a television show invading his space and the thought of being watched by children at home.

Whilst undertaking his ironing, (monsters it seems have domestic chores, too) an announcer (the legendary Pete Smith) announces the arrival of Watch This Show, with Wizz plastering “Do Not” across the top of it.

“There are plenty of things you can watch but this show is not one of them…. you musn’t get to the end of this show for your own safety!” he insists.

Despite his gangly appearance courtesy of illustrator Heath McKenzie, Wizz is quite an eloquent chap, given a plummy British accent (Andy Lee) and adopting a pointed, bothered personality giving instructions to an audience which never turns off. No hiding the fourth wall here, Wizz pokes and prods it for all its worth.

“It simply isn’t worth stick around. The T Rex might eat you, or worse still, it might eat me,” he warns.

Enter Douglas the Scientist (Andy Lee) ready to impart all kinds of factoids on the T Rex dinosaur, which feels like the fun is getting educational now. I’m not sure it’s necessary in 11 minutes of fun, but the nonsense style of the show is maintained.

Wizz has a couple of resident pals including a Tortoise (Denise Scott), and two fruits Lime (Joel Creasey) and Kiwi (Kura Forrester). The interplay is limited in the opening episode but it has a promise of a fun supporting cast. There’s also a cute reference to an orange-haired insect saxophonist, Kenny Bee (Andy Lee).

It turns out Wizz has also had a spell cast on him by a witch when he was in a line for free cupcakes, which will turn him into a frog by the end of the episode, so when green legs appear it’s clear Wizz is losing the fight.

This may be the only show on television to actively discourage you from viewing, but it’s a clever reverse psychology given kids always want to do what they are forbidden.

“I’m a grown up and you’re a child, so you should be doing what I say,” Wizz reminds us.

Also coming this season is his neighbour Goblin (Dave Hughes) and cameos from Hamish Blake, Carrie Bickmore, Chrissie Swan, Glenn Robbins, Ben Fordham, Tony Armstrong, Mick Molloy, Broden Kelly and more.

I suspect kids will easily slip into Wizz’s world of fibs and fabrication ignoring his every demand, to partake of each escapade to see what becomes of our manic monster hero.

Do Not Watch This Show. All episodes 6am Friday ABC iview
7:30pm Monday -Thursday from July 7 ABC Family

It ended with a 90 minute sentimental retrospective as hosts past and present reflected on all that was The Project.

Waleed Aly, Sarah Harris, Sam Taunton, Georgie Tunny last night were joined by original hosts Carrie Bickmore, Dave Hughes, Charlie Pickering (in NZ), Tommy Little, Susie Youssef, Hamish Macdonald (in London), Lisa Wilkinson (video message) and Rachel Corbett. Founding executive producers Rove McManus and Craig Campbell did not appear, despite having previously featured on its 10th birthday special in 2019.

There were montages galore showcasing the causes and campaigns The Project has backed, and significant stories including how 13yo Indonesian boy Ali Jasmin serving five years in a maximum security adult prison, a #MilkedDry campaign for farmers, Marriage Equality, banning Engineered Stone, and Carrie’s Beanies for Brain cancer.

There were flashbacks to celebrity guests, rehearsal outtakes (Christopher Pyne singing Fernando), and host memories, all before an invited audience of its own production family.

The tears flowed from Carrie Bickmore, Georgie Tunny, Rachel Corbett and more.

Fittingly, it finished with one last Waleed Aly editorial, on saying goodbye….

“16 years ago, some outstandingly creative people began an audacious TV experiment. Could you straddle the worlds of news, popular culture and comedy in a single show, a single segment, a single moment? Could you create a world where Will Ferrell can interview the Prime Minister? It’s not the done thing. Could you cover everything from wars and revolutions to Kim Kardashian breaking the internet to the latest developments in Qantas customer service? (Carrie, that’s how you say it),” he said.

“Could you do that in the space of five minutes? It’s not the done thing. Could you do a prime time commercial news show that hooked its audience by playing with them instead of scaring them, that didn’t trade on demonising groups of people who have no platform to respond? It’s not the done thing.

“Well, we done the thing, and according to everyone involved, it started terribly! It wasn’t meant to survive six months, but it did, and it stabilised, then it thrived, then it soared. And the little show that could became the landmark show that did. And that is a miracle. And maybe miracles aren’t meant to be explained, but maybe this one can be. And maybe the clue is that nothing like this show exists anywhere in the world, as our international guests would constantly tell us when they came in. And that’s because I think this show reflected the best of this country.

“It was irreverent. It knew when things were serious, but it refused ever to take itself that way. It always gave its best, but it never presumed to think it was doing everything right. For God’s sake, the show’s name is The Project. It’s never finished, and it reflected our lives. You love, you cry, you get things wrong, you laugh, and you do all these things all at once, not in isolation, because that’s life.”

He added, “I guess I’m meant to say that we’ll meet again, but the truth is we won’t, not in this combination. This impossible show and the people who gathered around it, is unlike anything that came before it, and nothing like it will exist again. This show brought people together with sometimes very little in common, and made them long term friends. It showed what can happen when we open our hearts to each other in good faith, and if we decide that that bit, that can exist forever and that is something to celebrate.

“On that note, thanks so much for having us. Goodbye.”

Waleed Aly has been at The Project desk for over a decade and while nobody wants to say goodbye, it’s time, so this is our final moments on air, from one of the greatest people we have ever met. pic.twitter.com/tkxpOo5gkG

— The Project (@theprojecttv) June 27, 2025

In his new season of The Backside of Television, Mitch McTaggart rifles through the classic 1994 Channel 7 show that was Man O Man.

Hosted by the late Rob Guest and filmed around an actual pool built into a studio floor in South Melbourne, it made for car-crash TV.

“Older viewers would probably remember – the audience is made up entirely of women, who proceed to get drunk off supplied champagne and then hoot and holler at male-only contestants parading about on the stage desperate to be crowned the winner. After each round, the losing men get pushed into a purpose built swimming pool which cost half the show’s budget, and is only ever used incidentally, in those eliminations,” says McTaggart.

“But what I don’t think everyone remembers is that it caused Daryl Somers a bit of a headache over on Hey Hey It’s Saturday. Both shows were scheduled up against each other in 1994, and for a little while, it looked like Man O Man was going to emerge victorious.

“So we break down the drama week to week and look at how it all unfolded. It’s madness.”

Such is the pop culture / nostalgia / what the actual mission of The Backside of Television.

Now in its third season, it differs from McTaggart’s annual special The Last Year of Television, with its open remit. No show is off limits, along with genre or year across his 5 episodes.

“We can do all of Television, and we just kind of flop about wherever we want, which is really quite freeing,” he explains.

“This time around it comprises smaller, unrelated segments. I enjoy that, I like that there are a couple of mixed bags, and there’s a two parter about law enforcement on Television.

“It’s nice that we’re able to start playing with the formula a little bit now, in that we can offer up fun, five minute segments about a dumb little observation, or drill down into the real swamp of longer form, to do stuff that we would never have really had the confidence to do before.”

For his look at law enforcement, McTaggart begins with iconic Crawfords Productions dramas of the ’60s and ’70s.

“We start off looking at how the relationship with police and TV actually came about. Then how it grew and changed, and how it turned into the TV that we have today… how that turned into the factual cop genre, and basically this giant PR machine for law enforcement, which is a pretty big part of TV now,” he continues.

“We dive into the networks freaking out about copyright when VCRs were first introduced in the early ’80s. They were pretty wild times. Everybody was in a right panic over that. But that obviously went nowhere, didn’t it?”

In addition to his snark, McTaggart is known for uncovering long forgotten gems -or absolute turkeys- of Television and how the industry reacted. He has a small team, comprising production partner / cinematographer James Westland, Ryan Thomas as Director and auto cue, lighting, a runner and make-up. All produced under his ‘Doug Watched Half’ production banner.

“It’s actually named after James’ dad because he admitted that he’d watched the show, but then said that he’d only watch half of it.

“We’ve also got a tradition now with doing a petty court case story. Last season, we did one about Chuck Faulkner robbing his own  employer, and we’ve got another one this time, back in the ’70s. It’s a controversy about soap and detergents.

“A negative report was released by the government about the increase in prices of soap and detergents, but none of the commercial networks ran it as a story, which triggered an Inquiry. What went down was hilariously petty and it’s exactly the kind of story that we go for. It involves network executives being terrible. That’s kind of all we need.”

Production requires hours of laborious research, whether poring over dusty old videos or embedding himself in the State Library to trawl through old newspapers on microfiche.

“For the first five minutes of doing microfiche stuff it’s romantic. You’re like ‘Cool. I feel like an investigative reporter doing Watergate’ or whatever. Then after about 10 minutes, you’re bored, but still combing through newspapers that might have the article you want. After two hours, it’s f***ing infuriating!” he laughs.

“There’s also so little appreciation for it when I use the article. It’s on the screen for barely three seconds, and that’s it!”

Since his first appearance in The Last Year of Television on Channel 31 (then SBS, then Foxtel), McTaggart has been gaining a following in the industry, drawing fans amongst those he critiques.

“Tony Martin said to me to do the worst of the Logies. He just rattled off so many classic moments of Don Lane and Daryl Somers doing a live performance, and missing all these moments. The cameras were coming to the wrong places. It was just abysmal,” he recalls.

“I love that kind of stuff, but at the same time, I don’t want the show to just be live TV f*** ups.”

Has anyone been upset and confronted him too?

“Yes that has happened. But also I feel that, by and large, none of my criticism is that undeserved. There might be a couple of subtle personal jabs here and there, but, you’d have to have pretty thin skinned to be pissed off about an angle. Most of the time they’re reasonable and well argued, hopefully.

“Someone told me one time that a TV series, was throwing out its sets during Environmental Week, and that was the tip. Like, I should do something with that?” he asks.

“I take it all kind of positively, because this show is potentially an outlet for those kinds of stories. Now they’ve got someone to tell about them, in that ‘maybe it could be something’ because, before, they were just these potential factoids that someone has floating in a vacuum.

“But the possibility that they might be beneficial to me is flattering in a way.”

The Back Side of Television screens weekly 8:30pm Monday on FOX8 / Binge

EXCLUSIVE:

Step inside The Project during its final week on air and there’s one word which keeps coming up: heart.

For host Waleed Aly the show always had its heart in the right place, for founding producer Craig Campbell it was a show that wanted to deliver heart and make you feel something about the news, and even for the publicity team the show has been the beating heart of its South Yarra Como buiding.

For 16 years a show with a mission to have “News Delivered Differently” has brought news with a lighter touch into living rooms across Australia, launching at a time when A Current Affair and Today Tonight were driven by copycat consumer stories, feuding neighbours, dodgy tradespeople and street gangs.

The Project threw out the current affairs rule book so dramatically, inviting comedians to the desk, that it barely survived its first year on air.

Instead it showcased stories that were frequently ignored by primetime commercial TV as deep dives: spending a night with ambos, unraveling oil disasters, organ donation campaigns and banning engineered stone to protect stonemasons.

It would go on to support marriage equality, NDIS, animal welfare, disability awareness, domestic violence campaigns, medical research. Audiences responded to Waleed Aly’s editorials including on the Christchurch attack and a Milked Dry campaign supporting farmers.

It helped raise money for Beanies for Cancer, and more the $3.5m for kids facing life threatening adversity including almost $500k for Oli’s neuroblastoma treatment, more than $400k for Uma’s leukemia treatment and almost $250k for Sasha’s gene therapy.

Then there was an endless parade of actors, singers, comedians, authors given airtime to promote their latest ventures -all this for an hour, largely six nights a week. It even sent Steve Price to the Sydney Gay & Lesbian Mardi Gras.

“Empathy plays a big role,” Craig Campbell acknowledges. “I wanted people to feel something. The big thing we used to have up on our walls: ‘What does the story make you feel?’ That’s the question I’d often ask in a morning meeting. Is there something about this that makes you angry? Is there something about this that makes you happy? Disappointed? Seeking an answer? Do we want justice? For me it always comes back to wanting people to feel something about the news.

“We’ve been incredibly grateful that these people have shared their stories with us, over the years, by highlighting someone’s journey, or the challenge in front of them. You see someone conquer the world, or conquer their own fears, or they’ve got a battle going on with their world that makes whatever’s troubling you, feel so insignificant …..I think we really spotlighted heart.”

“I feel like it genuinely cared about people”

Waleed Aly, who has been hosting since 2015, agrees The Project always tried to connect to its audience.

“Whatever it did, whatever triumphs or mistakes or whatever it went through -its heart was generally in the right place. I feel like it genuinely cared about people,” he says.

“The way that our audience mobilised around people who were doing it tough, or the way it opened its heart to people that perhaps they’d never even met or thought of before, until they’re in front of them. I don’t know of another example of that.”

Sarah Harris, who joined in 2023 says it’s also what surprised her most about the show.

“Whether we’re doing a story on a family that’s been let down by NDIS, caring for someone with a profound disability, our audience who are also doing it tough let’s face it -we’re at a cost of living crisis here in Australia- dig deep to give whatever they can to help complete strangers that they’ve seen on our show….. I’ve cried so many times on this show the past two and a half years. Ugly cried, but it’s because the stories hit. Not just us, but obviously people at home.”

After the show found its feet with originating hosts Charlie Pickering, Carrie Bickmore and Dave Hughes, it would go on to become the ‘DNA’ of the network, best representing what 10 stood for, winning Logies and performing with its target demographic. It would create stars with the likes of Kitty Flanagan, Tommy Little, and Waleed Aly.

The hosting panel evolved including Peter Helliar (for 9 years), Hamish Macdonald, Lisa Wilkinson, Georgi Coghlan, Sam Taunton, Georgie Tunny, and exec producer Rove McManus. By the time the pandemic hit in 2020, like all news shows, it spiked with lockdowns, and a daily dependence on accuracy and science.

Yet perceptions around the show’s politics, underpinned by lockdown outrage and extreme division, together with media clickbait, had begun a seismic shift. It didn’t matter that ACMA had never found the show in breach of balanced reporting, it had somewhow become a lightning rod.

Hosts with Chris Bendall (right)

Chris Bendall, who has been Executive Producer since 2018 says, “I think The Project has ended up in the middle of a culture war. A lot of people that write about the show have nefarious motivations for doing so. I don’t think that there’s a true assessment of what the show is, and that’s borne out by the things that are written. Clearly, either written by someone who hasn’t seen the show or written by people that have just seen certain sections taken out of context or not seen in the full interview that was aired. But, I guess in some ways, maybe it’s a tribute to the show that it got enough people talking, that it generated enough outrage.

“When certain media outlets write about The Project they know it drives traffic.”

“I think the reason why so much is written is because when certain media outlets write about The Project they know it drives traffic.”

Shifting perception was not easy, and perhaps its demise is evidence they could not be overcome?

“If we made major changes to the format, no one saw them because they’d already worked out what they thought we were, by what other people were writing,” says Campbell.

“In the latter years, budgets and marketing got tighter. If you want to change people’s perception outside of your own network, it’s very hard to do.”

Sarah Harris also believes Live television more widely, has become a “constant tightrope.”

“I think probably about 2014 -2016, there was a real kind of cancel culture vibe that started. There was this forensic picking out and ‘You did this, you’re a bad person because you did this,” she suggests.

“And for me, I find that I am constantly making calculations about whether I should say something cheeky or not. If it’s going to land okay, if it’s going to start a war on social media, checking yourself, if the online thought police will come after me. And I think that has made it a little less explosive, sure, but also television has become slightly boring because of it.”

“Is this the gag, is the comment, that’s going to get me pulled off air?”

She adds, “It’s like walking through a field of landmines, thinking, ‘Is this the gag, is the comment, that’s going to get me pulled off air?’ Certainly not by 10, but as a (wider) reaction.”

“I think the coverage around the court case certainly didn’t help”

There was also a high profile defamation lawsuit brought against the network and presenter Lisa Wilkinson. How much damage did that do?

Chris Bendall concedes, “It certainly allowed a lot of people to talk about the show in a way that I think was negative, was to the detriment of the show. There was a lot of noise around that. Did that impact people watching? I don’t think to the extent that would reflect a decrease in ratings.”

He adds, “I think the coverage around the court case certainly didn’t help, and it was a really tough time. But I think the shift in numbers was happening regardless.”

Craig Campbell, Rove McManus

The shift in numbers, and the way viewers consume news is also a point Waleed Aly acknowledges -if not necessarily a Project challenge, but one across Free to Air.

“It’s a big production ..(in terms of) costs, not actually by most conventional TV models, but probably by the model of TV that is going to prevail from here on. Particularly as advertising revenue starts to decline and go to tech companies, which is happening precipitously and affecting radio as well, not just TV,” he says.

“I think in the end, there will be a whole lot of spreadsheets and a whole lot of business arguments that I don’t get to see and don’t get to hear, that will just be about deployment of resources and where they want to do it. I could be wrong but I don’t get the impression the network’s grumpy at the show (or) has decided it doesn’t like the show. They’ve certainly never said anything like that to me. It felt very much like whatever reasons they wanted to throw our way were sort of quite dry numbers-based reasons.”

“Every year, our budget came down and our fees never went up”

“I think it’s probably a factor of both things,” says Campbell. “The show certainly had a lot of people to it. But every year, our budget came down and our fees never went up. So you know that the economics of it all was, there’s less money in Free to Air. If you’ve got a model where you’ve got reporters on the road and you’ve only got a couple of hosts, it’s a far different cry to a show that’s set up with four hosts and a Writers Room. We were set up like a proper comedy show, purely on the basis of coming out of a Tonight show with Rove. I think we’ve proudly had one of the most continuous Writers Rooms in the country for 16 years. It’s been wonderful.”

“I can’t answer the question on legacy”

So now there’s no more Live discourse, no more championing of causes, entertainers showcasing performing arts -what becomes the legacy for The Project?

It’s a question Waleed Aly is reluctant to answer.

“I can’t answer the question on legacy, when you’re in it …to me, the legacy of the show is just turning up every day, the meetings and the relationships I have with people, that’s the legacy I experience. But also, I think it’s hard to identify legacy of any show. What was the legacy of Hey Hey it’s Saturday? That’s a massive show,” says Aly.

Sarah Harris describes it as a trailblazing show.

“I feel like I’ve been a fan for longer than I’ve been a host,” she says. “It’s broken new ground. It has been a glossy, slick show. I mean, some of the stories that go to air I’m in awe of. They’re beautifully and brilliantly edited. The ideas that are executed on this show are incredible. It set a pretty high standard when it comes to production values. I mean, it was a Gold Logie-making machine. It’s gonna go down as one of the greats, I reckon…..I say that as a fan -not my time, but (it has) lots to be proud of”

Chris Bendall notes, “I think the legacy is a show that had conversations around news that were important, that showed Australians that you can talk about things without being angry, that you can have a conversation about a hard and difficult topic. You can agree to disagree and you can do it in a respectful way. The idea that we’re News Delivered Differently, I think sometimes people got caught up in the mechanism and the mechanics of delivering the news, and not that broader sense that what we were delivering was a conversation around the news that can be had in a decent way. It’s never been more important.”

The final word goes to Craig Campbell, who forged the concept for the show -originally as a Breakfast TV idea before then 10 Programming boss David Mott suggested he pitch it at 7pm instead of 7am.

“I think we made a difference. I really genuinely do. I think we let people have a laugh,” he says, “… at the end of the day they could understand what was making the world tick. We inspired or encouraged them to have conversations of their own about the news, and then we gave you a laugh on the way out the door.”

The Project final Live 6:30pm Friday on 10.

“We struggled with this story. I’ll be really honest,” says Australian Story executive producer Caitlin Shea.

“We absolutely did not want to create another pile on for Rachel Gunn. We thought she’d been through enough trauma.”

Monday night’s Australian Story “Break It Down: The Raygun Phenomenon” was a rare, but not unprecedented, departure of format for the long-running ABC series.

Instead of profiling an Australian, in their own words, it cast a wider lens on the Rachel Gunn phenomenon after the Olympic break dancer became a lightning rod for headlines, parody and online abuse around the world.

Host Leigh Sales told viewers Gunn declined to participate in the programme -another departure from its signature style. It even included cabaret performer Stephanie Broadbridge whose stage production Raygun: The Musical was threatened with legal action.

But the Australian Story episode wasn’t her story either.

“There were these unresolved feelings we felt about Rachel Gunn and about the musical,” says Shea. “So the musical was our starting point to get in there, but then we had to really calibrate (because) it’s not Steph’s story. We really, really struggled with this script to be honest, to just make sure that this was a story about the Raygun phenomenon, and how Steph’s story fitted into that phenomenon. It was tricky.”

Shea has been part of Australian Story since its inception in 1996, and executive producer since 2018. Founding host, the late Caroline Jones, described the series as “having the subject tell his or her own story rather than having a reporter mediating it….. so we have no narration, only by the subject or those others associated with the story.”

Yet more recently the show has seen Leigh Sales interview guests, and profile stories without the involvement of the subject.

“We’ve settled on the idea that we tell compelling personal stories. I guess this wasn’t a compelling personal story, so in that way it was a little bit of a departure. But then we also, earlier this year, told the story of, for example, Cliff Young. We really wanted to dig into that moment in the early ’80s, as to why Australia became transfixed by this 60-something runner in gumboots,” says Shea.

She adds, “We have commissioned a lot of stories where the main subject hasn’t been interviewed. Well, not a lot, but a few.”

Shea admits she was hoping Rachel Gunn would participate.

“When the Olympics happened we certainly, probably like every other current affairs programme in Australia, put in a pitch to her. I think she’s done a quick interview on The Project. That’s about it. Did I expect her to participate in this? Not necessarily, but we were always hopeful that maybe she might come along to the musical. It was probably wishful thinking, but you never give up until the programme goes to air.”

Leigh Sales interviews, which screened last year, were also a pivot for the show when it found itself in an editorial pickle.

“Last year, we just for one reason or another, no one’s fault, had stories fall over. We didn’t have enough producers, we didn’t have enough stories. We were staring down the barrel of black holes on a Monday night, and we were like, ‘What should we do?’ I don’t remember whose suggestion it was, but we went, ‘Well, Leigh could do an interview for us,’ and that’s how it came about,” Shea explains.

But Shea is also grateful for having Sales as part of the show, including for the promotional opportunities she brings.

“It’s hard to get publicity sometimes, when you have a different person who’s the presenter every week, and when you have a very controversial, for example, crime or miscarriage of justice story. Who do you find to be that neutral, independent voice to present that story? We had some troubles around that at short notice. Some of the intros were brilliant, some of them were not so brilliant. So having Leigh has actually made our life a lot easier.”

In 2025 the show also screens through to the end of the year without a break.

“We aren’t having a winter break, and it’s pretty tough because we are a pretty small team pumping out half an hour of what we try to make really high quality production. Can I also stress that trying to do it in a narrationless style is really, really hard when we are continually trying to raise those boundaries.”

She is also excited around a two-part story screening from next week.

“It is a gripping, heart stopping two parter about the rescue of a white water rafter whose leg was trapped in a rapid on the Franklin River. The rescuers came in, and they thought it was going to be routine, and it was anything but routine. It was like a 23 hour ordeal for everybody involved, forcing them to make decisions that they never wanted to make,” says Shea.

“Rescuers, they film themselves coming down on the winches of the helicopter and the the way this man fell into this rapid is all on video. It’s just incredible.”

Australian Story screens 8pm Mondays on ABC.

FOX Sports panel show The Back Page farewelled viewers last night ending a 29 year run on air.

The show launched in 1997 with the late Mike Gibson and comedian Billy Birmingham, but Tony Squires took over in 2013 with Matt Shirvington and Kelli Underwood. Since 2023 Candace Warner has been a regular with Squires.

“I am not going to lie it’s going to be really hard to walk out tonight, but go we must,” host Tony Squires said.

“We’ve been around a long time. Thank you for letting us into your lives for that stretch.

“Thank you to the more than 500 people who have taken a seat on the panel or as a guest. Thank you to Sport for being the best live unscripted theatre.

“Thank you to anyone who has celebrated victory prematurely and five-putted and recorded it. Thank you so much for doing that.

“ … And so from everyone at The Back Page, goodbye.”

FOX Sports boss Steve Crawley denied the move was cost-cutting, but has not told viewers why the show was axed. That has led to discontent from loyal viewers, taking to social media confused over why the show has folded.

The Back Page has been an institution at Fox Sports – a wonderfully fun show put together by people who love sport but who also love the craft of television.
The heartbeat of the Back Page were host Tony Squires and producer Matt Parslow.
To both of you, very well played. pic.twitter.com/utY4zIQiBX

— Warren Smith (@WarrenSmithFOX) June 24, 2025

Source: X, news.com.au

Lego Masters Season 1 winners Henry and Cade have taken out the title of Lego Masters: Grand Masters of the Galaxy.

Their “Spartans versus Hydra” 28 hour build won them the $100,000 prize -part of an emotional week after Cade became father to daughter, Lily.

It depicted the goddess Athena riding a Pegasus, protecting Spartans battling a five-headed Hydra. They won after the votes of 200 members of the public and Ryan ‘Brickman’ Mcnaught’s all-important 100 vote power.

Aussies Trent and Alex came second with “Dogzilla” busting into a cityscape, leaving a trail of destruction while trying to play with an unimpressed cranky cat.

Sweden’s Vidar and Albin came third with “A Child’s Imagination” for their final build, which featured a life-sized eight-year-old boy battling a monster emerging from a toy chest.
Henry and Cade said: “We started out as two strangers being paired up on a reality TV show, essentially playing with a children’s toy. We were able to watch the show grow into something more and to be here seven years later and to have won for the second time, this time against the best Lego Masters in the world, is an absolute honour.

“We’re super proud of our final build and hope everyone is inspired by what it represents – taking chances in life, seizing the opportunities that are presented to you and sharing the special moments with your loved ones.”

Host Hamish Blake said: “I was stoked to see our original winners return and take out this season. It’s a testament to those guys that not only did we feel like we saw the boys from seven years ago, we were seeing something new again. The only problem they have now is finding somewhere to store the world’s most inconvenient trophy.”

This season of Lego Masters, produced by Endemol Shine Australia, didn’t always win its timeslot for Nine but its highest episode (pending finale figures) came in the semi-final at 899,000 which eclipses a 2024 best.

TV Tonight chats with Teresa Palmer and Jim Sturgess from new Binge / Foxtel drama Mix Tape.

They play Alison and Dan, respectively, 2015 versions of 1980s characters played by Florence Hunt and Rory Walton-Smith (pictured above).

I was chatting with an older family member recently about their very first love and what might have been if life had turned out differently. Does Mix Tape bring out a little bit of sliding doors in us all?

TP: I’ve got parents who are close to 80, and there’s so much reminiscing going on. In fact, I bought my dad Story Worth. It prompts them with a question every week, and they write their story. A lot of what I’m reading is about his first marriage and his first love, and those feelings, and it’s beautiful. I will say that when I got this script, I was immediately transported back to my first love and how that felt… moving in with him for the first time, the excitement and the butterflies. You just want to be with each other every day, every moment. It was such a gorgeous feeling. I got to bring a lot of that into this character when the DM pops up from Dan, and he’s sent a song that was so meaningful to us. It was very nostalgic for me.

JS: Everyone has a first love, or hopefully they do in their lives, and often the first love isn’t somebody that you stay with for the rest of your life. That’s quite rare. So everybody, I think, can connect to that story in the sense that there was always that person that you so viscerally fell in love with in your teenage years, when everything’s so high. Including the music, which is such a big part of the show. The way you listen to music when you’re 17 is so different to how you listen to it in your 40s or 30s or whatever. It just means so much to you. It’s as though it’s sort of speaking to your soul. And the same with your first love. It’s so intense and raw and real.

Teresa Palmer

Jim, what was the music that was big for you in that time of your life?

JS: Weirdly, it was the music that’s in the show, the music that Dan listens to. I was very much into those bands when I was 17. Bands coming out of the north of England at that time, or the late 80s and the 90s, which were bands like The Stone Roses, New Order, Joy Division and the Happy Mondays and The Fall and The Cure and all that stuff, I was just madly in love with. It made me want to be in a band, have my hair a certain way and dress a certain way. I was always writing logos of band names. Me and my friends started a band when we were 15 years old. That was our life, just rehearsing in a mate’s garage…. It was great to be able to put a lot of that stuff in the show and have Dan be into the same kind of stuff.

TP: (The producers) were very smart, and they budgeted for the music, and just did not touch that money, as much as we needed it. Because it felt at times, like really independent filmmaking. We had very long days, trying to fill those days with so many scenes, so you don’t have that many takes. But they really protected the money for the music rights. And it’s important, because the show wouldn’t be what it is without that.

I do remember thinking ‘There’s no way they’re gonna get these songs!’

JS: I do love that the show doesn’t always choose the obvious songs, and the big hits of the 80s. We looked at it from a character point of view. These kids are really into their music. Some of the music is a little bit more extreme, or a little bit more from the left field.

I found myself questioning, is this cheating? Was that something that you discussed at all, because both your characters are with other partners, you’re in relationships?

TP: Personally I felt like it crossed the line pretty early. Once they know that, it’s a slippery slope, and they continue to walk towards this. At that point it feels like an emotional betrayal. But also it happens all the time. I mean, these guys are in their middle of their lives and these relationships that are not entirely fulfilling -not awful, not abusive- but they’re in these situations where they’re just missing each other and not feeling seen or heard. Having their wings clipped in certain ways. Then this interaction breathes life back into these people again.

JS: I think it’s the show strength, actually, that it does dare to ask those questions,. That it does sort of say, relationships are messy, complicated, nuanced and difficult. And technology plays this really interesting part in the in the modern day, relationships that wasn’t there in the 80s, where the phone is kind of a third party in everybody’s relationship…. what are you looking at, who you talking to? I think anyone in the modern age can connect to that. There’s often a sort of third person in the room always because of the phone. So, we definitely talked about it.

But, let’s just believe that you can never stand in the way of true love.

Jim Sturgess

The other thing that’s interesting is that, unless I’m mistaken, you spend half of this series apart?

JS: Pretty much the whole show. It’s interesting that you’re willing the worlds to kind of collide eventually.

TP: They’re my favourite scenes, and I think for the audience to finally have them come together, right? What is that reconnection going to look like?

One of my favourite parts of this is that Alison really understands what’s going to happen when he comes. And maybe Dan’s kidding himself a little bit, and he just wants some answers to this question of, ‘Why did she leave?’ But my character calls him out and it’s like, ‘What did you think was gonna happen? Like, what did you think this would be? Because you’ve come all the way here, and there’s unresolved feelings. Of course, there was going to be something between us!’

He’s almost denying it.

JS: Poor Daniel is a lost soul. The first love of his life has disappeared, and he’s never quite understood why. Poor guy needs some answers!

TP: Oh my gosh he does!

Are we seeing this as a self contained or could there be a second season? I don’t know where it finishes, and I don’t really want you to tell me where it finishes, but I do want some sense around whether we are Limited?

JS: It’s based off the book, which is a singular thing, but I mean there’s always possibilities. Great writing is great writing. You can find your way in and out of anything, as long as you’ve got the characters there, and people are interested in where they’re going.

TP: The idea of them being together is messy.

JS: And it’s definitely left pretty messy. It’s not beautifully wrapped up…

This feels like it’s playing to a specific demographic. It’s called Mix Tape. A lot of kids probably won’t even know what a mix tape is, but hopefully they find out. I suppose given the music is from the 80s, I’m thinking 40s plus is probably where the show is pitched at?

JS: I actually think young people will be, hopefully, intrigued by it and connect to it as well, because there’s such a story of young love. I think young kids do look to the past in the same way that I was interested in music from the 60s. I think young kids now are totally into the 90s and the 80s and bands. There’s a whole world of music for them to connect to.

TP: It is great for the 40 plus year olds because of the nostalgia and because they can see these adult relationships and have the memories of the young relationships. But I totally believe that young people can connect to the show and be excited by the young love story that is so prevalent in the show.

Mix Tape continues Thursdays on Binge / 8:30pm Showcase.

Last week’s Logie Award nominations led to some great recognition of creatives and shows which screened from April 1 2024 to March 31 2025.

But can we talk about some serious omissions, some confusing categories and perplexing criteria?

Deep breath…

In the Gold category I did expect Sam Pang to finally get a nod given his year of Have You Been Paying Attention?, The Front Bar, Sam Pang Tonight and even hosting the 2024 Logies! Sorry Sam, you’re stuck with consecutive TVT Awards instead, not nearly as glam.

Kitty Flanagan must have also just missed out given Fisk is ridiculously popular. And poor Larry Emdur, 2024 Gold winner didn’t even score a nod in that category or even Most Popular Presenter. Hero to zero Laz, put it on a t-shirt.

Sam Reid really should have been nominated for his work in The Newsreader S3, but at least his co-star Anna Torv got a nod for Territory if not for the same show. Presenters get all their credits included, but not Actors.

Brendan Cowell in Plum is another omission in the Lead Actor category.

How William McInnes was not nominated in Best Supporting Actor for The Newsreader I’ll never understand (I’ve confirmed his name was indeed submitted).

I would have included both Asher Keddie and David Wenham in acting categories for Fake. Other acting names I would have welcomed include Leanna Walsman (Human Error), Hugo Weaving and Daniel Henshall (How to Make Gravy).

But I guess when we are allowing US and UK actors to be nominated for acting awards it leads to Aussies missing out?

In the running this year are Ben Miller (Austin), Clancy Brown (Good Cop / Bad Cop), Leighton Meester (Good Cop / Bad Cop), Sally Phillips (Austin), Kaitlyn Dever (Apple Cider Vinegar), Lloyd Griffith (Return to Paradise). Will any of them actually turn up on the red carpet?

It’s not the first time this has happened, with previous nominees including Ben Feldman, Jenna Coleman and Sigourney Weaver -for playing an Australian (go figure).

I realise this happens in reverse at Golden Globes and Emmys, but Australia is still a small industry and I’m disappointed imports overshadow our own. Needs a rethink.

Stan’s Invisible Boys is an omission in the Miniseries or Telemovie category. Aydan Calafiore deserved a Best New Talent nod for his first acting role.

The truly outrageous omission is Stan’s Thou Shalt Not Steal, particularly for the likes of Will McDonald and Noah Taylor. How this is not in a Best Drama category makes zero sense.

While we’re at it, what’s the difference between Drama Series and Miniseries categories? Territory, Plum, Return to Paradise, Human Error, Critical Incident, Apple Cider Vinegar all clock in at 6 episodes but under various categories.

The addition of ratings as criteria is confusing and -I’m gonna say it- not a level playing field.

Firstly subscription platforms are not in OzTAM and don’t disclose actual audience numbers anyway.

And even within Free to Air it’s a mess. How do you measure primetime and morning TV equally? How do you stack SBS or NITV performance alongside Seven or Nine?

I’m convinced ratings is why we now see New Year’s Eve and Carols by Candlelight nominated for Best Entertainment Program. These shows rate through the roof, but they are Events and should fall under their own category rather than alongside shows producing work across multiple episodes.

All nominees in the Most Popular News Presenter are Sydney-based, which is pretty awkward. Sorry to Rick & Sue who notched up 40 years (can we please have them present a category?). I guess their Guinness World Record is some compensation.

Sorry but the Melbourne International Comedy Festival doesn’t belong in Scripted Comedy. Is it for the Gala or the AllStars Supershow? Asking for a friend. Put it in that Events category you’re missing and give the nom to Mitch McTaggart’s The Last Year of Television.

Quite frankly The Jury: Death on the Staircase should have been nominated for one single episode alone in which jurors (and many in the audience) were moved to tears upon hearing what happened to the man at the centre of the real trial. Australia: An Unofficial History, Stuff the British Stole and Otto by Otto also missed out.

And how did 7News Spotlight get a nomination for Best Current Affairs after its shameless conduct last year, laid bare through the courts and leading to a wholesale exodus of producers and staff? Surely the work of SBS deserved some recognition in this category.

All awards shows should evolve, and the Logies as our longest-standing does just that. But while it has responded to social media hijacking, it has taken away the right of the public to shortlist the nominees.

Most Popular and Outstanding categories were pretty self-explanatory, now it is dominated by Best categories.

As awards evolutions go, there is still some work to be done.

Amended.

Does Australia have it all wrong when investing in big budget American projects and would the screen sector be better service by divesting those funds into Australian talent?

That was an argument floated yesterday at Screenworks’ Regional to Global conference in Lennox Head.

Blake Northfield, CEO of Bronte Pictures, speaking on the panel ‘Powering Up A Screen Industry That’s Built To Last’ rejected the idea of luring US projects down under.

“The investment into local, I think, starts and ends with us. I’ve always had an issue with this,” he said.

“A close friend of mine is a financial controller for the studios, and maybe one of the only key good friends I have within this industry that I would spend time with outside of work. I stay with him when I’m in LA, and he was the one that decided to bring Wolverine and Pirates (of the Caribbean) to Australia. I was like, ‘How did you make that, final decision to bring these big monsters (to Australia?)’ Pirates was the most expensive film ever met at the time. And he’s just like, ‘You basically whored yourselves out so much that we would be stupid to say, No. You gave us so much money to bring it there that Mexico just fell to the wayside, and everyone fell to the wayside.’

“I’ve got, since that, a whole different image on all our state bodies that just continuously put all their focus into attracting international projects to come here. We give them so much money, where they most times take pretty much all their post production straight back to their home country anyway, and give enough little bit of feed to keep us happy here.

Photo: Olivia Katz.

Northfield, who previously acted on Home & Away and Please Like Me said, “I just feel like we get constantly used and abused. The argument that it’s great for local crews, in my mind is bullshit. Because we saw it happen in 2008 when suddenly Australia wasn’t the one to go to a. After Fool’s Gold the studio sat redundant for such a period of time. Suddenly it’s like, ‘If I’m a crew member, who do I turn to to get my job?’ But like, the domestic film producer can’t afford you. being paid $5000 a week. It’s an unrealistic thing. And the problem is, it’s completely reliant on the financial market, the economy in the world at the time.

“I’d much rather see… the decision makers actually allocate, instead of giving a studio film $60 million, give 60 films a million dollars in Australia.”

With this the room applauded Northfield’s argument.

“It’d be interesting to see if we then had the volume pumping out of this country. where we’re making 100 movies a year. You’re going to find your next Justin Kurzweil, you’re going to find a lot of people much faster. It’d be just interesting to see what would happen.”

Producer Lisa Shaunessy (While the Men Are Away, The Furies, 2067) agreed that replicating work for crews who cater to big budget US projects was challenging.

“When all that production goes away there’s no way the Australian productions can service that,” she said.

“I mean, I did a $1.5 million movie and the grips turned up with a 17 tonne truck. And I was like, ‘Mate we’ve got nowhere to park that!’ We just wanted him in a van. It took him 45 minutes every day to unpack it and to repack it, and he wanted to charge me for it!”

In 2023 a group of singles went met 20 potential partners through a speed-dating session where no names or occupations were shared.

At the end each nominated their three favourites to experts who matched six couples for their Reality TV social experiment.

Two weeks later they were whisked by producers to Fijian islands for a ‘TV wedding’ ceremony where they met their match -some were thrilled, others not so much- before leaping off a speedboat into aquamarine waters at a deserted beach.

No phone, no life, no motor cars, not a single luxury -unless you count the awaiting bed, fruit hamper and champers.

Two years later, Stranded on Honeymoon Island is finally hitting Seven screens across twelve episodes.

Based on a Danish format, much like that other dating show by the same producers Endemol Shine Australia, things start from the hopes of finding true love.

As a TV show, how does this differ from other instant dating experiments?

According to Sylvia D’Souza, Seven’s Head of Reality, it is in the removal of all distractions that forces couples to come together. Or not.

“They’re beginning a relationship that they’re trying on and trying to make work,” she tells TV Tonight. “I mean, we can get into the semantics of it, but I think what I like about the idea is that you are stranded on an island and you can’t get away from the person that you’re matched with.

“You can’t call somebody, you can’t run away, you can’t do any of the other things that you use to cope with new relationships. You actually have to talk it out.

“And I think that’s what’s unique about this. What I found surprising was that it was raw, it was emotional, a little wild, I have to say. But I was surprised at how real it became. There was an honesty from the stories that I didn’t expect. I know, you hear that a lot, but from my perspective, I genuinely believe that people will be surprised at how real the stories are. Because I was and I’ve done this 25 years.”

Unlike life back in the real world there’s no chance to simply “ghost” somebody or, as D’Souza suggests, ‘benching situationships.’

“When you don’t have that opportunity, and you are used to so easily walking away from a situation, you can’t. You have to face your own red flags, your own green flags, the other person’s red flags. How do you make that work?” she asks.

“And I find that interesting in how these people made it work when they couldn’t walk away from what they normally walked away from.

“There was one person who, anytime she met a great guy, ran. Just ran. But she was confronted with ‘the catch’ Byron, and she wanted to run and she couldn’t. There’s this one scene where she just sort of laid down on the ground.

“She just kind of gave up because she didn’t know how to cope with all the feelings that came up. And that’s, to me, interesting. How do you cope with your feelings when you don’t know what to do with them?”

As a TV format the couples are also sent floating ‘crates’ which, when opened, offer new beats in the narrative.

“The crates come along and ask them questions, they delve deeper, what do you really want? And then there’s a flare that comes along later on that gives them choices to stay or go.”

Like a certan other dating show, all couples come together for ‘Couples Cove’ in which group discussions offer conflict and twists.

“They do all come together quite regularly, and they all discuss it, and they all have that conversation. And when you bring everyone together, things happen. So there’s plenty of conflict and drama. There’s no doubt about that. It’s not just watching paint dry or people talking about themselves,” says D’Souza.

“You’ve seen it in the promo, some people don’t get along. Some people do get along. Some people fall in love straight away, and they love bomb each other, and they just can’t get out of bed. Others do not want a bar of each other, and how do they spend that time on the island together when they don’t want a bar of each other?

“There are personal stories and there’s a lot of conflict …”

Stranded on Honeymoon Island screens 7:30pm Monday & Tuesday on Seven.

It’s a dream outcome for Nine.

Queensland Maroons clinched State of Origin II last night forcing NSW Blues to a Decider match on July 9.

A massive 3.75m in National TV Audience, just behind 3.76m for Origin I (the biggest audience so far this year).

That included 1.04m in Sydney, 888,000 in Brisbane and 308,000 in Melbourne.

Against heated competition 7:30 pulled 716,000 then The 1% Club UK (697,000), Gruen (605,000) and MasterChef Australia (529,000).

Later The Front Bar was 441,000 then Guy Montgomery’s Guy Mont Spelling Bee (375,000), and Elsbeth (229,000).

Nine easily won Wednesday.

Nine News led with 1.47m then Tipping Point (858,000).

Seven News averaged 1.45m while Home & Away topped entertainment 880,000 then The Chase (751,000). Unfiltered was 205,000 then Unbelievable Moments Caught on Camera (125,000).

ABC News was 928,000. Planet America (318,000) and House of Games (281,000) followed.

10 News First pulled 381,000 then The Project (370,000), Deal or No Deal (268,000) FBI: International (130,000).

SBS World News (243,000 / 163,000), Mastermind (111,000), The Titan Sub Disaster (99,000) and The Veil at just 31,000.

Sunrise: 409,000
Today: 309,000
News Breakfast: 253,000

National Total TV: Wednesday 18 June 2025

What’s on ABC’s upcoming drama slate for 2025 and what are they looking for in next projects?

Speaking at the Regional to Global conference yesterday in Lennox Head, Brett Sleigh, Commissioning Editor, Scripted said, “We opened the year with The Newsreader. It was very much targeted directly at that sort of Gen X audience that lived through those events that in the late 1980s …and worked a treat for that audience. We’ve just launched Bay of Fires, which, when we talk about diversity, was shot in Western Tasmania.

“We heard earlier about Marta (Dusseldorp) going down to Tasmania, setting up a production company. This kind of comes off the back of some investment in a lot of other projects, including Rosehaven that came out of Tasmania. So that is about regional diversity. We’re in the business of that, seeing our own backyard displayed. Later on in the year we’ve got a show called The Family Next Door,  which is an adaptation of a novel. For anyone who’s familiar with the ABC we do love an adaptation. We do quite a few of them. This is another adaptation, a fabulous female-led drama series.

“Then Mystery Road: Origin, a second series of that. It’s another look at a very different style of show. Then Return to Paradise (pictured). That’s kind of what the year looks like. Each of those shows are very, very distinct.

Photo: Olivia Katz

Sleigh revealed it’s a long lead time from development to broadcast.

“We’re thinking about the 2027 -2028, slate. So we’re embarking on a two to three year journey together,” he explained.

“We’ve locked away 2026, so we’re having discussions about 2027 and just depending on the pace of that development and all those unknown factors later down the road, you know, our financing and all that sort of stuff, that’s how far ahead we’re thinking.

“I think the strongest pitches are ones that come to the ABC, that have an awareness of our audience. Have an awareness of the sort of styles of shows that we’ve done in the past, and how this show that they’re proposing can meet that existing audience and perhaps broaden it.

“That’s not to suggest that things that are left field or a little riskier don’t appeal to us as well, but I think knowing that it’s ABC, knowing what we stand for, will put you in good standing.”

Sleigh was asked about the ratio of development projects to proceeding through to commission and broadcast?

“On our development slate, we probably have our good 20 titles or thereabouts. We know for example, we have a large and loyal crime audience for the ABC. So we’re always developing something in that space. We’re often developing so that if this one goes well, unfortunately, it might mean that (another) one might not be able to go because it’s intended to occupy a similar space,” he said.

“There’s no hard and fast number of how many things may get into commission from those in development. But be aware that if you get into development, it is not a green light to a commission.”

When he finally takes to the floor on Dancing with the Stars this Sunday, Shaun Micallef is strutting his stuff with one stipulation to producers: Please no romantic routines.

Instead he and dance partner Ash-Leigh Hunter dance a foxtrot to big band swing.

“I said, ‘Look, even at my age, compared with everybody else who’s doing it, but also with my dance partner, I want to de-gender it as much as possible. I don’t want to be doing the traditional love story nonsense,” he insists.

“So I de-gendered that first dance routine by making us both two shipmates on leave.

“It’s On the Town. It’s Gene Kelly and Frank Sinatra, essentially. I won’t say who’s who but if you look very closely, you’ll see I’m trying to be Gene Kelly!

“It’s me playing a character who is trying to be Gene Kelly. That’s the meta approach that I took to all of the things that I did on the show. Who am I this time? What’s the character that I’m going to be playing?”

Micallef was a surprise inclusion in this year’s cast of the Seven show, having been courted many times before by Reality TV and their ilk.

“I won’t say which ones, but I have been approached to do those sorts of things before. But I always prefer to do my own thing. But now that Mad as Hell‘s finished I can look around and see what else I’d like to do. I guess that’s why I’m doing the interview-based shows like SBS Origin Odyssey and ABC’s Eve of Destruction. Those are very different things for me to do, and this Dancing thing is another example of that,” he explains.

“I have reached the stage in my career where there’s only a handful of things that I haven’t done. Not that this is Reality TV but this is the closest thing I’ll ever get to doing this sort of television. It’s not the sort of show that I necessarily am drawn to as an audience. It’s just a foreign idea to me. But the idea of not sitting behind a desk and reading an autocue, where I don’t have to learn my lines or remember what I’m doing (appealed to me).”

It didn’t hurt that the show’s executive producer, Peter Beck, also has a long history with Micallef.

“It was reassuring that he was involved. I’m all for working with people I haven’t worked with before. But if there is one person in that group who is bit of a comfort, then that’s quite helpful. Peter is the executive producer of that show, and I’ve worked with him for almost 20 years, if you include Talkin’ ‘Bout Your Generation. So that was reassuring,” he continues.

“Having said that he didn’t offer me any special treatment. He barely talked to me! He just treated me like everybody else. But I kind of knew that if things were terrible, he would come and whisper that I should do something about it.”

That never happened for the seasoned comedian who may well surprise viewers with his ability on the dancefloor.

But Micallef insists he went into it with full commitment.

“Yes, I am good. I really impressed myself. I got to tell you, I went in not knowing just how brilliant I would be. I knew I’d be brilliant, but I didn’t know quite what level of brilliance I would achieve.

”Actually I was surprised that I just managed to get through without bits of me falling off. There seemed to be far younger and healthier specimens there. They were putting on balms and getting inside freezing machines and wearing braces. I didn’t have any of that. It’s amazing. I’ve never used my body. I think that must be the trick,” he suggests.

“You have to go in with the right intention. You can’t go in thinking, ‘I’m terrible, it’s going to be awful.’ You’ve really got to commit to it like you would any role as a performer or an actor. The other thing is, I really like musicals. I like those old MGM dance musicals. …..I kind of know all that stuff as a viewer and I have respect for it. I know the hard work that goes into it, and I know that you have to take then craft of it seriously.”

Also dancing in Week 2 of the series are Felicity Ward, Karina Carvalho, Kyle Shilling, Mia Fevola and Osher Günsberg.

Yet despite his 62 years young, Micallef was not fazed by the competition. In fact, it was part of the appeal of agreeing to participate.

“I got to work with a whole bunch of people who I probably wouldn’t have naturally come across at all in my life. They’re all younger and they’re more interesting than I am. So it was quite good to spend time with them. Even Michael Usher, who you would think, ‘He must be 20 years older than Shaun.’ No, he’s actually younger than me,” he notes.

“And I rarely perform in Sydney. It’s very difference was the reason I did it. I mean, I wouldn’t normally do a Reality TV show at all, and having done it, that’ll be it. I’ve ticked that box. I don’t have to go over to South Africa and do I’m A Celebrity Get Me Out of Here.”

Dancing with the Stars continues 7pm Sunday on Seven.

SBS / NITV Digital Originals have a history of bitesized short films but which also screen consecutively on broadcast and SBS on Demand.

This year there are three new films, the first being Moonbird, a 6 x 10 min co-production between the first-ever Tasmanian Aboriginal screen production company, Kutikina Productions, and Sheoak Films.

It arrives as a poetic, indie-style story set on a remote Lutruwita / Tasmanian island. Essentially a two-hander story, it opens up a world I don’t recall seeing on screen before: muttonbirding.

‘Cracka’ Beeton (Kyle Morrison), who is approaching 12 months of remaining sober, brings his estranged 13 year old son Sonny (Lennox Monaghan) to an isolated windswept island to learn the Indigenous tradition of muttonbirding. He hopes by spending time together, before Sonny is whisked away to Alaska by his non-Indigenous mother and partner, that it will make up for lost time and instil some appreciation of his heritage.

“Our mob need these birds like Chinese mob need rice,” -Cracka.

But a week on an island which is home to little more than a few shacks, a dying generator and hundreds of mutton bird burrows, is not Sonny’s idea of quality father-son time.

When his dad shows him the practice of reaching into a burrow to pull out chicks to kill, Sonny’s modern sensibilities kick in.

“I don’t believe in murdering innocent seabirds!” -Sonny.

But it seems he won’t have to…. inexplicably, the burrows are empty. Cracka’s vision of a perfect week is fraying by the hour.

As the story unfolds, father and son will be forced to work together at the same time as a family history is uncovered by Sonny.

The metaphor of the ‘pilot bird’ with an unwavering drive to its home also underscores a sensitive story of family, indigenous culture and masculinity.

Director Nathan Maynard -who is also co-creator and co-writer- evokes a unique sense of time and place. You can almost feel the chilly winds howling across the grassy island, as the cinematography by Dan Maxwell captures some magical sunsets.

The story relies more on visual and the relationship between its two characters than on dialogue. When perfectly-cast Lennox Monaghan, whose talent belies his young years, confronts the unravelling of his father, it’s hard not to feel for a boy’s inner pain.

But the story is also somewhat uneven, and could do with more of the subtlety it finds in other places. So much is achieved from its gentle filmic qualities that a few large moves land more clunkily as a result.

Special mention must also go to the soundtrack by composers Matthew Fargher and Catherine Joy, adding to the atmosphere of isolation and a lost tradition.

If the idea of SBS / NITV Digital Originals is to uncover new talent then Moonbird has done just that, and I particularly look forward to the next project from Nathan Maynard.

Moonbird screens 8:30pm Thursday on NITV / SBS On Demand.

Nominees for the 65th TV Week Logie Awards were announced this morning at the Sydney Opera House.

It’s a girl power year for the coveted Gold Logie. In the running are Ally Langdon, Julia Morris, Lisa Millar, Lynne McGranger, Poh Ling Yeow, Sonia Kruger -and one male, Hamish Blake.

Along with the Graham Kennedy Award for Most Popular New Talent and the Bert Newton Award for Most Popular Presenter, this year TV Week introduces the Ray Martin Award for Most Popular News or Public Affairs Reporter.

A veteran Australian television journalist and presenter whose career highlights include 60 Minutes, A Current Affair, Four Corners and Midday, Ray Martin has won five Gold Logies and a total of 14 Logie Awards across his illustrious career. He will present the award named in his honour at this year’s ceremony.

Nominees:

TV Week Gold Logie – Most Popular Personality on Australian Television
Ally Langdon, A Current Affair, The Olympic Games Paris 2024, 9Network
Hamish Blake, Lego Masters Australia, 9Network
Julia Morris, I’m A Celebrity… Get Me Out Of Here!, Network 10
Lisa Millar, Back Roads, ABC News Breakfast, Muster Dogs: Where Are They Now, Muster Dogs: Collies & Kelpies, ABC
Lynne McGranger, Home and Away, Seven Network
Poh Ling Yeow, MasterChef Australia, Network 10
Sonia Kruger, The Voice, Dancing With The Stars, Logies Red Carpet Show, Seven Network

Bert Newton Award for Most Popular Presenter
Hamish Blake, Lego Masters Australia, 9Network
Julia Morris, I’m A Celebrity… Get Me Out Of Here!, Network 10
Ricki-Lee, Australian Idol, Seven Network
Sonia Kruger, The Voice, Dancing With The Stars, Logies Red Carpet Show, Seven Network
Todd Woodbridge, Tipping Point Australia, Australian Open, The Olympic Games Paris 2024, Paris 2024 Paralympic Games, 9Network
Zan Rowe, Take 5 With Zan Rowe, ABC New Year’s Eve, ABC

Graham Kennedy Award for Most Popular New Talent
Guy Montgomery, Guy Montgomery’s Guy Mont Spelling Bee, ABC
Hailey Pinto, Home and Away, Seven Network
Jenny Tian, Taskmaster Australia, Network 10
Kate Miller-Heidke, The Voice, Seven Network
Kylah Day, Territory, Netflix
Sofia Levin, MasterChef Australia, Network 10

Ray Martin Award for Most Popular News or Public Affairs Presenter
Ally Langdon, A Current Affair, 9Network
David Speers, Insiders, ABC
Michael Usher, 7News, 7News Spotlight, Seven Network
Peter Overton, 9News, 9Network
Sarah Ferguson, 7.30, ABC
Tara Brown, 60 Minutes, Dangerous Lies: Unmasking Belle Gibson, 9Network

TV Week Silver Logie – Best Lead Actor in a Drama
Lloyd Griffith, Return To Paradise, ABC
Michael Dorman, Territory, Netflix
Robert Taylor, Territory, Netflix
Sam Corlett, Territory, Netflix
Sam Neill, The Twelve, Binge / Foxtel
Tai Hara, Return To Paradise, ABC

TV Week Silver Logie – Best Lead Actress in a Drama
Alycia Debnam-Carey, Apple Cider Vinegar, Netflix
Anna Samson, Return To Paradise, ABC
Anna Torv, Territory, Netflix
Ayesha Madon, Heartbreak High, Netflix
Kaitlyn Dever, Apple Cider Vinegar, Netflix
Lynne McGranger, Home and Away, Seven Network

TV Week Silver Logie – Best Lead Actor in a Comedy
Aaron Chen, Fisk, ABC
Ben Miller, Austin, ABC
Clancy Brown, Good Cop/Bad Cop, Stan
Luke Cook, Good Cop/Bad Cop, Stan
Michael Theo, Austin, ABC
Patrick Brammall, Colin From Accounts, Binge / Foxtel

TV Week Silver Logie – Best Lead Actress in a Comedy
Harriet Dyer, Colin From Accounts, Binge / Foxtel
Jenna Owen, Nugget is Dead: A Christmas Story, Stan
Kitty Flanagan, Fisk, ABC
Leighton Meester, Good Cop/Bad Cop, Stan
Sally Phillips, Austin, ABC
Vic Zerbst, Nugget is Dead: A Christmas Story, Stan

TV Week Silver Logie – Best Supporting Actor
Ashley Zukerman, Apple Cider Vinegar, Netflix
Darren Gilshenan, Colin From Accounts, Binge / Foxtel
Glenn Butcher, Fisk, ABC
Mark Coles Smith, Apple Cider Vinegar, Netflix
Matt Nable, Apple Cider Vinegar, Netflix
Sam Delich, Territory, Netflix

TV Week Silver Logie – Best Supporting Actress
Aisha Dee, Apple Cider Vinegar, Netflix
Chloé Hayden, Heartbreak High, Netflix
Julia Zemiro, Fisk, ABC
Marg Downey, The Newsreader, ABC
Michelle Lim Davidson, The Newsreader, ABC
Tilda Cobham-Hervey, Apple Cider Vinegar, Netflix

Best Drama Program
Bump, Stan
Heartbreak High, Netflix
Return To Paradise, ABC
Territory, Netflix
The Newsreader, ABC
The Twelve, Binge / Foxtel

Best Miniseries or Telemovie
Apple Cider Vinegar, Netflix
Critical Incident, Stan
Fake, Paramount+
How To Make Gravy, Binge / Foxtel
Human Error, 9Network
Plum, ABC

Best Entertainment Program
ABC New Year’s Eve, ABC
Australian Idol, Seven Network
Countdown 50 Years On, ABC
Dancing With The Stars, Seven Network
The Voice, Seven Network
Vision Australia’s Carols by Candlelight, 9Network

Best Current Affairs Program
60 Minutes, 9Network
7.30, ABC
7NEWS Spotlight, Seven Network
A Current Affair, 9Network
Australian Story, ABC
Four Corners, ABC

Best Scripted Comedy Program
Austin, ABC
Colin From Accounts, Binge / Foxtel
Fisk, ABC
Good Cop/Bad Cop, Stan
Melbourne International Comedy Festival, ABC
Optics, ABC

Best Comedy Entertainment Program
Gruen, ABC
Hard Quiz, ABC
Have You Been Paying Attention?, Network 10
Sam Pang Tonight, Network 10
Thank God You’re Here, Network 10
The Weekly with Charlie Pickering, ABC

Best Competition Reality Program
Alone Australia, SBS
Australian Survivor: Brains V Brawn II, Network 10
Lego Masters Australia, 9Network
MasterChef Australia, Network 10
My Kitchen Rules, Seven Network
The Block, 9Network

Best Structured Reality Program
Farmer Wants A Wife, Seven Network
Gogglebox Australia, Network 10
Married At First Sight, 9Network
Muster Dogs: Collies & Kelpies, ABC
Shark Tank Australia, Network 10
The Real Housewives of Sydney, Binge / Foxtel

Best Lifestyle Program
Better Homes and Gardens, Seven Network
Do You Want To Live Forever?, 9Network
Gardening Australia, ABC
Grand Designs Australia, ABC
Restoration Australia, ABC
Travel Guides, 9Network

Best News Coverage or Public Affairs Report
Betrayal of Trust, Four Corners, ABC
Building Bad, 60 Minutes, 9Network
Courage & Science, A Current Affair, 9Network
Cyclone Alfred, 7NEWS, Seven Network
Melbourne Protests, Sunrise, Seven Network
Trump Assassination Attempt, 7News, Seven Network

Best Factual or Documentary Program
Big Miracles, 9Network
Ego: The Michael Gudinski Story, Seven Network
Miriam Margolyes Impossibly Australian, ABC
The Assembly, ABC
Tsunami: 20 Years On, 9Network
Unbreakable: The Jelena Dokic Story, 9Network

Best Sports Coverage
2024 AFL Finals Series, Seven Network
2024 State of Origin, 9Network
2025 Australian Open Finals, 9Network
Australia v India: Border – Gavaskar Trophy, Kayo Sports / Foxtel
CommBank Matildas V China PR, Network 10
The Olympic Games Paris 2024, 9Network / Stan Sport

Best Children’s Program
Bluey, ABC
Ginger and the Vegesaurs, ABC
Hard Quiz Kids, ABC
Little J & Big Cuz, NITV / ABC
Play School, ABC
Rock Island Mysteries, Network 10

Hall of Fame
(to be announced on the night)

Voting:

Voting will open for all awards from 9am AEST today and remain open until 7pm AEST Friday 1 August 2025, except for the Bert Newton Award for Most Popular Presenter, Graham Kennedy Award for Most Popular New Talent and the Ray Martin Award for Most Popular News or Public Affairs Reporter which will close 7:30pm AEST Sunday 3 August.

Voting for the TV Week Gold Logie Award for Most Popular Personality on Australian Television will close Sunday 3 August at 10:30pm AEST. Those watching at home will have the chance to help shape Australian television history, live on the night, with their vote for who should take out the evening’s big award.

Fans can now vote for their favourites from the shortlisted nominees at tvweeklogies.com.au

Broadcast:

Live from The Star Sydney Sunday 3 August on Seven and 7plus.

TV Week Editorial Director Amber Giles said: “Looking at the list of nominations, it’s always thrilling to see the diverse range of Australian stories being told on our screens. It’s especially pleasing to see the breadth of original Australian content on both free-to-air and streaming services. If you see a show or star on the list that you’ve watched and enjoyed, then don’t be shy – get voting!”

Minister for Jobs and Tourism Steve Kamper said, “I congratulate all the nominees of this year’s TV Week Logie Awards and can’t wait to see our sparkling Harbour City celebrated alongside Australia’s op TV talent. As the nation’s screen industry capital and home to its most dramatic filming locations, it is a privilege to roll out the red carpet for Australian television’s night of nights here in NSW.”

The TV Week Logie Awards are proudly supported by the NSW Government through its tourism and major events agency, Destination NSW.

You’d think it was fairly obvious. If a Stan title was filmed in Australia it would be a Stan Original.

But wait, Poker Face starring Natasha Lyonne and created by Rian Johnson is also a Stan Original.

“We have different levels of involvement in different Originals,” Acting Managing Director Dan Taylor recently told TV Tonight.

“There are some that we develop from the very beginning, and there are some where we come in a little bit later. But we always come in for all of our Originals earlier than the typical licencing window.

“So some of them are domestic, some of them are offshore.

“Poker Face is one of those ones where it’s obviously a predominantly offshore production, but we came in earlier in the financing round than a typical licencing piece. So that’s why it’s a Stan Original.”

Upcoming remake Lord of the Flies, created by Britain’s Jack Thorne and filmed in Malaysia is also branded a Stan Original.

“There are a range of different models that we do. Some of them are co-productions,” he continued. “There was a Stan Original that we did a couple of years ago called Last Light, which was filmed entirely offshore, but it was a production that we co-produced with one of our counterparties in the UK. So that was branded a Stan Original because of the early nature of the funding and our ability to then influence certain parts of the production process.

“A licence title comes in later and we have no ability to then influence that production process at all.”

Taylor also indicated there is no preferred day of the week to launch Stan Originals.

“Again it’s a case by case basis. We think about the nature of the title, the nature of the audience, the time of the year, all sorts of different factors go into the time of release of our Originals.”

Where is Stan with more of Drag Race Down Under?

“Drag Race is an incredibly beloved title by our customer base. We’ve got so many RuPaul series on our platform, and they do really well for us. We were happy with how Season Four performed for us, and we’ll wait and see what happens with the next season,” said Taylor.

Lastly, is Stan planning any pending price rises?

“At the moment, our focus is on continuing to drive value for customers through providing them great content. So for the time being, we’re really focused on the content proposition.”

As SBS and NAIDOC Week mark 50 years, NITV and SBS will “supercharge” NAIDOC Week 2025  from Sunday 6 July to Sunday 13 July.

Recognising the significant contributions of the world’s oldest continuous culture, NITV and SBS’s extensive line-up includes the NAIDOC Awards digital broadcast, an entertainment series, news and current affairs programs and documentaries exploring the theme, The Next Generation: Strength, Vision & Legacy.

Tanya Denning-Orman, a proud Birri and Guugu Yimidhirr woman and Director, First Nations at SBS, said: “This year marks a significant milestone as we celebrate 50 years of NAIDOC Week, and also 50 years of SBS as a network. We are proud to honour the strength of Aboriginal and Torres Strait Islander communities and cultures through programming across NITV and all SBS platforms, and reflect on the legacy of past leaders and draw inspiration from the next generation. Our content showcases the achievements and voices of First Nations peoples, unapologetically Blak, loud, and proud, premiering new original NITV commissions, and amplifying Aboriginal and Torres Strait Islander voices right across the network.

“Once again, Shelley Ware’s educational resources through SBS Learn will foster deeper understanding and connection for school children across the country. We’re also proud to feature this year’s NAIDOC Week poster artwork, ‘Ancestral Lines,’ created by Ngarbal Gamilaraay artist and NITV graphic designer, Jeremy Worrall, which is a powerful tribute to intergenerational knowledge and cultural strength.”

National NAIDOC Committee Co-Chairs, Steven Satour and Lynette Riley, said: “NITV has delivered a deadly line-up for NAIDOC Week 2025 — a true celebration of Blak excellence on screen. From groundbreaking documentaries to laugh-out-loud entertainment and thought-provoking current affairs, this programming honours our past, celebrates our present, and champions our next generation.

“As we mark 50 years of NAIDOC Week, we’re proud to see our stories told with such strength, pride and creativity. We’re especially thrilled to have Barkaa headlining the 2025 National NAIDOC Awards — her voice, her fire, and her message embody the heart of this year’s theme: The Next Generation: Strength, Vision & Legacy.”

SBS and NITV’s multiplatform and multilingual offering includes:

The 2025 National NAIDOC Awards will take centre stage in Boorloo (Perth), honouring the outstanding achievements of First Nations people across the continent. Hosted by 10 News First’s Narelda Jacobs OAM and Mark Coles Smith, this year’s NAIDOC Awards are set against the backdrop of Whadjuk Noongar Country in Boorloo (Perth). The awards shine a spotlight on those who lead with strength, creativity, and Cultural pride. NITV, as the home of Indigenous storytelling on national television and digital media, is the Principal Media Partner and will be on the ground to capture all the colour, celebration, and community spirit — from Blak carpet arrivals and powerful performances to exclusive interviews with this year’s winners and changemakers. Saturday 5 July at 7:30pm (WST) (9:30pm AEST) on SBS On Demand, and NITV’s Facebook and YouTube channel, and distributed to First Nations Media Australia (FNMA).

Ablaze is an incredible biographical documentary from opera singer Tiriki Onus, who finds a 70-year-old silent film believed to be made by his grandfather, Aboriginal leader and filmmaker Bill Onus. As Tiriki travels across the continent and pieces together clues to the film’s origins, he discovers more about Bill, his fight for Aboriginal rights and the price he paid for speaking out. Premieres on NITV and SBS On Demand on Sunday 6 July at 8:30pm.

To kick off NAIDOC Week, SBS’s Elder in Residence, Widjabul Wiabul woman Rhoda Roberts AO, will deliver her third annual SBS Elder in Residence Oration, creating a historical record of Indigenous thought leadership while addressing current challenges and futures aspiration. The SBS Elder in Residence Oration provides a platform for First Nations voices to be amplified, offering a space for reflection, connection, and learning for all Australians. Premieres on NITV and SBS On Demand on Sunday July 6 at 6:30pm.

Weekly flagship Indigenous news and current affairs programs Living Black, and The Point will also premiere special NAIDOC Week episodes.

Living Black is Australia’s longest running Indigenous current affairs television program, featuring inspiring and influential people talking about their lives and careers. Walkley Award-winning journalist Karla Grant explores the issues affecting First Nations peoples through candid interviews and powerful investigations. For this NAIDOC Week episode, she interviews legendary Australian tennis icon Evonne Goolagong Cawley AC MBE. Fifty years after winning the Australian Open, Evonne is still firmly entrenched in the sport. Keen to hear her insights, Karla travelled to Darwin to attend the National Indigenous Tennis Carnival where she spoke to Evonne about her extraordinary life and career, and how her foundation is on the lookout for the next generation of tennis stars. Living Black, featuring Evonne Goolagong Cawley AC MBE and hosted by Walkley Award-winning Executive Producer Karla Grant, premieres on Monday 7 July at 8:30pm.

The Point is the home of First Nations perspectives, with the team travelling the country to hear from Aboriginal and Torres Strait Islander peoples and non-Indigenous Australians. Join proud Wuthathi and Meriam man and SBS and NITV National Indigenous Affairs Editor, John Paul Janke, as NAIDOC celebrates 50 years. In this episode, The Point sits down with emerging leaders who continue in their ancestor’s footprints. What is it like to carry a name like Mabo, Dodson, or Bayles? The Point will premiere a NAIDOC-themed episode on Tuesday 8 July at 7:30pm, hosted by National Indigenous Affairs Editor John Paul Janke.

Big Backyard Quiz (BBQ), a cheeky new entertainment series hosted by 10 News First’s Narelda Jacobs OAM and comedian Steven Oliver that challenges contestants to see who knows the most about the people and history of Australia from a Blak lens. This season’s stellar line-up of comedians as contestants includes Meyne Wyatt (The Moogai, We Are Still Here), Shari Sebbens (The Moogai, Little J & Big Cuz), Matt Okine, Nina Oyama, Rhys Nicholson and Emma Holland, all in Episode 1. Also featuring this season will be Ernie Dingo, Rove McManus, Tasma Walton, and Peter Rowsthorn. Big Backyard Quiz is executive produced by Adam Manovic and Daniel Gallahar and was filmed with the support of ScreenWest in Boorloo (Perth). Saturday 12 July at 7:30pm on NITV and SBS On Demand.

Emily: I Am Kam (pronounced karma) is a heartfelt documentary about internationally renowned artist, Emily Kam Kngwarray from the Utopia community in the Northern Territory. The film delves into Emily Kam Kngwarray’s transformative impact on the international contemporary art world and her enduring legacy, providing a rare opportunity to witness her journey and the profound influence of her art and the power of Emily’s work to protect her Country, Alhalker. The documentary is produced by Tamarind Tree Pictures and directed by Danielle McLean (Barrumbi Kids). Premieres on NITV and SBS On Demand on Wednesday 9 July at 8:30pm, and on SBS on Saturday 12 July at 8:30pm, after its world premiere at Sydney Film Festival this month.

In addition to the above content, a dedicated hub of iconic and award-winning First Nations content will be available to stream free on SBS On Demand and will air across the network’s channels. SBS will share news and information in more than 60 languages across the network this NAIDOC Week.

Multilingual and multiplatform coverage through SBS Audio shares First Nations perspectives, celebrates cultures, knowledges and history, and showcases SBS’s unique ability to connect the newest Australians with the world’s oldest living continuous culture. The SBS Audio offering includes videos, podcasts and articles in Filipino, Vietnamese and Urdu, and a special NAIDOC Week explainer video in Arabic, English, Greek, Mandarin, Punjabi and Vietnamese.

Additional highlights of the multiplatform offering across the SBS network during NAIDOC Week include:

NITV News – Covering NAIDOC events from across the week and sharing the latest news from the oldest living culture, join Mudburra and Wagadagam woman Natalie Ahmat, Yorta Yorta and Gunditjmara man Michael Rennie, and Worimi woman Breanna Holden for NITV News. Supported by a team of journalists, watch NITV News for stories from an Indigenous perspective, culminating on Friday 11 July with a special edition of Nula at 5.30pm, featuring NAIDOC marches and community gatherings from around the country. Monday to Thursday, 7-10 July at 6.30pm and Friday 11 July at 5:30pm on NITV and 3:00pm on SBS and SBS On Demand

Throughout the week, SBS Food is proud to present NAIDOC themed episodes of The Cook Up with guest host Nornie Bero (Island Echoes with Nornie Bero), premiering weekdays from Monday 7 July to Wednesday 9 July at 7:00pm. Nornie will share stories and create incredible dishes with guests including entertainer Jay Wymarra, the ‘Bush Tukka Woman’ Samantha Martin, comedian Andy Saunders, and journalist Rae Johnston (Going Places with Ernie Dingo and The Secret DNA of Us).

SBS World Movies will host a curated collection of acclaimed Australian cinema telling Aboriginal and Torres Strait Islander peoples’ stories from Monday 7 to Friday 11 July at 9:30pm. This includes Sweet As, Mad Bastards, Walkabout, Bran Nue Dae and The New Boy.

Students around Australia can discover more through SBS Learn’s popular NAIDOC Week education resource, authored by proud Yankunyjatjara, Kokatha and Wirangu woman Shelley Ware. This is the seventh National NAIDOC Week curriculum-aligned education resource developed by Shelley for SBS Learn. It is a valuable and culturally informed online teaching guide featuring activities, discussion prompts and videos to enable teachers to embed Aboriginal and Torres Strait Islander perspectives into primary and secondary classrooms all year-round.

As part of NAIDOC Week and aligning with this year’s theme of The Next Generation: Strength, Vision & Legacy, NITV will launch a selection of Jarjums branded interstitials with First Nations children sharing their stories of culture and language.

The NAIDOC Week Collection, including Shelley Ware Guest Curates and more, will live on the NITV Muy Ngulayg hub, a dedicated streaming hub on SBS On Demand that provides a platform for First Nations storytelling including First Nations films, documentaries and TV series from Australia and around the world that illuminate inner knowledge, traditional culture and lore.

SBS’s National NAIDOC Week activation proudly continues the work set out in SBS’s Elevate Reconciliation Action Plan 2022-2026. This plan outlines SBS’s commitment to reflecting, exploring and embedding First Nations stories, knowledges, cultures and languages across the network, and to connecting the oldest continuous culture on Earth with the newest Australians.

If you can find an old tape deck, cue up New Order’s Bizarre Love Triangle ahead of screening Mix Tape to get you in the mood.

If not, yeah it’s available on Spotify, Apple Music or YouTube. But it’s not the same thing, as any child of the ’80s will tell you, as holding a walkman or better yet, having the song chosen by someone special and handing it to you as a dedication. Whether it’s New Order, INXS, Noiseworks or Diana Ross & Lionel Richie, it bonds you.

That’s the sentimental point of new Irish-Australian miniseries Mix Tape.

Set across two countries and two eras, this is a slow-burn, intimate drama based on a novel of the same name by Jane Sanderson.

The action begins in Sheffield, 1989 (Dublin doubles for Sheffield) as teenager Daniel (Rory Walton-Smith) is drawn to Alison (Florence Hunt) at a house party. They meet over one of New Order’s classic songs, but Daniel will find Alison far more reserved than he.

Fast forward to 2015, older Daniel (Jim Sturgess) is now a music journalist but with a failing marriage to Marian (Helen Behan). Meanwhile Alison (Teresa Palmer) is a successful author living in Sydney with husband Michael (Ben Lawson) and somewhat rebellious teen daughter Stella (Julia Savage).

As Daniel remembers a first love the narrative flashes back to innocent times as working class teens navigated romance. It’s punctuated by musical memories via cassette dedications of The Clash, Primal Scream, Velvet Underground, Cabaret Voltaire, David Bowie and even Edith Piaf.

This chapter sensitively directed by Lucy Gaffy has echoes of Normal People, with a blossoming romance that never feels forced, however it’s not without its share of very real dramas.

In 2015 life is far more hectic. Daniel and Marian want different things and he is stuck in a rut. It forces him to hunt out Alison online at a time when she is struggling with parenting and a busy husband who fails to meet her halfway.

But Sydney life is also brighter, forward-looking and windswept than tired, industrial Sheffield. So when an opportunity presents for Daniel to head to the other side of the world for work, it’s no surprise he makes contact with Alison.

Alison, who has already told her daughter, “You never forget the boy who made you a first mix tape,” responds in kind. But is this a form of cheating given both have partners? It’s not exactly Ross and Rachel on a break…

At just 4 episodes Mix Tape is refreshingly not demanding, with an engaging cast who bring life to characters connected over time and place. Despite the constant shifts between younger and older versions of Daniel and Alison, whether in Sheffield or Sydney, it isn’t hard to keep up with sliding door scenes.

This is a sometimes lilting kaleidescope of emotions paired with a nostalgic, anarchic soundtrack. You’ll very possibly lose reminisce about your own first love and halcyon days, which is not an altogether bad thing.

Mix Tape is now screening on Binge / Showcase.

This week three long-running shows were axed.

The Project ends at 16 years, Q+A at 18 years and The Back Page on Foxtel at 29 years.

It’s bad news for production and for viewers who have watched loyally over successive years.

Only one of the three networks made a statement to audiences about why it was being discontinued, which was ABC.

ABC Director, News Justin Stevens said, “We always need to keep innovating and renewing, and in the two decades since Q+A began the world has changed. It’s time to rethink how audiences want to interact and to evolve how we can engage with the public to include as many Australians as possible in national conversations. We’ll be working on how we can continue to foster engagement of this nature in an innovative way.”

But neither Network 10 nor FOX Sports clarified to viewers why they were actually calling time on their shows.

These are all long-running shows where the audience invests in a programme tuning in for information and entertainment, and in turn keeping people employed and advertising sold.

But that bond is a two-way street. Just as you owe it to staff to explain your decision, surely you owe it to a loyal audience?

TV Critic Colin Vickery said, “A bond inevitably grows between viewers and their favourite shows so there is always sadness and disappointment when something is axed.

“For a network to not offer any reason for the axing only rubs salt into the wound. That lack of clarity is fraught because some viewers will likely protest by not watching the replacement program.

“All of the shows that have been recently axed might not have been rating as well as they used to but they still have a large amount of loyal followers who deserve clarity and closure.”

Waleed Aly did thank Project viewers saying, “A huge shout out to our viewers though, as well…. I know and everyone who works on the show knows these are the best viewers in Australia. They respond to a call like nothing else and it’s been, frankly, a privilege to serve you.”

But this still didn’t clarify if the show was ending due to ratings, costs, editorial or all three?

An article in news.com.au did publish comments by 10 CEO Beverley McGarvey to Project staff saying younger audiences were drifting away from Free-to-Air television.

“We didn’t think we’d be here for 16 years but as you all know those younger demographics in particular who really made the show … thrive in the beginning have just evolved and they’re watching different platforms and they’re watching different services,” she reportedly said.

“For those reasons, unfortunately the show just doesn’t stack up any longer.”

When approached Network 10 declined to give a reason for the decision.

Similarly FOX Sports when approached did not outline why The Back Page ends at 29 years with managing director Steve Crawley only denying it was a cost cutting move. So was it ratings? Foxtel is no longer in the OzTAM panel so transparency is selective.

TV Historian Andrew Mercado said, “TV shows have always been axed because of falling ratings and declining audiences.

“Today, however, every show on TV is facing falling ratings and declining audiences.

“Maybe the networks have a new policy of not talking about the elephant in the room. Maybe they’re in denial that this is going to happen a lot more in the future.

“Either way, loyal viewers shouldn’t be left in the lurch.”

It’s been nearly two years since Stella Heikkinen (Marta Dusseldorp) first turned up in Mystery Bay, children in tow, as she was relocated to avoid assassins at home in ABC’s Bay of Fires.

Plenty unfolded in the fictional Tasmanian town which turned out to be full of criminally-inclined locals. But after shootouts, drug rings, and religious cults, Stella emerged intact and at the top of a money-laundering pecking order.

Now she’s back in 8 new episodes but a year-long experiment with free-range capitalism comes to a jarring halt and Stella is forced to realise that being the new Queen of Mystery Bay isn’t all it’s cracked up to be.

As Dusseldorp explains, the locals of Mystery Bay are living, somewhat, in their very own Truman Show – a closed community

“What we wanted to examine is what happens when you give people what they think they want, and still it isn’t enough? We wanted to look at greed, and what is it when you’ve got too much? Stella is now the boss of the town, trying to manage this rabble of criminals who are leopards who can’t change their spots,” she tells TV Tonight.

“She’s managed to hack enough money for everyone and keep it under the radar. They closed up the town, got rid of all of the extraneous, and they’re just living like The Truman Show in a way, in their own reality. No one’s allowed in, no one goes out because it’s too risky. And if they do, it’s only because they’ve got to go to school or whatever.

“When some Influencers arrive in Episode One that is a real shock, and they are not used to that. But they have this system, which I won’t give away, to make sure that they can clear people out quite quickly, efficiently, and no-one getting hurt. Because these people are not murderers. That was really important to us, and certainly Stella isn’t. Nor is she a drug maker, there’s no Walter White in her.

“There’s nothing about any of that that we were interested in. So it’s all about the fumble and the bumble and the heist and the double-cross. We really delved into all those genres and tried to make it as fun and kind of viciously unpredictable as possible.”

Returning cast are Toby Leonard Moore, Nicholas Bell, Bob Franklin, Kim Ko, Matt Nable, Roz Hammond, Pamela Rabe, Andre de Vanny, Ilai Swindells, Imi Mbedla, Ava Caryofyllis, Emily Milledge, Elle Mandalis and Ben Knight.

Joining this season are Benedict Hardie, Alex Dimitriades, Darren Gilshenan, Katie Robertson , Helana Sawires and Mabel Li.

“This series was also about expanding on the characters that we missed out on in Season One,” she continues.

“Where did they come from? Why were they in Mystery Bay? So we went back to some origin stories. We use the skills and (explore) what they’ve what they’ve learned being in the town, and then by the end, they all have to work together to survive. So it’s a series with momentum, if you like.”

If it feels top-heavy, Dusseldorp acknowledges, “We didn’t want to dive back into so many groups of people.

“We clean it all out quickly. There’s just a singular story that works in and of itself, because we also wanted to just calm it down and give it focus and heart. It’s all about asking what are the stakes between each other? We want the audience to know the characters and love them, so they want to root for them individually.”

Filming again took place on the west coast of Tasmania, principally in Queenstown and Zeehan, under chilly conditions.

“Zeehan is the main street. There’s some heritage buildings there that they allow us to film in, and that becomes our home. We shot in the dead of winter last year, I think we went down to minus four degrees!

“It was so freezing but I thought that really added to the desperation. You’ll see by eps 5, 6,7, 8 it gets colder and colder. The first scene is on top of Mount Owen, which is this huge mountain that no one’s allowed up. We got escorts up there, and this weather system came in. We literally just got the scene shot and then we had to bolt down for safety.

“We ended up shooting (another) scene where it was meant to be on top of the mountain again, and we got this beautiful sunset that just cruises down and hits in between me and Benedict Hardie. It was just such a gift. That’s the thing about the West Coast. It just gives and gives and gives these magical moments that you couldn’t plan or hope for. The brutality of the nature there is so breathtaking. It really is one of the stars of our show.”

But locals were happy to have the series, produced by Dusseldorp’s own Archipelago Productions and Fremantle Australia.

“They were all open arms, saying, ‘You’ve came back!’ Their businesses sometimes close over winter because the tourists stop coming. We put, and this is a well known fact, $1.6 million into the region in cash, just on accommodation, per diems and hiring. We create jobs. So for the Tasmanian Government, it’s such a no brainer, but also it goes where it needs to go, which is into these regional places that need our support.

“But also, gosh, I can’t tell you the people there, they are so helpful, can-do, whatever you need. They become like your family. There a wine bar cafe there that everyone would go to every Friday, Saturday night, or Sundays for a relaxed cup of coffee. There were other pubs and clubs, and it just becomes this incredible village.”

The full season drops as an iview binge on Sunday which, having been the most watched ABC drama in 2023, will be good news for fans this season. Or it plays out weekly as a linear broadcast for those who need time to process all that goes down.

“We worked really hard to keep the audience excited, enticed. It was a real joy this season, because we knew the audience loved it….. we felt really buoyed and it sort of drew us along. In fact, we had too much story. In the end, we had to cut a whole lot of stuff because we just didn’t have time to shoot it.”

Bay of Fires returns 8pm Sunday on ABC.

L to R: Samantha Butler, Brianna Parkins, Angela Bishop, Hugh Riminton, Amelia Brace, Denham Hitchcock,
Ursula Heger, Ashleigh Raper, Bill Hogan and Carrie-Anne Greenbank

Network 10 today confirmed 10 News+, its new in-depth news, current affairs and insights program, will be hosted by Denham Hitchcock and Amelia Brace (Sunday – Thursday), both formerly of Seven News.

On Fridays Ursula Heger and Hugh Riminton will host.

10’s announcement means other reports and leaks about the name, duration and broadcast were inaccurate.

10 News+ will follow 10 News First local news bulletins. According to a statement, it “aims to redefine evening news by providing comprehensive analysis, trusted reporting, and long-form investigative journalism. The program will offer a fresh perspective on critical local and global stories, tailored for an engaged audience seeking in-depth news coverage.

“At a time when misinformation is rife, 10 News+ is steadfast in its commitment to truth and transparency, delivering journalism with integrity, clarity, and purpose.

“Designed for Australia’s evolving media landscape, 10 News+ will integrate across broadcast, streaming, digital, and social platforms, ensuring content is accessible and engaging for Australians everywhere.”

Martin White, VP News, Paramount Australia said: “This is an exciting opportunity for our network news team. We’re going to do what we do best — put the truth first, our audience first, and tell important stories well. We’ve assembled a fantastic team, led by Denham and Amelia, and I can’t wait for audiences to see their hard work.

“What we’re doing with 10 News+ is completely different to anything else in the market. We’re giving you more — breaking exclusive stories and offering our own unique take on the biggest issues impacting Australians, across multiple platforms including 10, 10 Play and YouTube.

“And at the heart of everything we do is delivering news and current affairs that matter to you. No filler. No opinion. Just the facts.”

Denham Hitchciock said: “This is a rare opportunity to be at the ground level of an exciting new program. Yes, we will be here to tell the stories that matter daily, to ask the real questions that get to the heart of it, but we will also be mixing it with the main players when it comes to the big news events that capture the nation’s attention. When I look around the newsroom, I see a crack team that’s ready to hit the go button.”

Amelia Brace said: “As soon as I heard the pitch for 10 News+, I wanted to be a part of it. I have always operated without fear or favour, with an unwavering commitment to the public’s right to know, and a determination to find and expose the truth.

“Denham and I are not just presenters, we’re journalists. Between us, there’s little we haven’t covered. We’ll be sharing not just information but understanding. The facts, but also context and background. The 10 News+ team is as exciting as it is exceptional. I’m looking forward to bringing together this wealth of experience to tell stories differently each night.”

Reporters will include Political Editor Ashleigh Raper, Bill Hogan, Brianna Parkins, Samantha Butler, Carrie-Anne Greenbank, and Claudia Vrdoljak. Angela Bishop will also feature entertainment news.

10 News+ will be led by Executive Producer Daniel Sutton.

Daniel said: “I’m incredibly proud of the exceptional team of journalists we’ve brought together. They are driven truth-seekers and compelling storytellers, united by a commitment to go beyond the headlines. Above all, we’ll tell stories with heart, compassion, and integrity.”

Premieres Monday, 30 June at 6pm on 10.

Denham Hitchcock’s impressive career spans more than three decades, including coverage from the front lines of Iraq and Syria. His persistent investigations have sparked national conversations and have even led to murder charges, while his tenure as a US Correspondent for the Nine Network included covering mass shootings, tornadoes, and presidential campaigns.

Amelia Brace brings extensive knowledge of politics and global affairs to 10 News+, following a 15-year career that has taken her from North America to the corridors of power in Canberra. Her compelling live coverage of the Black Lives Matter protest, following the death of George Floyd, during which she and her crew were assaulted by police, garnered international attention and led to her testimony before a US congressional hearing.

10 News+ will be led by Executive Producer Daniel Sutton, a seasoned Senior Journalist with a 19-year tenure at Network 10.

His extensive experience includes reporting on major global and domestic events such as the Paris terrorist attacks and the Boston Marathon bombings, as well as serving as the network’s US Correspondent during the Obama administration.

The ABC has formally announced the axing of Q+A after an 18-year run with plans to look to new ways to facilitate public discussion.

ABC Director, News Justin Stevens said, “We’re very proud of Q+A’s great achievements over the years. The team has done a terrific job, including a strong performance during the federal election campaign.

“Discontinuing the program at this point is no reflection on anyone on the show.

“We always need to keep innovating and renewing, and in the two decades since Q+A began the world has changed. It’s time to rethink how audiences want to interact and to evolve how we can engage with the public to include as many Australians as possible in national conversations. We’ll be working on how we can continue to foster engagement of this nature in an innovative way.”

Q+A launched in 2008 under founding producer Peter McEvoy as a “town hall” democracy forum exchanging largely political ideas. Tony Jones hosted the series until 2019, with the show an early pioneer of Twitter engagement. It hosted Prime Ministers, politicians, business, arts, science, environment and teenage voices, often drawing headlines for statements made by panelists.

But Live television was not without its moments including a shoe thrown at John Howard, a university student protest, and a controversy after Zaky Mallah asked a question of a minister. That led to a government boycott and a review of the show by Ray Martin and former SBS managing director Shaun Brown.

Other hosts across its run included Hamish Macdonald, Virginia Trioli, David Speers, Stan Grant -who quit the show and ABC after a media barrage and racial abuse- Dan Bourchier and Patricia Karvelas.

New projects from ABC News include embedding Your Say as a permanent initiative to drive audience engagement in communities throughout Australia.

“Your Say ensures we have a strong framework for putting the public’s views, concerns and questions at the heart of our journalism, complementing our daily commissioning and reporting,” Stevens said. “We’re keen to see what else we can do with this.”

ABC also highlighted producing more news documentaries and will soon advertise for the new position of Executive Producer, Documentaries & Specials.

“We’re excited about being able to produce additional high impact, premium news documentary programs to complement the ABC’s strong factual slate,” Stevens said

“Many extremely talented and dedicated people have worked on Q+A, as presenters and behind the scenes,” Stevens said. “I sincerely thank them all, and everyone who has contributed as audience members and panellists.

“I want to call out current Executive Producer Eliza Harvey and presenter Patricia Karvelas. They are hugely talented journalists who have done an outstanding job with Q+A in recent years.

“On top of hosting Afternoon Briefing, presenting the popular Politics Now podcast and writing analysis for the ABC News website, Patricia also recently reported for Four Corners, and we’ve now asked her to do more for Four Corners as time permits.”

Patricia Karvelas said, “Spending time with the audience members who came to Q+A late on a Monday night has been the best part of this job,” she said. “They have always been the reason for this show and I’m forever grateful to them for coming on national TV and having the courage to ask questions of powerful people.”

This post updates.

Back in the year 2000 filmmaker John Weiley, a pioneer in IMAX filmmaking, invited a group of local Film & TV practictioners living in the Byron Bay area to a bbq with the idea of strength-in-numbers for regional creatives.

When more than 100 people turned up, he ran out of sausages.

But it would mark the early beginnings of Screenworks, the Northern Rivers non-profit group which thrives in a unique place in the screen sector.

While other organisations such as MetroScreen and QPix have folded without funding, Screenworks has thrived. Next week it holds its 2025 conference Regional to Global in Lennox Head. At its core, both as a conference and as an organisation, is supporting creatives who are based in Regional Australia.

“Very much so,” says CEO Lisa O’Meara. “It’s recognising that when you’re outside a metropolitan area, there isn’t that infrastructure. Screenworks set up to create that support and network for industry engagement. Some of our very first initiatives were about bringing industry to the region to provide advice, guidance, professional development, and that’s been very much what we’ve been doing ever since we started.

“When we established in 2000 it was very much to provide that support to the people in the Byron region, and then we extended to the people in the Northern Rivers region, then we extended to all of New South Wales. And that’s because the initiatives that we were offering were so valuable to people who are living outside of metropolitan centres.”

Now statelines are largely ignored for workshops and programmes, subject to funding.

“At the moment, we have trainees and placements in the Northern Territory, South East Queensland, Tasmania, and northern New South Wales,” she continues.

“There’s no one else that’s doing what we’re doing and we continue to grow because we service a need.”

Screenworks also recently worked with Screen Queensland ahead of a new studios opening in Cairns.

“We’re a small organisation, but I think we really hit above our weight in terms of what we do,” says O’Meara.

“This week, we’re running an Editing workshop in Cairns. Our Queensland project manager is on that…. we’ve got a Regional Crew Pathways programme with trainees in South East Queensland, Northern Territory and Tasmania at the moment.”

Next week some 250 practitioners are set to converge on Lennox Head for a 3 day conference with speakers from ABC, SBS, Foxtel, Screen Producers Australia, Screen Australia, Screen NSW, Screen Queensland,  Screen Canberra, Australian Writers’ Guild, Australian Directors’ Guild, AACTA, AFTRS and a range of production companies.

“Initially we were thinking we were bringing regional people together to connect with the national industry. But realistically, it has to be global. Our people, our projects and our content need to go global, so hence the name. It’s supporting people to connect with industry, to be updated on the latest trends and initiatives, to have a look at what what broadcasters and streamers are commissioning, to have a look at what’s making waves at festivals. Who are the up and coming filmmakers at the moment?” she explains.

“In particular, we have a lot of screenwriters in the Screenworks community. Screenwriting is something that people can comfortably do remotely, and so that’s a really popular skill set in terms of our member base. We’ve got a beautiful session with a couple of screenwriters talking about their journeys. We’ve also got a number of feature film directors talking about their journey into their first features. The case studies are really valuable too, so we’ll look at Austin. We’ll look at Fwends which has just screened at Sydney Film Festival, and did well at the Berlin Film Festival.”

There are pitching opportunities, round tables and network opportunities across the conference.

“Connections are so important through the One on Ones which are all people through the round tables, but also through networking. We’re really fortunate that Netflix has supported us to do the Opening Night. We’ll do a pitching session one afternoon with Monica Davidson, and then segue into a Happy Hour, which has been supported by Screen Rights. That just creates opportunities for people to meet other delegates as well as guest speaker,” she continues.

“Media Super is paying for tea and coffees one day, and AFTRS is paying it for another day. Those coffee queue conversations are just as likely to spring up a collaboration!

“I think it’s just such a great opportunity to engage with industry – everything from case studies to exploring how to work with AI to working in non traditional platforms – there’s something for everyone. We’ve got writers, directors, producers, so I suppose, enablers for people looking for opportunities to bring their projects forward. I’m really excited about bringing everyone together and seeing the magic that happens when they do.”

Regional to Global
June 18 – 20
Lennox Head, NSW.

Photos: Mikaela Mazzer

Reports are emerging that ABC is set to axe Q+A after more than 500 episodes and 17 seasons.

Capital Brief reports the show went on break at the end of May and was scheduled to return in August. However, ABC management has decided to discontinue the program. It claims the decision is set to be announced as early as this week.

Sydney Morning Herald is also speculating on the show’s fate. Guardian Australia claims ABC managing director Hugh Marks is expected to unveil his first tranche of changes on Wednesday morning, including a fresh round of redundancies and the axing of Q+A after 18 years.

Q+A has been the subject of cancellation stories in the past, which did not come to pass.

However late today an ABC spokesperson could not confirm the return of the show in August with TV Tonight and did not deny the reports.

Watch this space…

In 2020 TV Tonight asked each network which of their shows over the previous decade best represented their network DNA?

Daniel Monaghan, then 10 Director of Programming said,“The Project represents our DNA perfectly. It’s news but it’s different. It’s fresh. It has a great cast of core talent, it’s brilliantly made. It’s entirely our DNA.”

Yesterday, the network confirmed the show would no longer continue -but didn’t specify why.

Put the blame on low ratings, production costs to Roving Enterprises and a perception problem -whether warranted or not- it has been unable to shake.

Yet these overshadow the show’s achievements and a bold concept hatched by Craig Campbell to merge news with humour as a point of difference to others including A Current Affair and Today Tonight.

In 2010 TV Tonight conducted a “taste test” of all stories across a single week:

Amongst their stories A Current Affair looked at make up tests; McDonald’s burgers getting smaller; best face creams; Australia’s most beautiful homes; and a chocolate ban on school fundraisers.

Today Tonight also featured senior-aged vigilantes against rebellious youths in Tweed Heads; the world’s 3 best diets, went backstage at Miss Universe Australia and met a mum teaching her daughter pole-dancing.

The 7PM Project spent a night with ambulances; looked at pups in prisons program; and reported on a BP oil disaster.

A decade later in another “taste test” The Project reported on such topics as Work Life Balance and mental health; Brisbane Olympics economic impact; Teacher Burnout; and China’s Cyber Activities.

Of course The Project also had its share of lighter items, entertainment plugs, network cross-promotions, goofy clips, press conference bloopers. But in its pursuit of “News Delivered Differently” it championed social justice stories regularly overlooked on commercial television including marriage equality, NDIS, animal welfare, disability awareness, domestic violence campaigns, medical research and more.

In 2019 I spent a day behind the scenes watching the team at work, watching young staff (mostly in their 20s & 30s) pulling together a show like an old-fashioned newspaper. Stories were pitched, discussed, researched and packaged -including evolving as the day’s news reshaped the narrative hour by hour. They were nimble, dedicated and devoted.

On that day there was discussion about an Extinction Rebellion protest, but the meeting was dominated by moral and ethical questions. “Is making people angry a way to bring people on board?” supervising producer Sarah Ashley asked. Someone suggested an item on Nine’s buyout of Macquarie Radio as a topical story. “Is it our audience? Do we care?” There was a long-form story on an inspiring principal giving hope to kids in drought-ridden Trundle, NSW. There was so much bad news around, Executive Producer Craig Campbell explained, The Project liked to give airtime to good news too.

A fact checker would need to verify info from three different sources before it could be included. Lawyers looked over final stories before they went to air, sometimes recommending edits.

Yesterday Sarah Harris paid tribute to the team acknowledging “the producers, the editors, the cameramen and women, the comedy writers, the floor crew, the people in the control room, the director, the hair and make-up team… all of them who work their guts out.”

But in recent years, whether due to audience fatigue, presenter changes, pandemic fallout, a high-profile defamation case, or less younger viewers watching Free to Air, the show’s ratings have slipped.

For those accusing the show of imbalance, there are usually few examples cited in such arguments. Media watchdog the Australian Communications and Media Authority has never found the program in breach of the Code of Practice. You’d be hard-pressed to even find an investigation. One over a religious joke in 2012 deemed the light-hearted and irreverent nature of the show diluted its overall effect.

There were complaints over a Reuben Kaye joke (but no breach) for which the network apologised. There were also apologies over a misleading edit, remarks directed at Jacinda Ardern, the same-sex community, the neurodiverse community, and a correction over a “Not My Prime Minister” mistake.

Great TV generally comes from someone taking a risk, which is what 10 did under then-Programming boss David Mott in 2009 with Roving Enterprises. For their efforts they addressed an early evening timeslot problem (having relied on The Simpsons and attempts with Yasmin’s Getting Married and Taken Out) for 16 years.

New stars were created (even giving Kitty Flanagan weekly exposure), Logies and a Walkley were won.

After more than 4,500 shows and nearly 16 years on air, The Project will be finishing up on the 27th of June.

We’ll miss sharing the world’s breaking news stories, with a side of comedy, with you all. pic.twitter.com/I0Jsocr3bg

— The Project (@theprojecttv) June 9, 2025

10 has now advised a yet-to-be-named one-hour national news, current affairs and insights program will screen at 6pm, which pits it directly against the biggest rating daily shows on television.

It’s a risk to be sure. It has its work cut out to succeed.

And faces one very tall order to become network DNA.

The Project concludes on Friday June 27.

NB: Please refrain from commenting on defamation case etc. in order that your comment can be approved.

Updated.

It’s official.

The Project has been axed by Network 10 after almost 16 years and 4,500 episodes, set to conclude

From Monday June 30th Network 10 will screen a new early evening schedule comprising:

• 5pm: 10 News First local bulletins (no changes)
• 6pm: New one-hour national news, current affairs and insights program. A name, hosts and further details are yet to be announced.
• 7pm: Deal or No Deal (moves from 6pm to 7pm)

There are no further details about the new national 6pm news, current affairs and insights show. Further announcements will be made soon.

Project staff employed by Roving Enterprises were advised this morning at 10’s Como base.

The Project launched in 2009 as The 7pm Project with Carrie Bickmore, Charlie Pickering, Dave Hughes and briefly Ruby Rose and James Mathison.

10’s “News done differently” would go on to win Gold Logies for Bickmore and Waleed Aly, who hosted with Peter Helliar, Lisa Wilkinson, Sarah Harris, Sam Taunton and others including Hamish Macdonald, Georgie Tunny, Tommy Little, Michael Hing, executive producer Rove McManus and more.

Regular panellists and contributors have included Kate Langbroek, Steve Price, Nick Cody,  Susie Youssef, Liz Ellis, Max Rushden, Hugh Riminton, Chrissie Swan, Elise Elliott, Narelda Jacobs, Dave Thornton, Tom Cashman, Kitty Flanagan, Nikki Britton, Nazeem Hussain, Dilruk Javasinha, Nath Valvo, Myf Warhurst, Alex Lee, Claire Hooper, Jessie Stephens, Tara Rushton, Natarsha Belling, Tom Tilley, Sharyn Ghidella.

It would also go on to win Logies and a Walkley Award, driving much of 10’s early evening audience for a decade.

But of late audience fatigue and perception around the show’s ideology have seen the show under-performing which, added to the expense of the show, has put the show in the clickbait spotlight.

To address the shortfall, 10 has been on a hiring spree with reporters Denham Hitchcock, Amelia Brace, Bill Hogan and more, recently confirming a new Investigations Unit.

On Friday June 27, episode 4504 will air as the final Project edition, just shy of its 16-year anniversary on July 20.

Network 10 Statement.

“Network 10 will be introducing a revised early evening program schedule later this month.

“At the core of the changes will be an expansion of Network 10’s successful news coverage, with the launch of a new national one-hour 6pm news, current affairs and insights program six days a week to complement 10’s one-hour 5pm local news bulletins.

“This reflects the successful growth in audiences to Network 10 local news bulletins and coverage. Our focus continues to be on serving our free-to-air audiences with more of the content they are increasingly watching.

“Deal or No Deal will move to the new time of 7pm.

“As a result of the changes, The Project will air for the last time on Friday, June 27, ending an incredible run of almost 16 years and more than 4,500 episodes.

“The recipient of 11 TV Week Logie awards and one Walkley award, The Project led the way with thought-provoking and unique conversations on primetime television covering a myriad of topics including marriage equality, animal welfare, disability awareness, NDIS, and domestic and family violence.

“The show has successfully balanced humour and heart with poignant discussions about current affairs and celebrity interviews that had the whole country, and sometimes the world, talking.

“Waleed Aly’s Something We Should Talk About editorials about powerful important issues gained international attention, and by the end of Carrie Bickmore’s incredible tenure on The Project, millions of dollars had been raised for Carrie’s Beanies 4 Brain Cancer.

“The impact that The Project has had on the media and entertainment industry, countless careers, as well as on Australian society and culture, cannot be overstated.

“We would like to thank those in front of and behind the cameras who have made The Project the success it has become over the years, and we are proud that so many presenters and regular guests have become household names in Australia.

“Thank you to the hosts who have graced the desk over the years and of course the current hosts Sarah Harris, Waleed Aly, Georgie Tunny, Hamish Macdonald, Sam Taunton, Susie Youssef and Rove McManus.

“For the hard-working team still involved in delivering The Project, both at Network 10 and Roving Enterprises, we say a heartfelt thank you.

“Thank you to Craig Campbell, the show’s creator, Kevin Whyte, Rove McManus and Executive Producer Chris Bendall for providing audiences with a show that spoke directly to Australians and was able to artfully balance thought-provoking news, current affairs, entertainment and comedy, creating real change and genuinely helping countless Australians along the way.”

Roving Enterprises statement:

Statement from Craig Campbell, Creative Director, Roving Enterprises & Creator Of The Project:

“16 years ago I could not have dreamed that our entertainment company’s take on the day would become part of a grown-up news cycle.

“We have launched campaigns, raised lifesaving cash for those that needed it, shone a light on people who deserved to be seen and hopefully made people smile and believe in the importance of a positive message.

“The show has also been the prime-time destination for countless Australian actors and musicians, and I am proud we have been here as a showcase for the entertainment industry.

“We have an extraordinary team making this show every day and I know this news will hit them hard. It’s been a privilege to work with them and the hundreds of others that joined us along the way.”

For nearly 16 years, The Project has been Australia’s destination for the news when you want a little bit of a giggle.

Well, we have loved every second but all good things come to an end and so are we on June 27.

To everyone who has watched, supported, donated money to help… pic.twitter.com/3icPOSjgPV

— The Project (@theprojecttv) June 9, 2025

This post updates.

Long-running sports panel show The Back Page has been axed by FOX Sports after nearly three decades -but without any clear indication of why.

The show launched in 1997 with the late Mike Gibson and comedian Billy Birmingham, but Tony Squires took over in 2013 with Matt Shirvington and Kelli Underwood. Since 2023 Candace Warner has been a regular with Squires.

After 29 years the show has just 3 more episodes to go.

“Ironically, I wrote a story in 2021 saying television shows don’t usually last 25 years,” Squires told The Daily Telegraph. “They’re like animals on the savanna – very few of them die of old age.

A FOX Sports spokesperson said, “From the first episode with Mike Gibson and Billy Birmingham in 1997, to Tony Squires, who has hosted for the past 13 seasons, The Back Page has been entertaining audiences for almost three decades. There are very few shows that can claim that.

“Like all things in sport and TV, there’s a right time to hang up the boots. And we thank the wonderful team that has brought sports lovers so much joy across 29 seasons, including producer Matt Parslow, who has been at the helm since 2008.

“While we farewell The Back Page, FOX Sports’ commitment to delivering the best, weeklong programming is as strong as ever. We have launched more shows to our unrivalled line-up in recent years and we will keep introducing new shows and formats. We will share more on this in the near future but for now, we celebrate The Back Page, and the years of entertainment it brought so many before it wraps at the end of June.”

The unexpected move comes despites Foxtel being owned by sports broadcaster DAZN.

FOX Sports boss Steve Crawley denied the move was cost-cutting, but is yet to reveal the decision-making.

When Kieran Elliott (Charlie Vickers) returns to Evelyn Bay in coastal Tasmania after a 15 year absence, he lands with considerable baggage, figuratively speaking, in the new Netflix drama The Survivors.

The incident that locals with long memories remember well was the death of two young men in a boating accident whilst attempting to rescue him from drowning in stormy seas. One of those was his brother. It was also the same time when a young woman, Gabby, vanished without trace.

Now he returns with wife Mia (Yerin Ha) and newborn baby to the awkward home welcoming from mother Verity (Robyn Malcolm) who is caring for her husband Brian (Damien Garvey) who is suffering dementia.

But Kieran’s parents still have not forgiven him for the loss of his brother and that’s just for starters.

Resentment ripples through the town where publican Julian (Martin Sacks) also blames Kieran for the death of his own son that fateful day. His surviving sons are Sean (Thom Green) and Liam (Julian Weeks).

Meanwhile young filmmaker Bronte (Shannon Berry) is busily making a documentary on the disappearance of Gabby when another body washes up on the beach….

Both Kieran and Mia’s pasts are also tied up with Olivia (Jessica de Gouw), sister of Gabby, her boyfriend Ash (George Mason) and angst-ridden mother Trish (Catherine McClements) who holds fast to her theories on Gabby’s fate.

Then there is the police force led by Det. Snr Sgt Pendlebury (Miriam Smith), Det. Dan (Johnny Carr) and Sgt. Renn (Benedict Hardie). Don Hany also features as a local author.

Evelyn Bay sure is top-heavy in characters, set against ita scenic backdrop which belies its dark secrets, hostilities and pain.

“The moment anything happens in this town you all just turn on each other” -Kieran.

While this is Kieran’s story, it arguably falls to seasoned performers Robyn Malcolm and Damien Garvey as the nexus of emotional and procedural plots, anchoring the story based on Jane Harper’s book. Malcolm, who was devastating in the recent After the Party, is fiercely protective of husband Brian whilst yet to reconcile her anger with her surviving son. Damien Garvey is similarly moving as the fragile Brian.

The series by showrunner Tony Ayres really sings in the fractured relationship between mother, father and son. Swirling around all that are past and present procedural crimes -I found the fresh case of a dead body more involving than a unsolved case from the past, even though both take up similar screen time. The series requires investment in both, but there are plenty of intriguing threads for one or more to reel you in.

Indeed, there are many balls to keep in the air and directors Ben C. Lewis and Cherie Nowlan are adept at doing just that.

Ultimately Evelyn Bay is full of loss in both its foreground and background but I suspect resolution for all will not come easily.

Come for the scenery, stay for the emotional ties.

The Survivors is now screening on Netflix.

Cynthia Erivo hosts the 78th Tony Awards on Monday (Australian time) at Radio City Music Hall.

Leading the nominations are Buena Vista Social Club, Death Becomes Her and Maybe Happy Ending.

Presenters:
Sara Bareilles, Danielle Brooks, Kristin Chenoweth, Bryan Cranston, Charli D’Amelio, Ariana DeBose, Jesse Eisenberg, Renée Elise Goldsberry, Katie Holmes, Samuel L. Jackson, LaTanya Richardson Jackson, Allison Janney, Rachel Bay Jones, Adam Lambert, Lea Michele, Lin-Manuel Miranda, Kelli O’Hara, Sarah Paulson, Carrie Preston, Keanu Reeves, Lea Salonga, Jean Smart, Ben Stiller, Aaron Tveit, Michelle Williams, Oprah Winfrey, Alex Winter.

Performers:
Musicals and guest performers are:

Buena Vista Social Club
Dead Outlaw
Death Becomes Her
Floyd Collins
Gypsy: A Musical Fable
Maybe Happy Ending
Operation Mincemeat: A New Musical
Pirates! The Penzance Musical
Sunset Blvd.
Just in Time
Real Women Have Curves
The original cast of Hamilton
Broadway Inspirational Voices

Broadcast:
Live 9am AEST Monday June 9 on Paramount+

Lifetime Achievement in the Theatre
Harvey Fierstein

Isabelle Stevenson Award
Celia Keenan-Bolger

Special Tony Award
The musicians who make up the band of Buena Vista Social Club.
The illusions and technical effects of Stranger Things: The First Shadow

Tony Honors for Excellence in Theatre
Great Performances
New 42
New York Public Library for the Performing Arts
Michael P. Price

Regional Theatre Tony Award
The Muny

Excellence in Theatre Education Award
Gary Edwin Robinson, head of the Theatre Arts Program at Boys and Girls High School

New Australian drama The Survivors, created by Tony Ayres, premieres today on Netflix.

Based on the book by Jane Harper, it centres around Kieran Elliott whose life changed forever when two people drowned and a young girl went missing in his home town of Evelyn Bay.

Fifteen years later, returning with his young family, the guilt that still haunts him resurfaces. When the body of a young woman is found on the beach, the town is once again rocked by tragedy and the investigation of her death threatens to reveal long-held secrets, the truth about the missing girl, and a killer amongst them.

The series stars Robyn Malcolm, Damien Garvey, Catherine McClements, Martin Sacks, Don Hany, Yerin Ha, Charlie Vickers, Thom Green, George Mason, Shannon Berry, and Jessica De Gouw.

TV Tonight spoke to both Robyn Malcolm and Damien Garvey, both of whom had worked together on Harrow.

In The Survivors they play husband and wife Verity & Brian Elliott, whose son Kieran (Charlie Vickers) returns home after a 15 year absence. But it’s a difficult reunion with unresolved business, and Brian is suffering dementia.

What attracted you to the project?

DG: For me, it was the overall story. But I guess the the angle of Brian’s dementia was something that intrigued me, and it was certainly something that you don’t see that often, so that was one thing that certainly took me in. But the whole family dynamic, I think, was very interesting….. I think everyone in the show, all the characters, have some sort of really deep family crisis going on that they’re trying to push through. With the murder mystery, as well as seeing it revealed through those stories, was very interesting.

RM: I mean, Tony’s a f**-off writer, right? He doesn’t just write one straight, linear story. He’s got multiple issues going on and multiple stories happening, and they’re all about the complexities of characters’ histories coming to bite them on the arse in the present.

I just love the fact that Verity’s a loving mother, but she’s full of fury, rage, grief and guilt, and she’s trying to navigate all of it. But she’s losing the love of her life daily. And then the huge delight was finding out that (Damien) was playing Brian, because we’d worked together on Harrow before, so we gave each other the biggest hug.

We see a lot of crime mystery dramas in far flung places, small communities. What do you see as the point of difference with this one?

DG: I think that the story is revealed through the characters who live there and experience both tragedies. As we were talking before, that stems from their family relationship. So I think you see more of a personal telling of the story as it actually happens, and what they thought at the time, as opposed to a sort of investigative, police procedural.

RM: That’s kind of weirdly-secondary, in a way, because it’s the pressure from the police force and the investigations on this family and on that community, which is kind of the real drama, in a way. Because it’s all about these relationships.

DG: Over a decade and a half… and how they change from young boys and girls to young adults.

RM: In that sense, it’s not your classic thriller with a twist, you know. I don’t think I wouldn’t call it that. I’d call it a family drama.

Robyn you’ve featured in a lot of dysfunctional TV families. I guess every family has a secret?

RM: I mean, I guess that’s the appeal, right? It’s the sort of the bedrock for all the really big emotions, and for all our internal individual complexities. So it’s a great place to start and to combo it with a thriller mystery is great.

DG: I think you can go back to any sort of bad thing that happens in a future adult’s life. Nine times out ten you can trace it back to trauma in the family. So that’s where the stories start, but they sort of get forgotten in the world. When you go out do your job and everything …but all the time you’re having these really existential issues that come …you probably don’t understand them because you were so young when they happened, and you just responded in a certain way so you could survive. But that carries on into your adult life.

Robyn do you feel that Verity is manipulating what happens within the family?

RM: Absolutely. She’s driven by fear and love, but the primary thing is that she is terrified of losing (Brian). When you try and battle reality like that, you just lose. And there are two ways of doing it: you go with what’s happening, or you fight what’s happening. And Verity is fighting what’s happening.

Because of the buried truths she’s trying to control the past too. She’s so busy trying to keep everything in a way that she feels safe, that she’s not actually dealing with what’s right in front of her. And the two things that are right in front of her is her son, who desperately needs some love because he’s falling apart, and her husband, who’s literally falling apart. She’s kind of trying and failing in both ways.

DG: The amount of energy that it would take too…

RM: We used to talk about that a lot. In fact, one of our directors, one of his parents, suffers dementia, and the other parent talked about how exhausting it is. It’s 24/7. Brian wakes up in the middle of the night and goes for walks, and after a while, Verity’s just going, ‘Oh, I can’t. I needed my sleep too.’

DG: It’s physical and emotional.

RM: Knackering!

How you approach playing scenes together?

RM: I think we work fairly similarly, don’t we? We don’t sit and do a lot of (talking) beforehand.

DG: We’re pretty comfortable with each other.

RM: We let things roll. The best way I to act, I think, is if you’ve done your homework, and then the camera rolls, then you absolutely trust what’s happening with the other actors, so that you can go wherever you need to go. So there were some scenes, like one in the bathroom, we played lots and lots of different ways. If you do all your homework and you bed it in the character, then you can almost have a slightly improvisational relationship with the work.

DG: We did have a fun time on Harrow too, and had to work our way through a few sort of vague situations. We just have a shorthand, I think… it’s really about making the scene work within the story.

RM: And not being too precious. If the scene requires you to be do something else, then you do something else. But that’s the joy of it. And of course, we’re with two phenomenal directors, and Tony was on set a lot.

DG: We were very well supported, by the crew as well, especially dealing with the dementia aspect of it.

How did they age you down for flashback scenes?

DG: I was always bearded, so yes, they did age me down with a bit of colour. I was always wondering how they were going to do all that, but it seems to work really well.

RM: They did. We shot these scenes, sort of 15 years before, and they aged us down. I got lots of long, lush hair, and they shot us in this golden light. We just looked amazing. “Who is that 33 year old?!” (laughs)

You filmed this down in Tasmania? Whereabouts?

RM: We were all over the show. We were in Eaglehawk Neck.

DG: That was mainly Pirate’s Bay Beach, I think it was called, which was just unbelievable, right on the edge of the world. I was even looking at a house (to buy), I love Tasmania. It’s just overwhelmingly beautiful. We were with a lot of local crew, going to the location and getting a sort of tour guide as well. Every hill you come over….we went on top of the mountain and as the sun come up, it looked like The Lord of the Rings.

RM: And the cloud formations!

DG: No one else saw it, except me and Rob.

RM: Apparently that mountain just impacts the entire atmosphere, at least all the way around Hobart. So you would get these kind of bizarre, other-worldly Tatooine-type skies!

DG: And they changed every day.

There’s one scene suggesting sex between a man with dementia and his wife… or it’s possibly a red herring?

DG: Dementia manifests itself in different ways in different people, but one of the things that can happen is they become highly sexualised. So, that was the case with Brian, that is consequence of the disease.

RM: And Verity saw it as an upside!

The Survivors premieres Friday June 6 on Netflix.

New Zealander Shay Williamson has won Season 3 of Alone Australia on SBS, surviving a record 76 days in the West Coast Ranges of Tasmania (lutruwita).

The 30-year-old professional trapper outlasted nine other participants to win the life-changing prize of $250,000, courtesy of SBS sponsors.

Stripped of modern possessions, contact and comforts,he survived on over 1100 worms, 23 trout, 13 eels, 2 whitebait and freshwater shrimp, grubs, ‘cheese fries’ (moth pupae) and a final, game-changing twist – a pademelon.

On day 76, he was visited by the medical team, where he expected a health update. Instead, he was surprised by the secret arrival of his wife.

“Living in the bush and off the land has been my life’s passion since I was a kid. I built my life around the bush back home and became intimately connected to the land I come from, learning how our ancestors gathered food and lived in nature. I got the opportunity out there to put all that to the test, in a completely foreign environment. Mother Nature’s Colosseum,” he said.

“I tasted hard times and joyful times as I clawed out the other side and figured out where I could fit in, sustainably live, even forever out there, if need be. I’ll always be grateful for the opportunity to help my family in this way, doing what I love for the people I love.”

In the double episode finale, after 47 days, two other participants remained – Food Safety Consultant Corinne and Bushman Muzza.

Corinne tapped out on her own terms after 70 days to return home and start a family.

Muzza had a highly successful run of catches throughout the season but began to experience dizzy spells and after a med-check, dangerously low blood pressure made medically evacuating Muzza the only safe choice.

“I promised myself I’d trust the doctor’s judgement..,” he said. “73 days… can’t believe I never got sick of eels.”

SBS claims Alone Australia as its most successful franchise, with over 3.5 million viewers this season in Cumulative Reach, with 41% streaming on SBS on Demand.

SBS Head of Unscripted Joseph Maxwell said: “Well done to Shay on surviving an extraordinary 76 days alone in the brutal environment of the West Coast Ranges, while inspiring and captivating so many around Australia with his raw and unfiltered story. We have followed the highs and lows of our remarkable Season 3 cast over the past twelve episodes and Shay is a truly deserving winner. Alone Australia has always pushed boundaries, explored human stories and delivered the unexpected and has once again proved why it’s gripping TV, filled with drama and surprises right to the end.”

ITV Studios Australia’s Chief Content Officer, Beth Hart, said: “Huge congratulations to Shay on an incredible win and to every single participant who pushed themselves to the edge in this unforgettable season of Alone Australia. Watching their resilience, resourcefulness, humour and raw humanity has been nothing short of inspiring. The reunion episode is the perfect finale—full of powerful insight, surprising reveals, and never-before-seen moments. It’s a celebration of what they endured, what they discovered, and what it truly means to be alone.”

Alone Australia is an A+E Media Group format and ITV Studios Australia production for SBS.

Alone Australia Season 3: The Reunion is now available at SBS On Demand.

Until now BritBox has been the home of scripted British Drama and Comedy.

This week it announced a revamped content offering, including new and returning titles, with three curated linear channels, drawing upon library Light Entertainment and Documentary.

But it also came with a 40% price increase from July 31* which puts the service under further scrutiny at a time when Australians are proving more discerning about which services they can afford.

Compared to other streaming platforms, BritBox lags in the fast-tracking lane with some TVT readers frustrated at delays.

When BBC First wrapped on Foxtel, BritBox became the home of three flagship dramas: Call the Midwife, Death in Paradise and Silent Witness (all three continue on ABC but with a 12 month delay after BritBox).

S14 of Call the Midwife premiered in January 2025 in the UK and on BritBox, while S14 of Death in Paradise also premiered in January in the UK and 11 days later on BritBox.

Silent Witness S28 however, which premiered in the UK in January premiered on BritBox on March 20. According to Moira Hogan, Executive VP of International Markets and GM of BritBox Australia, this was because there were missing seasons Australians still had to catch up on.

“Sometimes it just takes a longer period of time to negotiate for content or content grants….. we have to figure out where they fit into the pipeline as well as shows that are already coming through,” she says.

“So that’s what I mean in terms of the content itself, what resources it takes, what’s already in the pipeline, and what the audience demand for it is. We want to make sure that we can promote them in the most appropriate way, give them the best showing, also match the right audiences to them and really expand on that demand.”

Beyond Paradise, a spin-off of Death in Paradise premiered its third season in Australia yesterday, around two months after the UK premiere, with star Kris Marshall in Australia for promotional interviews (pictured top).

Of the new content title announced this week Outrageous will screen in the same month as Britain, with Death Valley around a month after the UK’s May premiere.

Also screening in June are Agatha Christie’s Towards Zero (March UK premiere), Fear (March UK), The Bay S5 (March UK) and Shetland S9 (November UK).

Hogan (pictured below), who oversees both BBC and ITV titles for BritBox, says there is no one reason why specific titles are delayed.

“There’s lots of different reasons, and it’s where possible, depending on the specific content, the rights that are related to that show, and the resourcing, and when there is audience demand for it, we fast track shows. For example, recently we did the BAFTA Film and TV Awards. We obviously do Chelsea Flower Show. But we have added, as soon as we possibly could, the latest series of Call the Midwife, Death in Paradise, and caught up on Silent Witness, because we were missing a few more recent series.

“So it is very much making a title by title decision based on all those characteristics, and we are fast tracking as many titles as we possibly can. But we do have to take those other factors into consideration.

“What we’re finding is people are asking us for more of the new and latest shows that they like and more new. So that’s what we’re focusing on with this expanded service.”

This contrasts with fast-tracking of UK titles on Netflix such as Adolescence, Doctor Who on Disney+ or Trigger Point on Stan. Yet in the complex seas of distribution deals, not all BBC / ITV titles are fast-tracked elsewhere either, with Seven, ABC and Binge also scheduling some with delays.

Hogan notes BBC, ITV, Banijay, All3Media and Fremantle as key distributors of BritBox titles.

BritBox has three curated linear channels, which should play well to a service with a ‘slightly-older’ demographic who love scripted British content.

“BBC first is obviously about top tier drama. BBC Entertain is there for laughs, new and classic comedy as well as a bit more light Drama on that channel. And then, of course, BBC Select is for those beautiful documentary series for people to switch easily onto,” says Hogan.

“It’s an Instant Watch. Lean back, enjoy, find something new to watch, or maybe just find something at that point in time. Everything is connected through to its On Demand version as well. So whatever you see on a channel is On Demand.”

According to Telsyte, BritBox has  an estimated 500,000 subcribers in Australia. Despite its smaller size, BritBox was the fastest-growing streaming platform in Australia last financial year.

“Our audience is really characterised by people who are seeking quality storytelling, world class production, gripping narratives, authentic characters -that quality lens over crime, mysteries, dramas, comedies, that is synonymous with British Television.”

* The monthly subscription price is increasing by $4, from $9.99 to $13.99 per month. The annual subscription is increasing from $99.99 to $139.99 per year. However, existing subscribers can lock in the annual plan at the current $99.99 rate until July 30, 2025. Current subscribers were notified via email on 3 June 2025. Existing monthly subscribers will continue on their current pricing until their billing date on or after 31 July 2025, giving them nearly two months of access to the new features at no additional cost. They can also lock in the annual subscription for just $99.99 until 30 July 2025.

Dramas about organised crime syndicates may well be the stuff of US and Italian storytelling, but the Brits have their share too.

The latest, This City is Ours, centres around drug importers in Liverpool. And boy, does it pack a punch.

Sean Bean is Ronnie Phelan, the patriarch of an extended family of crims and husbands, who have been successfully importing from ‘the Amigos,’ a largely unseen mob of Colombians sending cocaine through shipping containers.

His right hand man is the magnetic and tough Michael (James Nelson-Joyce) who helps call the shots, but desperately wants to be a father with girlfriend Diana (Hannah Onslow).

“Why dont we just walk away, you and me?” – Diana

Waiting in the wings is Ronnie’s ambitious son Jamie (Jack McMullen), yet to meet his father’s tough standards. Julie Graham plays family matriarch Elaine, but with no active role in the criminality and desperate for Ronnie to pull back.

But when a container of cocaine goes missing after slipping through customs all hell breaks loose for the gang, with Ronnie and Michael convinced there is a rat in the ranks. Suddenly mistrust looms large and there are plenty of supporting characters who could easily be complicit, at least for our on-screen characters if not the audience.

All of this boorish behaviour, which quickly turns violent, is contrasted by creator Stephen Butchard (The Good Mothers) with family scenes such as a baby christening, and tender romantic exchanges as Michael and Diana pursue IVF.

One of the hallmarks of the show is its use of crooner songs by the likes of Matt Monro, Dean Martin, Andy Williams, Tony Bennett and Sammy Davis Jr. They evoke a nostalgic period and directors cleverly pit swinging songs against violent rumbles.

At its heart this is a dysfunctional family drama, where mobsters and thugs lie, sacrifice, kill their own for an ultimate prize. In its most scintillating scenes, which occur in early episodes, they amount to gripping, high-stakes death rattles. These also reel the viewer in to its world so addictively, you’ll be wanting to gorge them in a binge.

Sean Bean is always commanding in these kinds of roles, but this is James Nelson-Joyce’s story as the ‘lad’ with the tender heart. Forever looking cold and tight-lipped, he is magnetic on screen. He is amply matched by Hannah Onslow as Diana, who has her own backstory which adds layers to their relationship.

It can be hard to grasp some of the dialogue, due to thick accents, so I’d recommend considering subtitles on this one. These are never available on previews, but I still found myself invested in the shit that was going down. I don’t really get the title of the series, but I suppose it represents the power perceived to be at stake in this saga.

It’s not hard to see why this is the BBC’s most-watched new drama launch in 2025 so far, and has since been renewed for a second season. Can’t wait for more.

This City is Ours premieres Wednesday June 4 on Stan

Liam Moore (pictured centre) one quarter of The Inspired Unemployed (Impractical) Jokers, is a fan of The Last of Us and MobLand,

Ahead of a new pranking season on 10 and Paramount+ next week here’s what else he is watching.

What shows are on your must-see TV list lately?
LM: A must-see for me right now is The Last of Us. I played the game as a teenager and was hooked by the storyline, so when I heard it was being adapted into a series, I couldn’t wait, and it did not disappoint. It’s easily one of the best shows I’ve ever seen. The way they brought the cordyceps apocalypse to life is incredible. I’ve also just started watching MobLand, which has been great so far. I’m a big fan of Guy Ritchie, so anything he’s involved in usually grabs my attention straight away. A few other shows recommendations are Westworld, Top Boy, Peaky Blinders, Vikings.

Which guilty pleasure show are you reluctant to admit watching?
LM: When I’m after something easy to throw on, whether I’m making dinner or just walking around the house, Friends is my go-to. I’ve probably never watched a full season in order, but that’s the beauty of it – you can jump in at any episode, and it’s always a good time. It was always playing at my mum’s house too, so maybe I picked up the habit from her. Another one I really enjoy is The Office (the American version).

When you settle down for a night on the couch what are your ‘must-haves?’
LM: I’m usually a sucker for a pack of salt and vinegar chips, but it was starting to get a bit out of hand. So my mates and I have started doing something we call a Skyr Bowl to mix things up and cut back on the snacks. It’s basically Greek yogurt with a scoop of protein, mixed berries, some granola or keto mix, and sometimes a bit of dark chocolate or a drizzle of honey, both optional. It’s actually been a solid switch, and surprisingly satisfying.

What show would you secretly love to appear on?
LM: I’d love to appear on a show like The Last of Us or something like Westworld. Being part of a gritty, post-apocalyptic world or a futuristic western would be such an exciting challenge. I reckon it’d be unreal to play one of those characters riding around on horseback, fully immersed in the world. The sets on those kinds of shows always look incredible, I feel like I’d really enjoy getting into character and bringing a role like that to life. Honestly, I’d be keen to appear on any show. The whole process just looks like so much fun.

What stunts can we expect to see this season? Which was your favourite and why?
LM: This season you can expect some tough watches, wild stunts, and plenty of embarrassing moments. I honestly think it might be one of our best yet, the first episode is one of my favourites across all three seasons! There were a lot more physical punishments this time around, so it leans more into pain than embarrassment, which gives the season a slightly different feel. One of my favourite segments (without giving too much away) was when we tried to crash a date at a restaurant. We had to battle to stay at the table, the reactions were hilarious.

The Inspired Unemployed (Impractical) Jokers
Weekly 9:40pm from Monday June 9 on 10 / series drop Paramount+

If you look at the Electronic Program Guide, it will tell you both Sunrise and Today wrap at 9am.

But as anyone who watches these shows know, they run well overtime on a daily basis, by up to a quarter of an hour longer, before The Morning Show and Today Extra actually commence. And they have done for years.

TV Tonight tallied the following finishing times last month.

Monday May 19
Sunrise: 9:12am
Today: 9:05am

Tuesday May 20
Sunrise: 9:13am
Today: 9.12am

Wednesday May 21
Sunrise: 9:13am
Today: 9:10am

Thursday May 22
Sunrise: 9:14am
Today: 9:11am

Friday May 23
Sunrise: 9:12am
Today: 9:13am

EPG accuracy is self-regulated but the Australian Communications and Media Authority has a set of EPG Principles which cover the accuracy of program start times in the present/following section only (they do not apply to 7 day schedules). Digital TV equipment uses details in the ‘present program’ field to check the classification of the program on air and if the program should be blocked.

It also stipulates, “The ‘following program’ field in the EPG must change straight away to the ‘present program’ when a new program comes on air.”

An ACMA spokesperson told TV Tonight, “There is no formal requirement for broadcasters to meet the EPG principles however we use a number of means, including public complaints, to monitor their performance against the principles. Currently we are not aware of any systemic EPG issues.”

Bridget Fair, CEO of FreeTV Australia said, “The 7-day schedule is a forecast only. Free-to-air TV is looked to for its coverage of live events of unknown duration, and for breaking news. These both require flexibility around program schedules. However, the now/next information needs to accurately reflect what program is actually going to air, for common consumer device features such as parental lock to work properly.

“In the early days of digital television, the Australian Communications and Media Authority (ACMA) considered whether to regulate EPG accuracy using its formal powers. ACMA decided it would permit industry self-regulation, instead publishing the set of ‘EPG Principles’ you can see on its website today. As the peak body for commercial TV, Free TV Australia maintains two Operational Practices (OPs) that provide guidance to Australian broadcasters about EPG accuracy. The ACMA’s EPG Principles helped inform the content of these OPs.

“Broadly, the parental lock facility required to be installed in all TV receivers sold in Australia uses the present (now) program classification data carried in the now/next system to determine if a program can be displayed or not. The now/next information is transmitted at least every 2-seconds so it can ‘keep up’ as programs transition from one to the next. On the other hand, the 7-day schedule is only transmitted every 30-seconds and is required to be updated at least once every 24-hours. For the reasons given above, network start times may often vary somewhat from scheduled times.”

But further scrutiny of Now / Next in EPGs last week also indicates the shows fail to adhere to the EPG Principles (orange indicates the show on air, but by 9:11am neither had kicked in). Online sites were also not updated with accurate Now / Next info.

So why do both breakfast shows run over? What’s in it for them?

While part would be to stop viewers switching off at 9am, a higher rating show, such as Sunrise or Today, would also spill audience numbers into the preliminary rating of the following show, giving it a helpful bump. That can’t hurt where there are advertorial sponsors.

A Today spokesperson said, “As a live news and current affairs program, Today is inherently dynamic and responsive to the unfolding news cycle. The 9.00am news bulletin, in particular, can vary in duration depending on the volume and urgency of the day’s stories. We believe delivering comprehensive and current news to our audience is the most important consideration.”

Sunrise did not respond by deadline.

Billie Piper is returning to Doctor Who, seen in a shock regeneration for fans in the season finale on the weekend.

Piper, who previously played Rose Tyler to the Doctor played by Christopher Eccleston and David Tennant, returns following the departure of Ncuti Gatwa after two seasons.

In the season finale “The Reality War” viewers saw the Doctor (Ncuti Gatwa) face the Rani (Archie Panjabi) in an extraordinary battle to save the world and the Doctor made the ultimate sacrifice to save the life of one little girl.

“You know when you get cast, at some point you are going to have to hand back that sonic screwdriver and it is all going to come to an end, but nothing quite prepares you for it,” said Gatwa. “This journey has been one that I will never forget, and a role that will be part of me forever. There are no words to describe what it feels like to be cast as the Doctor, nor are there words to explain what it feels like to be accepted into this iconic role that has existed for over 60 years and is truly loved by so many across the globe.

“The fans are truly the final character and beating heart of this show and I can’t thank the Whoniverse, and the Whovians, enough for welcoming me in, and making this such a touching experience. I’ve loved every minute of it, but now is the time to hand over the keys to that beloved blue box and let someone else take control and enjoy it every bit as much as I have. I’ll truly miss it, and forever be grateful to it, and everyone that has played a part in my journey as the Doctor.”

Russell T Davies, Showrunner said: “What a Doctor! Thank you, Ncuti! As his final words say, this has been an absolute joy, and the team in Cardiff and everyone who has worked on this show for the past few years, are so lucky to have been part of Ncuti’s great adventure as he shoots off to stratospheric new heights.”

Lindsay Salt, Director of Drama added: “When Ncuti Gatwa first stepped foot on the TARDIS we instantly knew he was going to be an iconic Doctor and it wasn’t long before his dazzling performances captured the hearts of so many around the globe. The role of the Doctor is like no other and Ncuti’s dedication, charisma and magnetism has taken the Doctor into unchartered territory which we have never experienced before. As Ncuti himself said at the start of this journey – unlike the Doctor he may only have one heart, but he is giving it all to this role – I think we can all agree that he did that, and more. Thanks, Ncuti for being such a special part of the Whoniverse.”

Russell T Davies added: “Billie once changed the whole of television, back in 2005, and now she’s done it again! It’s an honour and a hoot to welcome her back to the TARDIS, but quite how and why and who is a story yet to be told. After 62 years, the Doctor’s adventures are only just beginning!”

Billie Piper said: “It’s no secret how much I love this show, and I have always said I would love to return to the Whoniverse as I have some of my best memories there, so to be given the opportunity to step back on that TARDIS one more time was just something I couldn’t refuse, but who, how, why and when, you’ll just have to wait and see.”

Updated.

Lego Masters is back for its seventh season, “Grand Masters of the Galaxy.”

Contestants from six countries will face off against Aussie teams, some of whom have never built together before.

Ten teams of two put their imagination, creativity and building skills to the test. One team will be crowned the winners, taking home the series title and a $100,000 prize.

Hamish Blake returns as host joined by judge Ryan “Brickman” McNaught (cue the tears) with Sophie Monk as special guest across four episodes.

The Brick Pit is packed with around 4 million bricks. This season features a new Magic Brick – a mystical, all-powerful artefact that will change hands faster than you can say “Lego”. Contestants will battle it out for this coveted piece, and the lucky team who get their hands on it will be safe from elimination from the next challenge.

For the first time, contestants will be tasked with building a toy, seeing if Lego can fly, celebrate the Harry Potter world, creating Lego items to substitute for real ones in a Chinese restaurant, embarking on a Cluedo style mystery, building a car with a touch of movie magic, creating a booby trap world and building a monster from ancient civilisations. Teams will also be venturing into Kmart and a cruise terminal.

Lego Masters is produced by Endemol Shine Australia (a Banijay Entertainment company) for the 9Network.

Australia:

David & Gerhard – Australia
David & Gerhard, fondly known as “G”, return for Lego Masters: Grandmasters of the Galaxy, seeking redemption after finishing as runners-up in the inaugural season of Lego Masters, where they were narrowly beaten by Henry and Cade. G has also appeared in the Lego Masters Brickmas special, where he was teamed up with ex-Wiggle Emma Watkins. Both David, a workshop manager, and G, a mechanical fitter, work in exploration drilling in Western Australia. Their creations often feature strong mechanical elements, drawing inspiration from their work. Lego brought them together when David’s miniature drill rig impressed their employers, leading to its display in the company foyer. G was equally captivated, sparking a friendship that has lasted over 10 years. Born in South Africa, G’s love for Lego began at age six with set 382, which is a Breakdown Truck and Car. His favourite pieces are masonry bricks and he is passionate about real-world builds, creating everything from houses and medieval villages to Western towns. Prior to relocating to Australia, G worked in mining, including diamond mining for De Beers.

Gabby & Owen – Australia
Gabby and Owen are seasoned competitors teaming up for the first time, combining their unique talents and creative visions to push the limits of their Lego abilities. Gabby secured a third-place finish in Season 3 and fourth place in the Grand Masters season with Lego partner Ryan, while Owen was the runner-up with Scott in Season 3 and later claimed the Grand Masters trophy in Season 5. Owen, a father of one with another on the way, is a gifted engineer whose approach to building sees him pushing the physical limits of Lego bricks. Engineering expertise allows him to tackle complex challenges with precision and creativity, and enables him to design and construct intricate, large-scale creations that are mechanically sound and visually striking. Owen’s Lego style is all about boldness, scale and epic design, with an emphasis on incorporating strong, functional mechanisms into his builds. Gabby, a therapist and clinical educator from Melbourne, is a creative force with an eye for design and a passion for artistic expression. A mother of two boys, Gabby finds joy in using Lego to bring stories to life. She’s known for her ability to combine unusual colour palettes, create engaging mini-figure narratives, and design models with a unique artistic flair. Gabby is also skilled in other creative arts, including sewing, knitting and painting, which help to fuel her imagination and add depth to her builds.

Henry & Cade – Australia
Henry and Cade, the champions of Lego Masters Australia Season 1, are back with the motivation to prove they still have what it takes 7 years on. They have one goal: to win Lego Masters: Grandmasters of the Galaxy. After their victory in Season 1, Henry participated in a Bricksmas Special with Sophie Monk and in a later Grand Masters series. Now Henry and Cade are reuniting to reclaim their title. They have distinct building styles: Henry brings a technical, precision-driven approach, while Cade adds creative and artistic flair. Cade’s Lego journey ignited with pirate-themed sets at the age of six, while Henry rediscovered his passion when his eldest son turned five. He was astonished by the evolved Lego universe and became hooked again. Henry, a Sydney-based property tech company director and father of three, uses Lego and guitar playing as creative outlets. His collection at home is “a whole room” of Lego bricks, which fuels his passion for building, and he enjoys challenging himself with unconventional designs. He’s also a well-known figure in the Lego community, with his large-scale creations like Gundam and X-Men robots featured in publications. He regularly exhibits at the Sydney Brick Show too. Cade, a Brisbane video game designer and father of three, turned his creativity into a career. He enjoys building with his sons and welcomed a baby girl during filming, who he hopes will inherit the Lego spirit. Cade is no stranger to large-scale builds, having created a Lego Go Kart track and contributed to a Guinness World Record life-size Lego caravan (the record has since been beaten). He excels at smaller, sculptural builds, particularly his Minifigure-scale dinosaur skeletons. With a collection of around 500,000 bricks, his style is organic and defies the blocky nature of Lego. He’s particularly fond of the 2×2 corner plate, as he finds it incredibly versatile.

Trent & Alex – Australia
Passionate Lego fans Trent & Alex are teaming up for the first time. Both have been close to victory in previous seasons and are determined to win this time. Trent reached the Grand Final in Season 2 with Josh, placing third, and returned with Kale in Grand Masters, placing eighth. Alex was runner-up in Season 4 and came third in Grand Masters with Lego partner Caleb. Trent, an accountant who’s a toy enthusiast at heart, is a dedicated 80s toy collector. He has amassed an impressive collection of vintage action figures, including a prized set of Masters of the Universe figures that have overtaken his home. The father of two boys, Trent’s passion lies in bringing his Lego creations to life with fun, colourful and often wacky designs. He is known for his playful builds, with a special talent for capturing cartoon-like facial expressions. While his strength lies in creating quirky characters, he admits that gears and motors are his biggest challenge. Trent’s favourite Lego piece is any SNOT (Studs Not On Top) brick, and he is eager to visit the new Lego store in Sydney, the largest in the world. Alex is a makeup artist and TAFE teacher from Sydney. A nerd with a natural talent for Lego, she enjoys watching Star Wars and Harry Potter on repeat most weekends. She collects Star Wars memorabilia, and despite having only been an AFOL (Adult Fan Of Lego) for a few years, has transformed an entire room in her home into a Lego sanctuary. Her strengths are storytelling and humour: she loves creating fun, colourful builds with a touch of cuteness and character, often incorporating animals and colours. While she excels at adding personality to her builds, the technical and mechanical aspects of Lego are a learning curve for her.

International:

Nick & Stacey – Canada
Nick and Stacey, a dynamic duo known for their Lego bowtie and hairbow, are friends and competitors from Lego Masters USA. They made history as the first Canadians to win the American series, taking home the trophy in Season 3. Their success stems from their complementary skills: Nick’s engineering background and Stacey’s artistic flair. This synergy allows them to create breathtaking, intricate Lego creations that captivated American audiences, and they hope to do the same in Australia. Nick’s technical expertise in structural design and problem-solving blends seamlessly with Stacey’s ability to tell compelling stories through her builds. Their collaborative approach will be evident in every challenge as they push the boundaries of Lego construction, bringing imaginative and complex ideas to life with precision and attention to detail. Stacey is an actress, host and director. Her work includes the award-winning live show Cooking with Stacey for Amazon and YouTube-turned-TV series The Nerdy Bartender on DrinkTV. She has also created an online community known as the “Whabammers”, and has hosted her own event, “StaceyCon”, in Las Vegas, where her community came from all corners of North America to meet her.

Dai & Jiayuan – China
Dai and Jiayuan, from Lego Masters China, captured viewers’ hearts with their seamless teamwork and shared passion for building. Entering the competition as friends, they reached the Grand Final in Season 2, finishing as runners-up. Their collaborative spirit and mutual love for Lego made them fan favourites throughout the season. Dai, the only female contestant in her series, brought a fierce energy and positive attitude to the competition. Previously working in the contemporary art industry, she is known for her talent in recreating famous portraits using Lego bricks, her favourite being Frida Kahlo. Dai’s intricate designs have been featured in various magazines and on China’s official Lego social media channels. Her dream Lego build would be an apartment full of Lego built furniture. Jiayuan, a Lego enthusiast with over 12 years of building experience, is passionate about creating with his daughter and sharing the joy of Lego with the next generation. He has an impressive Lego studio at home, where he specialises in creating models of traditional Chinese architecture, animals and spaceships. His commitment to cultural preservation shines through his designs; he created a book showcasing his models of traditional Chinese buildings to help others learn about their country’s heritage. Previously the Lego Master Model Builder at China’s first Lego Discovery Centre, Jiayuan now shares his expertise and creations with over 220,000 followers on TikTok. His personal collection of Lego weighs over three tonnes.

Oskari & Aura – Finland
Oskari and Aura are a dynamic and quirky pair from Lego Masters Finland who blend creativity, chaos and charm. They met during the casting process and were paired together. Oskari’s attention to detail and Aura’s creativity led them to win Lego Masters Finland Season 2. While winning was fantastic, the ultimate prize was their long-lasting friendship. Oskari is the detail-oriented planner who loves precision and structure. He is known for his thoughtful, methodical approach to challenges and an ability to think outside the box. From a young age, Oskari has been captivated by the endless possibilities of Lego bricks, developing a unique blend of artistic flair and technical expertise. He brings a fresh approach to every build, showcasing his imagination and ability to craft intricate details and design complex structures. Outside of Lego, Oskari is an avid drawer, sketching daily and occasionally taking on commissioned work. He also loves carpentry and is currently crafting a custom table. His creativity extends to building props and costumes, all of which deepen his appreciation for Lego and enhance his understanding of its artistry. Aura is the imaginative mastermind, known for bold and whimsical designs. She sees Lego bricks not just as pieces to be stacked but as characters with personalities and stories to tell. As an architecture student, she often combines her interest in fine arts with a passion for building, creating visually striking pieces full of character. Her ability to incorporate emotion into Lego creations gives them a special depth and charm, making the builds feel truly alive.

Emily & Sarah – New Zealand
Emily and Sarah are passionate, Lego mums from New Zealand who began their Lego journey seven years ago. Since then they’ve been building both friendships and Lego masterpieces, even founding a Lego club at their children’s school. Lifelong Lego fans, Emily and Sarah’s obsession deepened after becoming mothers, leading them to compete in Lego Masters New Zealand Season 1. They came close to winning, coming second and showcasing their extraordinary teamwork and creativity. Emily, from the UK, moved to New Zealand after completing a degree in geology and fell in love with the country – she’s been a proud Kiwi ever since. A mother of three, Emily works as a conservator at the Canterbury Museum in Christchurch, where she uses her meticulous eye for detail to preserve historical objects and artworks. Sarah, a born-and-bred New Zealander, brings a blend of artistic flair and boundless energy to their builds. With a background in performing arts, Sarah works as a marketing and event coordinator, yoga and fitness instructor, and a dance teacher for preschoolers, while being a dedicated mum to her two children.

Vidar & Albin – Sweden
Vidar & Albin, two larrikin best friends from Sweden, are teaming up for the first time to compete in Lego Masters Australia. They are seasoned Lego Masters Sweden alumni, with Vidar winning Season 2 and Albin finishing seventh. Though initially paired with other teammates (Vidar with Felix and Albin with his father) their bond formed quickly during filming and they’ve been inseparable since. Now they are bringing their unique talents together to take the Lego Masters Australia trophy back to Sweden. Known for his signature beanie, Vidar is the cool-headed creative, while Albin, sporting his overalls, is the detailed technician. Vidar is a creative powerhouse known for his stop-motion Lego animations on his YouTube channel, V.P.L.O Studios. He began building with Lego at 12, launching his channel simultaneously. Over a decade later, Vidar has turned his passion into a full-time career, dedicating up to eight hours daily to creating intricate stop-motion stories. His most unique creation was a commissioned build of Tom Cruise’s head. A huge Indiana Jones fan, if he could work with any celebrity on a Lego project it would be Harrison Ford. Albin, a technical design master’s student, has been building with Lego since childhood, never experiencing the “dark ages” many adult fans go through. His technical skills are top-notch, especially in volume-based thinking and 3D modelling. Albin has even competed in the Swedish CAD championships, placing in the top six. His goal is to become a certified Lego designer, and he credits Lego for sharpening his spatial thinking and 3D design abilities.

Paul & Nealita – USA
Paul and Nealita, the energetic sibling duo, captured hearts on Lego Masters USA in Season 4. Their collaboration and creativity took them all the way to the finale, where they secured third place in a highly competitive season. Paul’s lifelong passion for Lego began when he was three years old. With a bachelor’s and master’s degree in architecture, he now combines his love of design with Lego. Professionally, he’s a social media specialist for the Cincinnati & Hamilton County Public Library and also serves as an ambassador for the nonprofit Pass the Bricks, where he collects, cleans and redistributes Lego sets to children in Ohio. One of Paul’s most impressive achievements is his micro-scale city, Brickville. Spanning 68 baseplates (each 10 inches by 10 inches), this massive build became a highlight of the Lego community, earning him recognition at the Brickworld Chicago Lego convention three times between 2010 and 2014. Nealita grew up admiring her older brother and has always been inspired to follow in his Lego building footsteps. After working as a dental assistant, she transitioned to a tech role at a Milwaukee Hospital. Since competing on Lego Masters USA, Nealita has shared her passion for Lego by teaching Lego building classes at Milwaukee Recreation, where she inspires others to explore their own creativity with bricks.

Sunday – Tuesday on Nine.

• Special SBS50-themed episodes of Insight, Living Black, Mastermind,
• The Cook Up with Adam Liaw, and The Weekly Football Wrap.
• Reruns of cult classic South Park and new episodes of If You Are The One
• An SBS World Movies collection featuring original commentary from The Movie Show with iconic duo Margaret Pomeranz and David Stratton.

“The thing that I love about SBS is it doesn’t tell me what to think.
It just opens my eyes and my heart to see the world differently.”
– Rachel Griffiths

“Fifty years ago, we were given the chance to see the world from a different point of view.
And fifty years today, the world has had a chance to see us.”
– Ernie Dingo

“It’s a true reflection of the Australian story and the Australian experience.”
– Melissa Leong

June 9th will mark 50 years since SBS roots began at Radio 2EA, and 3EA on June 23 1975. Both would later become SBS Radio.

“The Australia you see on SBS is the Australia we all see when we walk out our front door every day,” said James Taylor, Managing Director of SBS. “SBS’s role is to protect a plurality of perspectives, foster deeper understanding, and promote a sense of belonging for all Australians – regardless of their background and where their story began. As Australia’s most trusted news brand, trust is the foundation that drives our innovation-led news and multilingual content and that’s never been more important than in today’s global landscape of misinformation and distrust.

“We don’t tell people what to think, or feel, but provide opportunities for everyone to experience the world around them. For 50 years, SBS has been unafraid to entertain, educate and provoke audiences with bold, human stories that amplify diverse voices and connect us all. I am proud that we never stand still, continuously evolving to meet the needs of a diverse, contemporary Australia. Today we are reaching the highest audience numbers in our history with the largest volume of original Australian content.”

SBS is marking its milestone 50th birthday with a distinctive slate of cross-network, multilingual content and activities, including outside broadcasts in regional locations and a partnership with VIVID Sydney. On SBS On Demand, a dedicated SBS50 Hub is celebrating all things SBS from across the decades including powerful SBS and NITV Originals and iconic arthouse films.

SBS World Movies will feature an SBS50 curated collection of game-changing and quotable films, with original commentary from The Movie Show and SBS Cult Movies. In particular don’t miss Margaret Pomeranz and David Stratton who captivated audiences for almost 20 years from 1986 with their hearty debate, love for cinema and memorable reviews. A must watch!

SBS’s rich legacy of broadcasting football to a nation of ‘non-soccer lovers’ since the 80s is celebrated with a special episode of The Weekly Football Wrap that looks at the pioneers that championed the game and how far Australia has come in embracing the World Game (Monday 2 June at 10.20-11.20pm, VICELAND and SBS On Demand).

Australia’s longest running Aboriginal and Torres Strait Islander current affairs program, Living Black with Karla Grant, will explore how SBS with NITV at its heart has redefined the way Australia tells First Nations stories. (Monday 9 June at 8.30-9.30pm on NITV and 10.35-11.35pm on SBS).

Marc Fennell unpacks SBS’s milestone moments one question at a time with a special SBS50 themed week of Mastermind, each night dedicated to a defining SBS genre (sport, world movies, drama/documentary, and food) with special guests Silvia Colloca, Craig Foster, Ray Martin and Pia Miranda. (Monday 2 June to Friday 6 June at 6.00-6.30pm, SBS and SBS On Demand).

The perfect recipe of food, chat and laughs in an SBS50 themed week of The Cook Up with Adam Liaw will feature some of SBS’s biggest names in food, entertainment and sport to make the big five-0 a week to remember with five nightly episodes. (Monday 2 June to Friday 6 June at 7.00-7.30pm, SBS Food and SBS On Demand).

Insight, hosted by Kumi Taguchi, asks is turning 50 a big deal for those Australians marking this milestone birthday in 2025. From mid-life crises to menopause, finding undiscovered family members and starting afresh, should 50 be feared, or embraced as a new beginning? (Tuesday 10 June at 8.30-9.30pm, SBS and SBS On Demand).

Oh my God – we killed Kenny! The US cult classic South Park, which was first shown in Australia on SBS in 1998, is back for Aussie audiences, with seasons 1-15 now streaming on SBS On Demand until 30 June. And for those looking for a love story that pre-dates Tinder, the iconic Chinese dating reality show If You Are The One, returns with new episodes of season 15 (Fridays at 6pm, VICELAND and SBS On Demand) and season 16 premiering on 8 August.

You could look at the Utah mountains mansion which is the centrepiece of Mountainhead as property porn. It’s a sprawling, vista-fronted monstrosity of multi-million dollar proportions.

Or you could just call it as you see it, which for me was a “f**-off mansion.”

It’s here that the testosterone and arrogance of four billionaires is measured and discharged up against the wall, all fiddling while Rome burns, in Jesse Armstrong’s new feature film Mountainhead.

Cue the lear jets and choppers when these tech billionaires, Steve Carell as Randall, Cory Michael Smith as Venis, and Ramy Youssef as Jeff, fly in to the pad of Jason Schwartzman as Souper. The weekend man-camp is an annual tradition of this gang of bros.

The scenery is gob-smacking, or in the words of Venis, “So beautiful you could f*** it.”

This is Jesse Armstrong after all, he of the brilliant lines and diabolical behaviour of Succession. There’s going to be a lot of blunt, sarcastic, funny dialogue even if the plotting and character never manage to match it.

Glued to their cellphones when they aren’t unzipping and comparing the length of their bank balances, these 4 are also watching the world implode as a result of Venis unleashing image and video generation tools on social media so powerful that nobody knows what to believe anymore. Violence breaks out in multiple countries across the world, but hey let’s open another bottle of red and watch our shares skyrocket.

In between the deals to be done, and the plans to tell Presidents how to govern, are charcuterie boards to gorge and a ski-mobile and hike to the edge of the world.

When a global meltdown accelerates they head to their bowling-alley mancave to decide between buying Paraguay or Haiti, in between discussing new platform messaging features.

Not all the drama is off-piste however, with Randall dealing with a cancer diagnosis, and Jeff as the sole voice of reason challenging Venis on the new world order he is on the cusp of monetising. There is a constant fear of keeping friends close and enemies closer, as 4 buddies maintain a veneer of bonding whilst at risk of a board push, orchestrated by the guy in the adjacent bedroom.

If Venis is the ‘jock’ of this group, Randall is the father figure and ‘Soup’ is the nerdy underdog. The cast expertly spit out Armstrong’s dialogue without blinking, while hand-held cameras keep it alive, matching that Succession feel that half of this could well be improvised.

“We literally have the resources, the mental capacity, foresight …to take over the world… and unleash the AIs.”

But it’s very talky, and with essentially 4 actors in a room (is this theatre?) there’s very little relief. It doubles-down on its toxic, unlikable characters, which is clearly intentional by Armstrong. That would be fine if the characters were more interesting, more diametrically opposed.

By the third act the plot moves into farce, which becomes entertaining if clutching at credibility.

All of this is so uneven and disappointing given the depth of characters and power-plays of Succession which, at its heart, centred around a helluva dysfunctional family.

If an avalanche had swallowed up the four at Mountainhead it might have shortened the running time and saved the world all at the same time.

Mountainhead screens Sunday on Max.

State of Origin I last night pulled out the biggest audience of 2025 so far with a massive 3.76m viewers -that’s the National TV Audience average, not the Reach (5.44m).

That was up on 2024’s State of Origin I of 3.44m and the highest SoO since VOZ commenced. It gave Nine a thumping 50.7% share for Wednesday.

NSW Blues led Maroons by a 12 point victory, despite the hometown Queensland crowd.

It was #1 in all cities except Adelaide, where it was #2.

Sydney – Total TV Audience of 1.073 million
Brisbane – Total TV Audience of 843,000
Melbourne – Total TV Audience of 316,000
Perth – Total TV Audience of 168,000
Adelaide – Total TV Audience of 92,000

As a result of the heavy competition, some broadcasters opted not to compete with first-run titles, and really who can blame them?

Nine News enjoyed a halo effect, winning with 1.46m over Seven News 1.39m.

Home & Away topped entertainment at 870,000.

Elsewhere 7:30 was 780,000 then The 1% Club UK (687,000), Gruen (634,000), MasterChef Australia (483,000).

The Weekly with Charlie Pickering wrapped on 516,000 then The Front Bar (445,000) and Planet America (374,000),

Tipping Point led with 828,000 outranking The Chase (694,000). Unfiltered managed 239,000 where it screened.

ABC News drew 919,000. House of Games (304,000) and Big Boys (116,000) followed.

The Project pulled 371,000 then 10 News First (366,000), Deal or No Deal (274,000), Elsbeth (195,000), FBI: International (129,000).

On SBS it was SBS World News (202,000 / 141,000), Mastermind (105,000), Big Fat Quiz of the Year (71,000), The Day the Rock Star Died (53,000), The Handmaid’s Tale (28,000).

Sunrise: 411,000
Today: 319,000
News Breakfast:  238,000

National Total TV: Wednesday 28 May 2025

Amended.

It was once the destination for global pop superstars and politicians but ABC’s historic Ripponlea studios has finally been razed.

Demolition work of the historic home to Countdown, SeaChange and Bellbird began in December 2024, 7 years after ABC vacated its Victorian home of 60 years.

Also known as “The Dream Factory” it was home to The Big Gig, Kath & Kim, Spicks and Specks, Adventure Island, Frontline, The Late Show, The D-Generation, Round the Twist, The Gillies Report, Miss Fisher’s Murder Mysteries, plus Something in the Air, Recovery, The Adventures of Lano & Woodley and more recently The Weekly with Charlie Pickering, Adam Hills In Gordon Street Tonight, Dirty Laundry Live, Newton’s Law and Hard Quiz.

Mad as Hell was its last ever recording in 2017 before production relocated to Southbank.

New owners Milieu will construct a campus style development across six apartment buildings, public park and hospitality.  Elsternwick Gardens will be surrounded by greenery and private access to the adjacent to the heritage-listed Rippon Lea Estate.

The broadcast tower, for 60 years part of the Elsternwick skyline, will become a sculptural element by Artist Darren Sylvester. It is laying on its side in the photo above.

Developers will also include a Countdown Swing set, inspired by the music show’s set, which doubles as an art installation.

You can see TV Tonight’s tour of the studios in 2017 just before they were vacated here.

For five decades, from its early roots as Radio 2EA and 3EA, broadcaster SBS has been bringing the world back home to Australians.

Since 1980 when SBS began full time transmission as Channel 0-28 it has showcased mutlticultural stories long overlooked by other broadcasters.

While diversity and representation is a work in progress, it has since made great inroads into primetime on other networks. So is it time to allocate NITV more budget given it is the only broadcaster whose sole purpose is to elevate First Nations storytelling, and see them ripple throughout the world?

That was a question recently posed to an NITV commissioning panel at Screen Forever on the Gold Coast.

“We would love that,” said NITV Head of Indigenous Commissioning and Productions, Dena Curtis.

“When I first started working in Television, First Nation stories were very niche, and broadcasters were very hesitant about commissioning First Nations content that had a black lens and was primarily for an Indigenous audience. But I think over the years, and in terms of growing our film sector and our talent in stories coming from our local communities, there’s been a real appetite in terms of First Nations audiences.

“I think whilst we would always love to have more of a budget to tell First Nations stories -or a blank cheque would be amazing- I still think there is work to be done in the multicultural space. I think we cannot take away from the growth and the strides and the development of that sector as well. I would like to see us collaborate more and see where those crossovers are. Absolutely, we would love a bigger slice of the pie when it comes to those opportunities.”

Senior Commissioning Editor Cieron Cody added, “I might just follow up and say there has been some really conscious efforts within NITV and SBS to work towards that. The elevation of (SBS Director, First Nations) Tanya Denning-Orman’s role to sit more broadly across SBS and NITV is a big step forward in that direction. Obviously, this is a pretty recent change, but we’re really looking forward to see how that can impact.”

Dena Curtis also revealed more about NITV’s audience saying, “In terms of our primary audience it is 55+, which is much younger than some other public broadcasters. Also, we have an audience base on our linear platform that is 35+ and upwards. So we’re looking at how we can build that audience base more and continue to grow and nurture our younger Preschool and Primary School audiences as well.”

She added, “We’re at a really interesting time at NITV, where our audience is growing on linear television, when a lot of other broadcasters have not grown. So we’re really keen to maximise and leverage that momentum and continue to build on that.”

This week NITV and SBS link arms to premiere Our Medicine, a six-part observational series produced by Karla Hart Enterprises and Periscope Pictures, and narrated by Leah Purcell.

The series takes viewers behind the frontline of Australia’s strained medical services, shining an important light on First Nations professionals working to achieve better health outcomes for Aboriginal and Torres Strait Islander patients and communities.

Directed by Broome-based Kimberley Benjamin (Warm Props) and co-directed by Karla Hart (Yokayi Footy, Family Rules) the series includes access to major hospitals and organisations including Royal Flying Doctors Service (RFDS) Queensland, Queensland Ambulance Service, Cairns Hospital, Royal Melbourne Hospital, Jalngangurru Healing in Western Australia, NSW Justice Health.

Our Medicine is also available to stream free on SBS On Demand, with subtitles in Arabic, Simplified Chinese, Traditional Chinese, Korean and Vietnamese, and with audio description for blind or low vision audiences.

Our Medicine premieres Thursday 29 May at 7.30pm on NITV and SBS, with weekly double episodes.

Nine’s hit game show The Floor has crowned its first winner after 33-year-old Tasmanian engineer Patrick Neasy walked away with the $200,000 prize.

That’s twice the size of a grand finalist on Lego Masters, Australian Idol, Dessert Masters, The Voice, The Amazing Race Australia, Australian Ninja Warrior and Celebrity Apprentice.

He defeated former MasterChef Australia contender Amina. As the final two contestants it was the best of three rounds being, History Makers (won by Patrick), Veggies (won by Amina) and World Leaders (won by Patrick).

It came after contestant Kate lost after winning 10 duels across the series.

Rodger Corser said: “Though Patrick flew under the radar for many nights, he took his opportunities when it counted. His knowledge and intellect were undeniable, but his strategic game was even stronger; no one was cooler under pressure…so much so that I had to check for a pulse at one stage. A very well-deserved winner!”

Patrick, whose original ategory was Instuments, plans to invest and take an epic road trip along the Alaska Highway.

Patrick said: “Winning The Floor Australia feels incredible. Being part of the very first group of contestants — and coming out on top — is something I’m really proud of. I put a lot of study into categories like Girl Groups, History Makers, and World Leaders, so to see that pay off is incredibly satisfying. But honestly, the biggest reward isn’t the money — it’s the friendships I made, the memories from the show, and knowing my family and friends are proud of what I achieved.”

Nine has claimed the show as the biggest new show in VOZ history with every episode averaging over 1 million viewers.

Yet to be formally announced for a second season, Eureka Productions is currently casting for just that.

Screen Producers Australia has responded to the Australian Communications and Media Authority’s latest Commercial TV Program Expenditure Report, warning that the figures once again confirm commercial broadcasters are not delivering on culturally significant genres—particularly scripted drama for both children and adults.

The report shows Light Entertainment is now the highest invested genre, followed by Sport, News & Current Affairs.

Commercial networks spent just $1.8 million on children’s drama in 2023–24—up marginally from zero last year, but still a staggering 98% collapse compared to 2018–19. Spending on adult drama remains flat at $49 million, down from $96 million six years ago, and now accounts for less than 3% of total CTV expenditure.

“These figures continue a pattern we’ve warned about for years,” said SPA CEO Matthew Deaner. “The slight increase in children’s drama investment this year is statistically meaningless. Both adult and kids’ drama remain at unsustainably low levels. We cannot expect Australian stories to thrive without real structural change.”

SPA emphasised that this is not an isolated failure—but rather, one part of a broader erosion of culturally significant content investment.

“Drama is just one of several genres where commercial funding has been allowed to wither, with no other part of the system stepping in to fill the void,” Mr Deaner said.

SPA is calling for urgent policy intervention to address this failure, including:

• Legislated, revenue-linked local content investment obligations on SVOD platforms, leveraging the vast reach and profitability of global platforms to reinvest in Australian creativity;
• Increased ABC and SBS funding, specifically for independently produced children’s and scripted content;
• Producer Offset parity for television and feature films, to level the playing field for local stories;
• Top-up investment for Screen Australia, to support documentaries, regional stories, and emerging creators.

“It’s time to regulate all streaming services and reinvest in our national broadcasters,” said Deaner. “That’s the only way to restore balance in a market that’s now skewed almost entirely toward live sport and low-cost formats.”

The 2023–24 report builds on concerns SPA raised last year, when children’s drama spending hit zero for the first time.

Despite repeated warnings and clear evidence, the structural imbalance remains. This sustained underinvestment has real-world consequences—not just for audiences, but for Australia’s independent production sector, which relies on fair access to commissioning opportunities to support jobs, skills, and enterprise growth nationwide.

“This is not just concerning—it’s predictive,” Deaner said. “This is what happens when regulation is dismantled and nothing replaces it.”

SPA also called for greater cross-platform transparency in content reporting.

“To get a full picture of Australia’s screen ecosystem, we need like-for-like expenditure data across all platforms—including streamers and public broadcasters,” Deaner added. “Only then can we properly assess who is contributing to Australian storytelling—and who isn’t.”

Netflix today announced it was joining OzTAM, the first global streamer to do so.

“We’ve had enough evidence. What we need now is action,” said Deaner. “With the right reforms, it’s still possible to turn the tide. But left alone, the system will not self-correct.”

But Free TV Australia welcomed the same report citing:

• $1.625b invested in Australian content by commercial television broadcasters.
• 88% of total programming expenditure dedicated to Australian content.
• Ongoing support for trusted news services, with expenditure of $408m, demonstrating the industry’s commitment to Australian journalism.
• Continued investment in regional news and current affairs, despite economic and market pressures.

Bridget Fair, CEO of Free TV Australia, said, “Despite challenging economic conditions and increasing competition from global digital platforms, Free TV broadcasters continue to step up and deliver for Australian audiences. Our commitment to local content remains as strong as ever — from trusted news to live sport and entertainment.

“While global streamers sell stories, we tell the stories that matter to Australians — and all for free.

“Australians value Australian television and the vital role it plays in our democracy, our culture, and our everyday lives. To keep delivering, we look forward to continuing to work with Government on policy settings that support a sustainable and vibrant industry.”

Netflix has become the first global streaming platform to join OzTAM.

It marks a major move for the subscription leviathan to begin sharing independently verified audience numbers, and follows ad tier subscription models.

Viewing to Subscription Video on Demand (SVOD) platforms will initially be reported via Streamscape, OzTAM’s new total video report.

Streamscape combines SVOD viewing, measured by Streaming TV Meters (STVM) across Australia’s people meter panel homes, with broadcast TV and BVOD viewing for a total video picture.

STVMs capture all streamed viewing activity across all screens – including connected TVs, smartphones, tablets and computers. It will allow agencies and marketers to compare viewing across FTA broadcast TV, BVOD and SVOD platforms in a standardised format.

It’s not yet clear when audience numbers will be issued publicly, and isn’t expected to be merged with Free to Air data. But it will be welcomed by producers not given ongoing figures for the content they produce.

OzTAM and Netflix intend to progress to a second phase with a vision to enable agencies to plan and report across FTA broadcast TV, BVOD, Netflix.

“We’re delighted to welcome Netflix to the OzTAM family,” said OzTAM CEO, Karen Halligan. “The Netflix partnership is a meaningful step towards unified, Total Video measurement. We look forward to delivering rich, accurate, and actionable audience insights to the industry as we continue to build towards converged trading, no matter which screen content is consumed on, or who it is delivered by.

“We would like to extend an invitation to other streaming services in the Australian market to join this measurement initiative and be part of a collaborative and future-facing approach to audience measurement in Australia.”

Heidi Monro, Senior Manager of Advertising Sales at Netflix ANZ, said: “Netflix has led the streaming entertainment industry on viewing transparency for a number of years now, including our Top 10 Weekly lists and Engagement Reports, but we think now is the time to go further in Australia. We’re pleased to be partnering with OzTAM to make a commitment to its trusted measurement of how people watch television in Australia.”

Foxtel Group exited OzTAM on December 31st after appointing Kantar Media to process and analyse viewing data.

So far data has not been made available to press in any ongoing basis.

She’s one of the world’s bonafide stars known by her first name alone.

In fact they even wrote a song about it.

Liza with a Z was penned by longtime collaborators John Kander & Fred Ebb, humorously referencing the way people misspelled Liza Minnelli.

“It’s Liza with ‘Z’ not Lisa with an ‘S’
‘Cause Lisa with an ‘S’ goes ‘sss,’ not ‘zzz’
It’s ‘Z’ instead of ‘S’, ‘Lie’ instead of ‘Lee’
It’s simple as can be, see, Liza!”

Born of Hollywood royalty, mother Judy Garland and father director Vincente Minnelli, she is half-sister to Lorna Luft and half-brother to Joey Luft.

Now aged 79, she recently participated in the feature documentary Liza : A Truly Terrific, Absolutely True Story by filmmaker Bruce David Klein. Still in control of her memories and humour, if not necessarily her muscles, this is a rare insight into an incredible career trajectory, blessed by interviews with some of her nearest and dearest.

They include archivist and performer Michael Feinstein, Ben Vereen, Mia Farrow, singer Jim Carsuo, George Hamilton, Chita Rivera, dancer Kevin Wilkson, Joel Grey, John Kander, make-up artist Christina Smith, Darren Criss and sister Lorna Luft.

Much is made of Liza emerging from the shadow of the tragic death of her mother at the age of just 23. She was guided by quirky godmother and veteran performer Kay Thompson.

“She taught me how to live life… how to appreciate everything we were going through” – Liza.

“Kay the mentor made Liza the superstar possible” – Jim Caruso.

But there had been years of pursuing dance, despite her non-dancer frame, competing co-performing with mother Judy, and learning from some of the greats including Charles Aznavour.

“What I was really good at was picking the people to be around. I had a good eye. I think I still do” -Liza.

One of those was choreographer Bob Fosse who cast her in Cabaret (on screen but not on stage) as Sally Bowles. It was her father Vincente who suggested a ‘look’ modelled on silent movie stars Louise Brooks and Lya de Putti. Liza also had to work against the perceptions of Hollywood beauty, and turned to American fashion designer Halston for iconic outfits.

“Halston gave her an entire sense of self” – Lorna Luft.

Halston even identified a proclivity to sweat, wrapping her in sequins to hide the moisture beads.

Cabaret became a sensation, catapulting her to global fame and headlines later fuelled by talent, romance, addiction and more.

The doco rifles through her relationships with men: Desi Arnaz Jr., Peter Sellers, Peter Allen, Jack Haley Jr., Merk Gero and David Gest -some are spoken fondly, others become a punchline but don’t expect any kiss and tell.

Her friends are equally protective of her, insisting she is a true friend, putting fame to one side for those most important to her. One occasion was in replacing an ill Gwen Verdon on Broadway in Chicago. Liza learned the entire role in a week and insisted on no billing. Audiences were shocked but elated when learning the ‘understudy’ would be taking to the stage.

“She did it as a favour and she saved the show,” – John Kander.

But there are also her demons, again like her mother, with addictions leading to rehab and press attention.

I felt the doco missed acknowledging Liza deliberately changing the lyrics of Cabaret after her recovery to “when I go I’m not going like Elsie.”

Other chapters not featured include her Results collaboration with the Pet Shop Boys, Broadway hit The Rink , the movie Arthur, The Main Event tour with Frank & Sammy, singing at Freddie Mercury’s AIDS Benefit and Arrested Development (some are glimpsed in video montages). Her status as a gay icon is also kind of accrued by association, rather than detailed for its true activism.

But that’s the ‘problem’ with Liza -you’d need a miniseries to catalogue it all.

Liza : A Truly Terrific, Absolutely True Story is indeed truly terrific for its focus on her talent, collaborations, flaws, family and friends. We are lucky this has been documented with her blessing while she still has the humour and humility to share it.

Liza : A Truly Terrific, Absolutely True Story Monday May 26 on DocPlay.

Happy Birthday to Humphrey B. Bear who turns 60 today.

The very first episode of Here’s Humphrey, created by Rex Heading, screened on May 24 1965 on Adelaide’s NWS-9. The series was produced by Banksia Productions with actor, singer and dancer, Edwin “Ted” Duryea as the first to play the part of Humphrey.

It ran for 40 seasons until 2000 when it was cancelled by Nine, but was recommissioned -after protests- until 2009.

Humphrey is now owned by Gold Coast-based OzPix which releases new material online and maintains the Humphrey legacy.

His 60th week has been busy for Humphrey.

Craig Kocinski from OzPix tells TV Tonight,”This week has been full on! Humphrey is an official ambassa-bear for the Leukaemia Foundation and as a special treat, they hosted a birthday party him at their ESA Blood Cancer Centre in Brisbane, where families of blood cancer patients can stay for free during treatment. Channel 9 covered the story.”

#EXCLUSIVE: Australian children’s icon Humphrey B Bear turns 60 this week, with the beloved bear celebrating with a party, raising awareness for the Leukaemia foundation. #9News @EbonyCavallaro pic.twitter.com/SyD2X19kTh

— 9News Queensland (@9NewsQueensland) May 22, 2025

“Humphrey’s had a very busy month! On the 10th, Humphrey led a Gold Coast Film Festival family event, keeping kids mesmerized for two hours. Fans got photos with him on the red carpet and enjoyed two live performances filled with singing, disco dancing, and plenty of bubbles. They also watched a mashup of classic Here’s Humphrey episodes, which they absolutely loved, and experienced the world premiere of Humphrey’s new Adventure Bear series, soon to be released on YouTube.

“He’s also been to various locations shooting more episodes of his Adventure Bear Series, creating new Lyric Videos, and cutting together segments from his classic Here’s Humphrey episodes. We release three vidoes weekly on YouTub and his social media channels! ”

“While we’ve had interest from broadcasters around the world, Humphrey is currently focused on a digital-first rollout via YouTube and social media—because that’s where kids are primarily consuming content today. In fact, 80% of children’s content in Australia is viewed on YouTube, a trend that mirrors global patterns. And soon, Humphrey will be releasing even more exciting digital experiences, including books, music, activities, games, and more—all developed in collaboration with experts in education, child development, wellbeing, and entertainment.”

Humphrey also had a special message for TV Tonight readers: “Thanks for being my friend! I’d love to meet you in person, so please subscribe to my website newsletter at www.humphreybbear.com plus my social media and YouTube channels, so you will know when I’ll be performing somewhere near you! If we’ve already met, please share photos of us together on my Facebook page. I absolutely love that!”

www.humphreybbear.com

https://www.facebook.com/OfficialHumphreyBBear

http://www.instagram.com/officialhumphreybbear

https://x.com/humphreybbeartv

https://www.youtube.com/user/humphreybeartv

Australian Free to Air Commercial networks spend more on Light Entertainment than on Sport, News & Current Affairs or Drama.

A Commercial TV Expenditure Report by the Australian Communications and Media Authority found commercial networks spent $571,847,734 on Light Entertainment – Other in 2023 – 2024. This category includes Reality TV shows.

The figure is up slightly on the previous year at $556,556,128.

Sport was the next highest genre at $517,428,055, down from $635,094,957.

News & Current Affairs followed at $407,640,271 down from $412,692,900.

These three genres dominate the spend by networks.

Whilst Australian Adult Drama slid from $65m in 2021 – 2022 to $49.4m in 2022 – 2023 it steadied in 2023 – 2024 to $48.5m.

Australian documentaries have lifted from $14.7m in 2022-23 to $20.8m in 2023-24.

Light Entertainment (Variety) also lifted from $1.15m to $5.17m.

Children’s Drama remains all but ignored with a paltry $1.75m spend -up from the shocking $0 the previous year.

Networks also spent less on Overseas Drama from $211.1m in 2022 – 2023 to $190.7m in 2023- 2024.

Commercial networks, including regional, spent a combined $1.62b on Australian content in 2023 – 2024, down slightly on $1.67b the previous year.

Screen Producers Australia:

Screen Producers Australia (SPA) has responded to the Australian Communications and Media Authority’s (ACMA) latest Commercial TV Program Expenditure Report, warning that the figures once again confirm commercial broadcasters are not delivering on culturally significant genres—particularly scripted drama for both children and adults.

The report shows commercial networks spent just $1.8 million on children’s drama in 2023–24—up marginally from zero last year, but still a staggering 98% collapse compared to 2018–19. Spending on adult drama remains flat at $49 million, down from $96 million six years ago, and now accounts for less than 3% of total CTV expenditure.

“These figures continue a pattern we’ve warned about for years,” said SPA CEO Matthew Deaner. “The slight increase in children’s drama investment this year is statistically meaningless. Both adult and kids’ drama remain at unsustainably low levels. We cannot expect Australian stories to thrive without real structural change.”

SPA emphasised that this is not an isolated failure—but rather, one part of a broader erosion of culturally significant content investment. “Drama is just one of several genres where commercial funding has been allowed to wither, with no other part of the system stepping in to fill the void,” Mr Deaner said.

SPA is calling for urgent policy intervention to address this failure, including:

• Legislated, revenue-linked local content investment obligations on SVOD platforms, leveraging the vast reach and profitability of global platforms to reinvest in Australian creativity;
• Increased ABC and SBS funding, specifically for independently produced children’s and scripted content;
• Producer Offset parity for television and feature films, to level the playing field for local stories;
• Top-up investment for Screen Australia, to support documentaries, regional stories, and emerging creators.

“It’s time to regulate all streaming services and reinvest in our national broadcasters,” said Mr Deaner. “That’s the only way to restore balance in a market that’s now skewed almost entirely toward live sport and low-cost formats.”

The 2023–24 report builds on concerns SPA raised last year, when children’s drama spending hit zero for the first time. Despite repeated warnings and clear evidence, the structural imbalance remains. This sustained underinvestment has real-world consequences—not just for audiences, but for Australia’s independent production sector, which relies on fair access to commissioning opportunities to support jobs, skills, and enterprise growth nationwide.

“This is not just concerning—it’s predictive,” Mr Deaner said. “This is what happens when regulation is dismantled and nothing replaces it.”

SPA also called for greater cross-platform transparency in content reporting. “To get a full picture of Australia’s screen ecosystem, we need like-for-like expenditure data across all platforms—including streamers and public broadcasters,” Mr Deaner added. “Only then can we properly assess who is contributing to Australian storytelling—and who isn’t.”

SPA’s 2025 Policy Platform outlines a clear roadmap to revitalise the sector by realigning incentives, obligations, and public investment with today’s digital reality.

“We’ve had enough evidence. What we need now is action,” said Mr Deaner. “With the right reforms, it’s still possible to turn the tide. But left alone, the system will not self-correct.”

Free TV Australia:

Free TV Australia has welcomed the release of the ACMA’s latest report, TV in Australia: Spending on Commercial TV Programs for 2023-24, which confirms that Free TV broadcasters continue to deliver significant investment in Australian content.

Key highlights from the report include:
•$1.625b invested in Australian content by commercial television broadcasters.
•88% of total programming expenditure dedicated to Australian content.
•Ongoing support for trusted news services, with expenditure of $408m, demonstrating the industry’s commitment to Australian journalism.
•Continued investment in regional news and current affairs, despite economic and market pressures.

Bridget Fair, CEO of Free TV Australia, said, “Despite challenging economic conditions and increasing competition from global digital platforms, Free TV broadcasters continue to step up and deliver for Australian audiences. Our commitment to local content remains as strong as ever — from trusted news to live sport and entertainment.

“While global streamers sell stories, we tell the stories that matter to Australians — and all for free.

“Australians value Australian television and the vital role it plays in our democracy, our culture, and our everyday lives. To keep delivering, we look forward to continuing to work with Government on policy settings that support a sustainable and vibrant industry.”

It’s been one of Nine’s best gambles in recent memory, pitting Tipping Point against The Chase and emerging victorious.

On some nights the show hosted by Todd Woddbridge is even the top entertainment show of the night -even when it fails to give away a cash prize.

“One of the things that I kind of love but hate about Tipping Point is that most game shows are formulaic as we know, and television’s like that,” said Woodbridge.

“But when you get into the back end of Tipping Point, we do not know what’s going to happen. Even when it looks like it’s going to be a dud show, it sometimes turns around into the very best, and vice versa.

“So that’s been one of the things that makes it so easy to do, even if you’re feeling like maybe you’re low on energy.

“Obviously you want wins, because people want to know that they’re able to win money.

“We had some shows this season where I’m absolutely flabbergasted that the contestants didn’t win. As as they are! I go on the journey with them, because I feel like it’s us against the machine. Then there are other times when the machine turns it around and it decides it’s going to give what you never thought it had.”

Woodbridge also places a lot of value in the show’s endgame, which crucially leads into the 6pm news bulletin.

“The jackpot temptation has been something that’s really turned the game on its head. You gotta say, ‘Well done’ and tip your hat to the team that decided that was going to be something that we put in play here,” he continued.

“Even after season one, I thought most people watching it now are not going to be as eager to take that temptation. Well, that’s been the opposite. They all see it as ‘I’ve got my chance. I’m only here once, and I’m going to go for it.’ So it has been a fascinating insight into people’s psychology.

“I have people come up to me, and the show has this broad spectrum of viewers. And when I say broad, we’re talking about two, three year olds sitting in their high chair that absolutely love watching this machine throw things over the Tipping Point. And they’re getting engrossed. They don’t know anything about the quiz side of it, but they love the noise, they love the look, and they love the win.

“I get pictures. I’ve got family and friends that have got young ones, and that has been the biggest surprise. And of course, once you’ve got them hooked on it, then you’ve got their younger brothers and sisters that are in primary school. They come home, now they’re into the quiz. Mum and Dad are happy they’re watching a light entertainment type of show.

“A lot of 25 to 40 year olds come up to me and say, ‘We really love the show. It’s my mum’s favourite show.’ I get that one quite a bit. And I go, ‘Yeah, sure.’ ….it’s actually them (watching) and that’s been such a revelation, the cross section of ages that are watching.”

A 90 minute Travel Guides special screens in primetime next week as Kevin & Janetta, Kev, Teng and Dorian, Mark & Brett all compete for charity.

With teams of two and three it requires a little ‘tag-teaming.’

“We’ve got a buzzer round together, and then we have two of the boys on, one sitting in the stand, one coming back out. They did a little rotation, but ultimately they’re working as a team, which worked well.”

Tipping Point: Travel Guides special 7:30pm Tuesday on Nine.

Is there room on Television for both Original Australian scripts and reboots or remakes of Australian and international franchises?

NCIS: Sydney and Return to Paradise have both been successful spin-offs from international shows. But are they taking away from potential commissions of new IP?

Heartbreak High, Wentworth, Mother & Son are amongst recent reboots, whilst Fake, Colin from Accounts and Fisk demonstrate originals can also succeed.

A panel at the recent Screen Forever dissected the case for and against, and whether there is room for both.

Here are some of their select arguments:

Carly Heaton, Creative Director, Scripted Content, Fremantle:

“Fremantle obviously has a long history in this space with Wentworth coming off the back of Prisoner, and the word we use, which is possibly naff and not right either, is a ‘reimagining.’ It’s like you’re using the IP as a brand, as an essence. For Heartbreak High, we had this idea speaking with the original creator, Mike Jenkins who talked about rebellion. I think if you look at the original and you look at ours, it’s very, very different. But at its core, there’s a theme and an honesty to it. We tried to reimagine for what that is now. And I think the same was done with Wentworth.

“Wentworth was reproduced in Belgium and Germany, and you can actually splice the scenes together, because they used everything. That’s a reboot or a remake.”

L to R: Darren Ashton, Chloe Rickard, Carly Heaton.

Chloe Rickard, Partner, Chief Operating Officer & Producer, Jungle Entertainment:

“In some countries, No Activity looks very, very similar to the Australian script, and they’ve just literally put it into their language. But in other countries, it looks quite different. There’s a version that went to Amazon in Japan, which is a very, very different version of the show. There’s a lot more action sequences and things like that. It was a much bigger-scaled production. But I think the winning thing about the journey of No Activity is about who you’re making it with.

“My experience on that was about meeting writers and creatives and actors in foreign countries and giving them permission to make their version, which makes sense in their territory, for their humour and their sensibilities and their references. That’s where I think there’s a really great success in this remake process.

“We don’t really mind whether it’s a reimagining or whether it’s something that we’ve come up with originally. It’s more about what’s our vision for it, and do we see a market? We’ve got a show that’s yet to be announced, so I won’t go into too much detail about it …. it’s a novel, so it’s a piece of IP, and it has had a screen execution, and we’re coming back to do a new version. But the ‘Why?’ has been a really fun question for us. Like, why make this now, in this moment, in this time for audiences? Working out the Why has been a really key part of us understanding how we’re telling the story, through whose eyes? What characters are important? What are we changing? What are we keeping?”

Carly Heaton:

“We were in our office, and we all became obsessed watching these YouTube ‘Rack off’ videos, from the original Heartbreak. Like, there has not been a show like this for Aussies since the original Heartbreak. So it was actually an internal thing (where we thought) ‘This has to be redone.'”

Darren Ashton, Director & Development Executive, Northern Pictures:

“There is a business argument for having a slate that has remakes, and I’ve got to tell you, we have a lot of discussion at Northern Pictures about it… and I should admit, we are considering a couple of things that are Australian IP that haven’t seen the light of day.

“But what I am opposed to, and I think everybody who knows me knows this, and that is a dumping ground for foreign formats.”

Ashton was asked about Love Me which like The Twelve was based on a Belgian format?

“That’s a tricky one, because there’s always nuance, isn’t there? The Japanese version of No Activity doesn’t feel like a carbon copy of the Australian No Activity. You’ve got to kind of admire that. But when I look at some of the stuff that BBC studios are doing, like The Office, Ghosts* and Return to Paradise#, I don’t see a significant difference in those from the originals that they’re copied from.

“Love Me was probably made with love.”

Chloe Rickard:

“I totally get the arguments around a foreign format taking Australian original IP slots, potentially in our commissioning line-ups and things like that. The thing that I was really excited about in terms of The Office was Felicity Ward, who I absolutely adore. She absolutely deserved to be the lead in a show, and I was really pleased for her that she got that opportunity. So I think the programming slots and the discussion around that is one thing, but I also do think through another lens, is giving Australians opportunities to work under brands that are able to elevate them. In the case of Felicity, taking a leading role for the first time, I think that was pretty great for her.”

Darren Ashton:

“Felicity is incredible. But I ask myself, is there another opportunity to create a show that is around her, that is original?

“We looked at the last five years of production. There were 198 series produced, of which 30 were more than two seasons. 20 were remakes or reboots. Wentworth, Heartbreak High, Packed to the Rafters and a bunch of others. Only eight of those 20 were foreign remakes: The Office, The Twelve, Love Me and NCIS: Sydney. So actually, the percentage is really small. But the impact, I think, sometimes can be bigger, because the ABC is the most prolific producer of drama in this country, followed closely by Stan. And without those two, we would be in trouble.

“The other streamers, despite their high numbers of subscribers, make probably about only 10 to 15% of the rest of our content. Probably less actually.”

“What really struck me when I dug deep was that the highest rating shows in this country are originals. That’s without a doubt, Fisk with 2.75 million to 3 million. That’s the highest rated show. Any network going back 20 years would be happy with those numbers. Utopia is the second, it’s consistently around the 2 million mark. Return to Paradise sits in there at about number three or four at 1.7 for the ABC.

“Colin from Accounts was number one on Binge. Fake, if you talk to the people at Paramount, drove people to subscribe. That was a really successful show for them. Having said that, Heartbreak High was obviously really successful. So was Love Me. I don’t know the stats on The Office. I can’t get it.”

* Ghosts Australia is yet to premiere.

# Return to Paradise is a spin-off.

EXCLUSIVE:

When networks and production companies are casting their celebrity shows, they turn to Georgina Harrop.

And when celebrities want to get onto TV shows they also turn to Georgina Harrop.

With more than 35 years in the industry, and over 20 in casting, her recent credits include Dancing with the Stars, Sam Pang Tonight, The Assembly, Creative Types with Virginia Trioli, Take 5 with Zan Rowe, The Real Housewives of Sydney. She is currently casting I’m a Celebrity Get Me Out of Here, the Logie Awards plus working on 3 shows in development.

Here she reveals some of her insights to TV Tonight.

Early beginnings

Harrop’s first role was as a Production Runner on Jack Thompson Down Under in 1988, then working at Beyond with the likes of Simon Reeve, Amanda Keller, Peter Abbott, Tim Worner, Brad Lyons, Tim Clucas.

“Because it was a small production you learned how to do everything, and it was under the same umbrella as the Beyond group. So when that wrapped, I just went over and started working on Beyond 2000. They don’t make TV like that anymore. In the one building, you had people that were writing the music, editing the show…. all the researchers, post production, the accountants – everything was in this two storey building. So you absolutely learned the craft of TV.”

Role of a Casting Director

Harrop spent 3.5 years as Casting Director for the Seven Network before establishing her own company Celebrity Casting.

“I realised there’s so many celebrity-driven, formatted shows. But also, when I worked at Seven someone would say, ‘We’re going to do a new food show.’ So my job was to go out and then find out all the hottest chefs. Or on a Better Homes and Gardens type of show, we needed to find the hip and cool architects or designers.

“They’re not celebrities, but it’s finding those people to turn them into celebrities.

“You’re in a position where you can put someone on a show, and then watch them shine, whereas when you’re managing someone, you’re doing the hustle all the time.

“It’s a really personality-driven job. You have to be a people person, or it doesn’t work. It’s about contacts, instinct and trust. In this business, you can’t burn bridges. Also, I’m surprised at how many people working in TV don’t watch television. Even at executive levels. I see every film, I still go and see live music. I see plays …to be good at casting, you need to be across everything.

“It’s important to have good sense of humour, because we are making TV. You know, I’ve got friends that are intensive care specialists who are properly saving lives. So you’ve got to put it in perspective.

“But still, it’s also important. I always feel for the person that cast Donald Trump in The Apprentice, because you go to bed at night sometimes thinking, ‘God, did I make him really famous? Am I responsible?'”

Producers hoping for A list names

Sometimes producers are overly-ambitious in the cast they are hoping Harrop will secure.

“They go, ‘We’re just wondering whether we could get Chris Hemsworth? Hugh Jackman, Nicole Kidman, Margot Robbie, Naomi Watts?’ They just have this insane list. People get so attached to their show or their format, and they believe that it’s the best show that could be made -which is great. Because if you don’t think like that, then why are you making the show?

“But I’m the heartbreaker. I have to go, ‘Yeah, it’s not going to happen.’ ….People will do you favours but you don’t want to burn contacts either.

“One of the more ridiculous directions I was given was from a very senior network executive who is no longer in the industry which was, ‘I don’t want anyone on air with tattoos.'”

Networks chase different audiences

“I always say, ‘What’s the audience?’ And they go ‘Everyone,’ which is no help. What’s the demo?

“Channel Seven’s idea of household names are very different to Channel 10’s idea of a household name.

“I think if anything, the ABC is a little bit more celebrity driven now than it used to be, which is not a bad thing.”

The Hotplate (Nine 2015)

“I remember seeing a story with Tom Parker-Bowles being kind of facetious and funny and quite foodie. I just rang up and within half an hour, I had him prepared to get on a plane by the end of the week. And at that stage, he was the Queen’s step grandson. I remember going in, really selling it saying, ‘He’s royal family ..sort of in a step way!’

“He was great talent. That was fun to be able to just think outside the box a bit and go, ‘Who can we have that’s not that obvious?'”

The Real Housewives of Sydney ( Foxtel 2017  / 2023)

“The people that you really want are often the ones that don’t want to do it.

“On a show like that, there were so many women ringing up gossip writers from different magazines, telling people that they were approached but had declined. They wanted to tell their friends, because they knew that they weren’t going to be approached. That was funny.

“I’d read about these people that I’d never called or never even met. That doesn’t happen on other shows, but on that show, it does.”

Dancing with the Stars (Seven) / I’m a Celebrity Get Me Out of Here (10 various)

“If I think someone’s really going to deliver and (producers are) not seeing it, then we’ll have a healthy discussion and we’ll go back and forth about it. But if you just keep thrusting stupid names at people, they start to lose trust in you. It’s about having a good gut instinct. So pick your fights if you think someone’s going to really deliver and be amazing.

“When I’m doing I’m a Celebrity, I can sit there and go, ‘That person will probably cry in about the third episode.’ They’ve got to be interesting or reveal something about themselves during that show. Some people don’t have a big profile, but they’re going to have jaw-dropping stories. People will actually fall in love with them, and they become bigger stars on the back of it.

“Or for Dancing with the Stars, I’ll say ‘That person actually is an amazing dancer but no-one knows it, so they’re going to be a great surprise.’

“Dancing with Stars, I don’t think has ever damaged anyone’s career, because most people sit at home going, ‘Good on them.’ They want them to succeed.

“But the sports blokes go, ‘I don’t think so.’ And then I’ll say, ‘Why don’t you ask your wife and then get back to me?’ They ring back and go, ‘Yep, she desperately wants me to do it.’ The thing is too, you lose weight and you look hot at the end of it.”

Sam Pang Tonight (10 2025)

10’s new chat show drew some commentary around few international guests and a familiar list of Have You Been Paying Attention? colleagues.

“So many people love Sam and want to do the show, but they’re not available on a Monday night in Melbourne. Like Take Five with Zan Rowe isn’t a big show, but they have a budget. They can pick a date, travel to the person and record them. But when you’re working on a show, like The Assembly, we’ve got three weeks in this month, you’re limited.

“So doing a Tonight Show on a Monday night in Melbourne, you have to have someone available to be on air at 8 o’clock.

“In the old days (studios) would bring people out to promote a film. They don’t do that much anymore, because they know, particularly since COVID, they can just get people in a studio and do a link or a zoom call. With Sam’s show we would be open to doing it, but ideally we wanted people sitting in the chair. So it’s all about timing.

“It’s also a comedy show. The monologue’s written, there’s comedy segments in it. So if you’re just sitting there relying on international guests, and that’s all you’ve got in the show, I don’t think you’re gonna get too many people tuning in.

“(For instance, Kitty Flanagan’s) selective about what she does, as were a lot of the other comedians that came on the show. They won’t just go on any show. It is essentially a chat show, but a comedy show as well. So we want to have comedians.”

Casting ex-Reality TV faces

Harrop has also worked in talent management and helped ex-Bachelorette Sam Frost play the long game with a media plan. But not all reality faces are as memorable.

“She got a radio gig, and then I talked to the guys at Seven. I said ‘She’s really interested. She’s beautiful. People love her. She’s the girl next door.’ She had never done an acting course and she ended up on Home and Away. I just kept explaining to her that, ‘This won’t last forever. We’ve got to be careful how we play this.’

“We tend to remember the contestants from the first couple of series of a reality show because they aren’t necessarily chasing the fame. Like MAFS where I think they genuinely were looking for love, then as the series rolled on I think we know they’re looking for fame.

“It’s hard to keep across all these reality types, when I’m casting for other shows, I try to avoid the fame whores, they tend to have one trick. It’s the funny ones with good life experience that float to the top.”

Diversity in Casting

Over the years Harrop has seen shifts in Casting to be more inclusive, but warns against ‘box-ticking.’

“Don’t put someone on the show because you think you need to tick a box, because that’s dangerous. You end up putting dud talent on the show, and I’ve seen it happen. It’s awful, because the people who are being cast know it too.

“In saying that I have worked on shows, where I’ve got to a point saying, ‘Am I going to address the elephant in the room here? The whole cast is just white, like, Hello?’ And they’re like, ‘Oh yeah.’ No one’s thought about it. So it is the responsibility of a casting person just to give a little reminder every now to have a look at their headshots on a page. Are we all happy with this? Does anyone notice something’s wrong here? What’s wrong with this picture?”

The Joy of Casting

“I love what I do. It’s good fun, but you’ve got to have a laugh, because there are some mad moments that happen. The things I can’t talk about are just utter madness.

“I can’t remember the last time I had a public holiday. When you’re casting something, you’re always thinking about something and someone and how that would work. When I’m working across a couple of shows, you’ve always got a few plates spinning.

“You’re talking to the managers, the managers do the deal with the network, and then you walk away, and the show then gets filmed, and you’re not there on set with them.

“But I remember finding that person, saying they’re good talent, convincing someone to put them on a show and then watching their career keep going. You don’t need the thanks, but it’s a nice feeling that you’ve kind of helped someone who you knew had the goods and could deliver.”

Combative, playful, resentful, guarded, verbose.. these are all words to describe Paul Reubens’ one on one interview with filmmaker Matt Wolf for Pee-Wee as Himself.

Wolf filmed more than 40 hours of interviews with Reubens for his 2 part HBO documentary. But the ‘reclusive’ Reubens challenges him every step of the way. Does he want to participate? Yes. No. Maybe.

What’s abundantly clear is he absolutely hates not having control over the final edit.

He resents being told he doesn’t have a persepective on his own life.

“I don’t want this to be a leagcy… I really want to set the record straight on a couple of things and that’s pretty much it,” he insists.

He threatens to walk. He asks for the right to interview guests and associates himself. Understandably, Wolf declines. Reubens seems to get off on provoking his director in exchanges which tell us plenty about his personality and need for creative control.

What was unbeknown to producers across the duration of filming is he had been also been fighting cancer for 6 years.

Pee-Wee as Himself is a long, indulgent portrait of a complex artist, from cradle to grave, with archival footage and key interview subjects giving context to the many highs and lows of his 70 years. It’s also produced by HBO, the same company which (as Home Box Office) produced his first TV as Pee-Wee.

As a child, living largely in Florida, Reubens was obsessed with TV shows The Howdy Doody Show, Captain Kangaroo, The Mickey Mouse Club, and I Love Lucy. Longing to jump into the TV set to escape his own existence, he even envisioned Lucy & Ricky as his own parents. After beseeching his father to build a stage in the family home basement, he went on to join local theatres and later CalArts in Los Angeles.

It was in California where he met his own kind, joining a performance art troupe which included David Hasselhoff and Katy Sagal, and his first long term relationship with a young painter named Guy who, as it would later emerge, was an inspiration for some of Pee-Wee’s voices.

Whilst his parents supported his gay relationship, it would later end badly prompting him to never embark on another.

“I was out as you could be, and then I went back in the closet,” he reveals.

“My career would have absolutely suffered if I was openly gay, so I went to great lengths for many, many years to hide it.”

There were successful appearances showcasing performance art on The Gong Show, The Comedy Store and as part of improvisation troupe The Groundlings, which offered him a late night slot to stage his own show. For Reubens it was the opportunity of a lifetime… a chance to host his own subversive Kid’s Show as Pee-Wee Herman, an innocent, bow-tied character who dreamt of flying. Together with artist Gary Panter and performers including a young Phil Hartman (Captain Carl) and Lynne Stewart (Miss Yvonne), it grew from a 99 person audience to packed houses at the Roxy Theatre -one show even with Andy Warhol in attendance. Its mix of zany nostalgia, twisted childhood innocence and double entendres proved a winner.

Reubens added to the meteoric rise by only ever doing interviews in character.

“I felt a freedom in having an alter ego… I can hide behind this or I can step away from this,” he said. He even appeared on The Dating Game in character.

“When I walked out of that audition I immeditaely walked out onto the street and felt changed… I felt like I had a super-power.”

New manager Rich Abramson secured TV deals with HBO. Pee Wee’s Playhouse (now with Laurence Fishburne as ‘Cowboy Curtis’ and sometimes a young Jimmy Smits) enjoyed 5 seasons on CBS while his ultimate dream of a Hollywood movie, Pee-Wee’s Big Adventure, would be realised by 1985. In it he envisioned Pee-Wee as a male Pollyanna, famously portrayed on screen by Hayley Mills. Two other films, Big Top Pee-Wee (1998) and Pee-Wee’s Big Holiday (2016) followed, but not always achieving the same success.

Privately Reubens had bought a Hollywood Hills home where he would care for local wildlife and enjoy “secretive relationships” with high profile men…..

Any anonymity was imploded when Reubens was infamously arrested for indecent exposure in an adult cinema in 1991. Mug-shots and headlines destroyed the Pee-Wee innocence, but he contends the charges did not reflect the incident. It left him more reclusive and artistically-deprived however the doco captures support, including from A-listers, and a public backlash to the removal of Reubens material.

Comebacks and other storms would follow, some of which attracted further notoriety but the doco endeavours to hear Reubens’ side of the story -if only he wouldn’t keep getting in the way.

Reubens’ own desires to micro-manage (or preferably post-produce) the documentary makes for a complex, fuzzy narrative. Added to the unnecessary length of the project (around 2 x 100 mins), it surely requires the fascination of a devotee to make it to the end.

The reward in doing such is in hearing audio Reubens recorded the day before he died. It helps place some perspective on his reasons for participating in, and rebelling against, the documentary. And in coming to recognise a man who brought performance art to mainstream media in the form of an iconic children’s television character.

Double episode Pee-Wee as Himself Saturday May 24 on Max.

Austria has won the Eurovision Song Contest 2025.

Countertenor JJ (real name Johannes Pietsch) drew 436 points with his popera balled “Wasted Love”. The 23 year old Austrian-Filipino artist drew 258 Jury points  and 176 televoting points.

Israel was second with 357 points and Estonia third at 356 points.

Basel, Switzerland, turned on a spectacular show at St. Jakobshalle arena, with Australian commentary on SBS by Tony Armstrong and Courtney Act.

Australia’s spokesperson Silia Kapsis, who competed for Cyprus last year, delivered 12 points to Greece from Down Under.

Sadly Go-Jo did not qualify for the Final with “Milkshake Man.”

United Kimgdom and host nation Switzerland drew 0 points from the public vote.

This post updates.

With the change in news bosses -again- at Seven the challenge will be on to wrest back 6pm ratings in Sydney and Melbourne.

Nationally, Seven News still holds the crown but the strength of Tipping Point has certainly aided Nine News in key markets where big advertising dollars are spent.

In Sydney Nine News has enjoyed a long run winning streak over Seven.

“We’ve been the number one news in Sydney for the last 14 years straight. It’s been a strong performance from our team,” Peter Overton tells TV Tonight.

“I went into the news job in 2009 and I think since 2011 we’ve had unbeaten run.”

Yet in more recent times Nine News has become the news itself. In October an independent, company-wide review by Intersection found Nine had a systemic issue with abuse of power and authority; bullying, discrimination and harassment; and sexual harassment.

The most damaging of those claims centred on the News and Current Affairs division, previously managed by Darren Wick.

Nine Board subsequently committed to implementing all 22 recommendations of the review. According to Overton progress is being made.

“We’ve got a great newsroom with great people we’re good friends, we care for each other, and we just get on with it. We just get on with our daily jobs. Nine has been very supportive for anyone who’s needed support. It’s business as usual,” he said.

“Yes, progress is being made. But I’m at the coalface. I sit with my colleagues. We support each other. We listen to each other, and I talk from my perspective: we have a strong team and a strong camaraderie within the team.”

Last week at Screen Forever, ABC’s iview team presented some insights under the hood behind its growth strategy, and with a little myth-busting.

ABC iview was the first catch-up platform offered by an Australian broadcaster in 2008. But shifts in habits and the rise of competitors, means it is now a serious On Demand service, and for some viewers a BVOD first option over linear.

Roberta Allan, (pictured top left) Head Programming, Acquisitions and Streaming, said, “We acknowledge that it’s a massive market, and what we aim to do is be within people’s consideration set. Generally, people are using between three and four apps on their television on a regular weekly basis… we think it’s incredibly important that public service broadcaster is in that space.”

Total TV Reach (Broadcast and BVOD) VOZ

Charlie Cox, (pictured top right) Senior Manager, Programming & Streaming, said, “(Recently) we had record breaking number of minutes viewed on iview. We did obviously have the Federal Election, but we had Gruen Nation, we had Vera. we had Bluey’s Big Play … so the growth is continuing.”

“Two thirds of Australian kids are reached by ABC Kids and ABC Family each year. But also, I think the myth that we often hear is that the ABC only talks to older people. The 65 plus demo, sure it’s massive, but that demo is also massive. That’s 40 years of the population. They’re retired and at home. What are they doing? Watching telly.

“75% of 65+ we’re reaching, but so are other Free to Airs. So that’s a big part of our audience.

“I don’t think many people would assume that. And when you combine that with a 40 to 54 demo, we know that we’re reaching 60% of people in that demo. This is just Q1 alone of 2025.”

Top 10 Ratings for Australian Content on ABC for 2025 so far*

Cox said 60% of Current Affairs programming comes from overnight broadcasting.

“We’re seeing really strong overnight numbers for that type of content. As we’re walking through different genres our Wednesday entertainment is still quite important for our broadcast, with 45% of that audience coming from overnight figures. But you can see that encores are getting more and also we’re trying to grow that iview pie for entertainment. With Guy Montgomery’s Guy Mont Spelling Bee, which we launched last year, we wanted to binge all of the episodes. That programme alone was 25% on iview for its audience. So we’re really trying to figure out what’s the best way of launching these shows, and how do we actually grow what is on iview?

“The biggest change we have seen is our Sunday night programming. Someone might see a scripted Sunday night drama go out and think ‘That’s a low number on (Broadcast) Overnights.’ But not all people are watching it there. 25% on average is on Overnights. 25% is on Encores. But almost 50% of it is on iview. This was not like this a year ago or even two years ago. We’re seeing really rapid viewing habits, particularly for our Sunday night dramas, being driven by iview.”

* Doesn’t include Children’s. Primary slot Consolidated, excluding Repeats. As at May 2nd 2025.

Seven Director of News and Current Affairs and editor-in-chief, Anthony De Ceglie, will depart the business after just a year in the role.

He has been named as inaugural chief executive officer for new NRL team, the Perth Bears.

Peter V’landys, chairman of the Australian Rugby League Commission, said in a release: “To succeed in Perth, you need a well connected local who knows how to get things done and has a can do attitude.

“Anthony is a brilliant operator with a proven track record and a genuine Western Australian, and I am excited about what he can do for us as we grow rugby league in the WA market.”

Updated:

Seven statement:

Seven West Media today announced the appointment of Ray Kuka as Director of News and Current Affairs.

Mr Kuka has been an integral part of the 7NEWS team for more than two decades. He originally joined the 7NEWS Brisbane team as an intern while at university, and went on to work for Seven in Sydney, Melbourne, Brisbane, Perth, London and China.

Mr Kuka is currently SWM’s Deputy Director of News and Current Affairs and Director of News in Perth. He has been consistently delivering audience wins in one of Australia’s most important and growing markets, and has been responsible for Seven’s major news events coverage for almost a decade.

In his new role, commencing 19 May 2025, Mr Kuka will be responsible for Australia’s most-watched news and current affairs programming.

SWM Managing Director and Chief Executive Officer, Jeff Howard, said: “Ray will build on the drive for high quality journalism that defines our news services. The continued integration with sport and the progress we have made building 7NEWS’ digital presence will also remain priorities.”

Mr Kuka’s appointment follows the decision by current SWM Director of News and Current Affairs, Anthony De Ceglie, to take an external opportunity. Mr De Ceglie has been an integral part of Seven West Media since 2019. During this time, Anthony has driven change and innovation, including the launch of a new National digital newspaper, The Nightly, a national news desk and a new midday bulletin.

Mr Howard said: “Anthony has made a significant contribution to Seven West, in particular to 7NEWS over the last 12 months, and we wish him all the best for the future in his new role, as CEO of the new NRL team in Perth.”

Mr De Ceglie said: “I have loved every minute of my six-years at Seven West Media, both as Editor-in-Chief of West Australian Newspapers and more recently as the Director of News and Current Affairs at Seven.”

“The support and guidance from everyone has always been incredible and I am forever grateful.”

Mr Kuka said: “I am already so proud to be part of the Seven newsrooms that deliver the best daily stories and the best coverage of major events.

“Now being charged with leading them is next level and a privilege I’ll never take for granted. I love working in television and can’t wait to see what the future brings our staff and our audiences.”

Mr Kuka’s successor for Perth News Director will be announced in due course. Mr De Ceglie will support Mr Kuka through the transition before his last day on 30 May 2025.

SWM Chairman, Mr Kerry Stokes AC, said: “We thank Anthony for his contribution and leadership and wish him every success in his future role, which sees him return to Perth.

“The SWM team is full of the best operators in the business. Ray is the ideal person to lead Australia’s number one News and Current Affairs team to an even better future.”

Mr Howard said “Ray will bring a new, fresh perspective on news innovation as we continue to be Australia’s unmissable choice for news, sport and entertainment. I look forward to working with him in his new role.

“In addition to Ray’s appointment, we have taken the opportunity to bolster our executive team, to ensure we continue to deliver our strategic objectives and future ambition. To that end, we are also excited to announce that Sarah Stinson, Director of Morning Television, will join the SWM executive team.”

If you’ve ever seen comedy shows like The Weekly with Charlie Pickering or The Cheap Seats, it’s probably crossed your mind: how on earth do they find all those obscure news clips?

Firstly, they do have dedicated researchers for that very task, but secondly there is a little help from technology.

Although it wasn’t always the case, as Charlie Pickering recalls.

“We built a machine that was called The Beast, it was unbelievable,” he tells TV Tonight. “It was a computer and a bunch of hard drives…. I think it did catch fire at one point.

“The idea came from a bit of technology that The Daily Show built a while ago called Snapstream, which is very clever. You set which channels you want to record. It records everything, and as part of the file it records the captions, and the captions become searchable.

“Eventually we communicated to the ABC that the only way to do this properly long term is to subscribe to Snapstream. And they wanted to be doing more things in Australia anyway. So I think we were the first. Now I think there are some other shows at the ABC that use Snapstream.”

The Cheap Seats also thrives on random news and entertainment clips.

“I am familiar with Snapstream. It’s an amazing thing. It sort of records all the telly,” says Melanie Bracewell, who insists it isn’t as simple as typing in ‘funny thing’ to source a clip.

“But sometimes, if you’re trying to look for 10 clips of someone saying, for example, ‘Waiting for the pre-polls’, then you can search that phrase and it will find the things you’ve recorded via the transcript. It’s pretty amazing.

“Quite often I will search the phrase ‘Sorry’ or ‘Apologies’, because that’s often what journos say when something has gone wrong.

“Essentially we have the machine that records all the news we have programmed and it just transcribes it. It means you can search rather than watch everything. For example, if I search Toto the Dog, it’ll just show me the parts of the broadcast and where they talk about Toto.

“It doesn’t completely mean we put our feet on the desk and we do nothing! It just means that if we are trying to find a particular clip, it makes our lives a lot easier. We don’t have to scrub through hours and hours of footage.”

It’s been a crash course in Eurovision culture and history for Tony Armstrong, as one half of the new commentary team for SBS.

Speaking with TV Tonight prior to his travel to Basel, Switzerland, he has been immersing himself in all the pop-dom of the world’s longest running singing contest, comforted in the knowledge that his co-presenter, Courtney Act, has experience on the ground.

“I see is as a challenge, to be honest,” he says.

“But I think the roles are just different. You look at at any sport commentary team. There’s someone saying what they’re seeing, and then someone saying why we’re seeing it and why it’s important. Like, that’s any commentary team in anything.

“So you need two people playing different roles. If we were to use a sport analogy, I would say I will be the one to go, ‘This is what I’m seeing. That’s cool,’ and I would say Courtney will also be doing that, but generally speaking as the expert.”

To be fair, Sam Pang was arguably fairly new to the Eurovision world when he joined Julia Zemiro in 2009 -a role that lasted until 2017.

Courtney Act, having attended for backstage interviews in 2024, also gets that she will be doing much of the heavy lifting in SBS commentary.

“I think both Tony and I would agree with that,” she says.

“I’m immersed in the Eurovision world. Obviously, Tony comes from the sport world, but he’s also a guy who loves music and pop culture. I think I’m gonna have fun seeing Eurovision through his eyes.

“We did a workshop, and we did some publicity days, and he’s immersing himself in the world and enjoying it, and getting all of the highlights of previous years, and getting that history under his belt.”

Both came together following a chemistry test for producers, as the new team succeeding Joel Creasey and Myf Warhurst.

“I guess Tony and I hit the spark. It was sort of that thing where I thought, ‘This is a natural flow, I hope they hope they do ask me.’ I got on with Tony like a house on fire,” says Act.

“My management asked me if I had any interest, and I was like, ‘Hell yeah!'” Armstrong recalls.

“I was aware of Eurovision obviously, and loved what I’d seen, but hadn’t fully dove into it. Then I got the tap. I had to think about it, and went and did some stuff with Courtney, which was so much fun.”

Both commentate across two Semi Finals plus the Final. There are also backstage interviews and fan events in Basel to cover. After travelling from Australia, both have just one day of recovery before  the work begins.

Last year Electric Fields failed to qualify for the Final but there are big hopes “Milkshake Man” will resonate with televoting and jury.

Courtney Act says, “We were sending our biggest and brightest names -as we should- and as Go-Jo is. But there’s just something about the fun and the irreverence and the sex appeal, that we haven’t had before. I think those are really key elements of Eurovision, so it feels like a really good fit.

“The thing that Go-Jo has got going for him is that he is a performer. You look at his Instagram and you see all these videos of him down at Bondi Beach with his guitar, busking and interacting and having fun with people. I think that will be what shines through at Eurovision, which is playing up to the camera and playing up to the audience. You know, ‘When I say Sweet, Sweet, you say, Yum, Yum.’ That’s perfect, right?”

“He’s kind of got this Benson Boone meets Rocky Horror Picture Show vibe that I think is likeable and that people will enjoy. If they’re just tuning in for the Final I think that they’ll see this handsome, fun Aussie guy.”

Armstrong agrees.

“It just feels like that’s a song almost built in a lab to win Eurovision. It just feels like it hits on so many of the things that win a Eurovision competition. But it’s all going to come down to that execution in the room and how that looks,” he says.

The staging by Creative Director Paul Clarke includes a giant blender -a fitting touch from the land of the Big Banana. But there is plenty of competition and elements that can’t be controlled such as the number of competing similar songs, or the placement in the Running Order (Australia opens Semi Final Two).

“I love Estonia,” Armstrong suggests. “Espresso Macchiato is a great song. I love the performance with the ties and his security and all that kind of stuff. It’s hard to think that Sweden won’t be right up there as well, I love the stage design.

“But Go-Jo is pretty bloody good as well, to be honest.”

As always Australian residents are unable to vote for Australia, with bookies currently favouring perennial winner Sweden, Austria and France. But we have consistently scored well with Eurovision juries, if not always the public televoting.

All eyes on Friday morning, and hopefully Sunday morning.

“I think it’s a really fun sexy song,” says Courtney Act. “There’s lots of fun songs, there’s lots of sexy acts, but I feel like there’s a there’s a nice intersection that will hopefully appeal to the girls and the gays and the grannies.

“Because he seems like a nice young man!”

NB: TV Tonight will be publishing results Live AEST on Wednesday, Friday and Sunday mornings.

Live early morning broadcast on SBS and SBS On Demand
Semi Final 1 – Wednesday 14 May at 5:00am AEST
Semi Final 2 – Friday 16 May at 5:00am AEST *Features Australia (Australia votes)
Grand Final – Sunday 18 May at 5:00am AEST(Australia votes)

Prime time ‘Access All Areas’ event coverage on SBS and SBS On Demand
Semi Final 1 – Friday 16 May at 7:30pm
Semi Final 2 – Saturday 17 May at 7:30pm *Features Australia
Grand Final – Sunday 18 May at 7:30pm

sbs.com.au/Eurovision

Minor spoiler:

It’s footage that would probably make David Attenborough green with envy.

Whilst filming natural history documentary The Kimberley for ABC, Producer Director Nick Robinson managed to capture incredible vision of a daring mob of wallabies drinking from a crocodile-infested river.

But not even he expected the drama that would unfold in a rare animal drama.

Robinson and his Director of Photography Jack Riley spent 7 days on a tidal river in the East Kimberley to try to capture footage of a story they had been told.

“We were talking to a random fisherman one day, and he was describing how he’d seen a croc take a wallaby from the bank. He’d seen it twice when he was fishing. But in my whole career of sitting on the banks trying to film exactly that, I’d never seen it. What he was describing seemed really good, but I figured it could be a fisherman’s tale,” says Robinson.

“It was pretty remote but once we got there, and drove down to the river at three in the morning in the boat, it was on. We could hear crocs in the distance and behind us, in the dark.”

By day three or four of filming parched wallabies and their joeys risking death to drink water, Robinson captured a stunning sequence of events (what follows is a bit of a spoiler).

On screen it is edge-of-seat drama, although Robinson describes it more literally

“We filmed a wallaby falling in the water, swimming, getting away, then getting chased by an eagle and falling in the water,” he explains.

“I’ve never heard of eagles pushing wallabies into the water so crocs could eat them. That’s not something any of the scientists I’ve spoken to know about. So when we saw it, and it was like, ‘Surely, that was deliberate. That’s amazing.’

“It just happened in front of us and we got really lucky. I had a drone in the air, and Jack had a high speed camera going at the same time, and we just happened to catch it all in a fluke.”

So incredible was the vision it opens the three part series. But it also created a dilemma in depicting the fate of the wallaby for the audience.

“We certainly debated it a bit. I mean, I think when you’re working for Disney, the cute animal would get away every time,” Robinson suggests.

“We opted not to sanitise the world. Crocs have gotta live too.

“I thought let’s just show it as it happened, rather than change the story. But also, once you kill the cute animal in the first part of episode one, it means that anything can happen from then on.”

What follows from then on is three episodes of full of stunning landscapes, deep culture, and iconic creatures found nowhere else on Earth.

Mark Coles Smith, a Nyikina man who grew up in his mother’s Country on the mighty Martuwarra / Fitzroy River, presents the series. Filming took place over 18 months, capturing six tropical seasons over the course of a year.

“It starts at the end of the dry season, and then the wet starts, the rain falls, the rivers start flowing again. We go out with Mark Coles Smith into on a mission down the Martuwarra to survey biodiversity in a really remote stretch of river.”

At one point in a ferocious river rafting sequence, Mark Coles Smith is dumped in the drink. Was Robinson worried at all about losing his main man?

“That was hectic. That river is in the middle of nowhere, and Mark had never paddled a pack raft,” he recalls.

“Just before we got there, it had been raining real hard for three days. He got dumped about 10 times that day. It was a white water thrashing.

“Mark’s very fit, very resilient. He’s doesn’t back down from much. So, we weren’t too worried about him. But I didn’t want to get the star of the show injured so we said from the start, ‘Mark, you don’t have to do this. I can’t be responsible for Mark Coles Smith getting maimed!’ And he’s like, ‘No, no, I want it. This is what we do!'”

Episode Two moves into dry season mostly following “Dambimangari Rangers” on a coastal mission. There are humpback whales, northern quolls facing a cane toad invasion, and the jewel in Dambimangari Country is revealed when Australia’s biggest tides draw the ocean away from hundreds of square kilometres of coral.

“By Episode Three the dry season is getting hotter and harder,” Robinson continues. “We visit Wunambal Gaambera Country on the Mitchell plateau, the most remote corner of the Kimberley and also the most bio-diverse region with amazing animals. We head out into the desert and see some of the more Desert-like landscapes and animals of the Kimberley. Mark goes on a journey to to meet elder Mervin Street in Gooniyandi Country, which is a beautiful portrait of a man who was born in another time, and he takes us on a journey through his country.”

Mark Coles Smith was also consulted on the entire scripting process to retain authenticity. Having first been cast in television as a teenager in Ocean Star while living in The Kimberley, he is now welcomed home as a community success story.

“He’s very well liked everywhere we turn up. He’s very down to earth individual. People don’t get star struck that often, I don’t think, in those communities, but they all really love him and you see that in the show. They all admire him for the work he’s doing and for the fact that bringing attention to their world.”

The Kimberley 8pm Tuesday on ABC.

When Peter Mitchell reads the news bulletin tonight from Seven Melbourne’s new home at Melbourne Quarter Tower in Collins Street, it will mark a third chapter at the network for the seasoned newsman.

‘Mitch’ became weekend news presenter for Seven in 1987 and weeknight anchor in 2000, originally at Seven’s former home in South Melbourne.

On Friday he read his last bulletin at Broadcast Centre Melbourne, Docklands, adjacent to Marvel Stadium (previously Etihad Stadium).

“It’s strange to be leaving there, because it was purpose built as Kerry Stokes’ offshoot from the football stadium. It was the broadcast centre of the network, and we thought we’d be there forever,” he tells TV Tonight.

“There’s only a handful of us who will have worked in all three places. I first got the Monday to Friday gig over at Dorcas Street, and I read there for 18 months with Jim Wilson and David Brown, before we all moved over to BCM at Docklands.

“You might even recall what it looked like before that stadium was built… the old Footscray Road was just one of the ugliest parts of Melbourne by an absolute mile. Once it was all knocked over we had the new place open, and the big red Seven.”

That big red Seven may have become a Melbourne landmark, but it won’t be moving to MQT, which stands almost opposite Southern Cross railway statton.

“We’ve been told, sadly, it’s being sawn up into scrap metal. We saw the workers with the cherry pickers there yesterday taking off the Seven Melbourne signage from our building, and that’s going to suffer the same fate. Unfortunately, that’s progress for you.”

Seven’s has two floors of the building, shared with other businesses such as Medibank and even Don Smallgoods, and coincidentally brings the network closer to Nine’s Bourke Street home, also opposite Southern Cross.

“Viewers won’t notice much of a difference, apart from the fact that everything’s brand new and the screens are state of the art. It’s crystal clear quality, and the graphics will be very clear, so it’s going to be very slick. But aside from that, the actual presentation of the news doesn’t change one bit,” he continues.

“The studio is so big they can swing the cameras around and do another show from the other direction. And there is a secondary studio… for visitors or for Sunrise or The Morning Show where they can cross to anybody. The Sunday football show has its own area, as part of the new studio as well.

“There’s two control rooms, so you can have two shows going at once, not that that happens all that much, but it is possible.”

Another floor is open plan for Sales and Administration. Progress also demands there are no dressing rooms, save for one room for males and another for female presenters.

“They’re quite spacious, and the corners have a hospital curtain that you can pull around for privacy. It’s an interesting move, because none of the presenters have got offices like at Docklands. We’ve all got workstations so I’m looking forward to seeing how that dynamic works,” Mitchell suggests.

“It’s a very open plan newsroom, much like you’d find anywhere around the world, where everyone has to muck in.”

Mitchell has mixed feelings about departing BCM, which was once the tech hub of the network, serving as playout centre for all national broadcasts.

“There’s an element of sadness, in a way, that we’re leaving this area,” he explains.

“But if I’m being brutally honest, I still scratch my head and wonder about the planning of Docklands itself. Where we’re going into Collins Street, it’s vibrant. There are cafes and bars all around us. When you walk in, there are workers eating their lunch in the gardens and parks. It’s just great to see life, whereas in Docklands, it’s always been a strange area especially over on that side, I know the collapse of the waterfront there hasn’t helped one bit, and they’ve tried festivals and all sorts of things to bring some life to it, but it’s still a work in progress.”

Mitchell can’t say what will become of BCM.

“I really don’t know what’s going to happen to the Channel Seven building. Will it be knocked down? More apartments put up? Is that the answer to bringing life to that area?” he asks. “I don’t know, but I think it will have to involve some sort of plan to open up the stadium a bit more, maybe bring the concourse down onto Harbour Esplanade.

“In a way, I’m sad to be leaving there, but in another way, I’m very excited to be starting at a new place at this stage of my life.”

Seven News 6pm nightly on Seven.

TV may be chockful of successful quiz shows right now, but there is one favourite ready to return.

Yes, even after 13 years, Tom Gleisner still sees Have You Been Paying Attention? as a quiz, and all 5 panelists as contestants.

“An executive producer at Channel Nine called David Lyle (The Golden Years of Television) once said to us -because I think at that point we were tossing around half an idea for a TV quiz- ‘If you’re going to do a quiz show, you’ve got to make the questions and the scores matter’. And we think he’s right,” Gleisner explains.

“So even though it takes 10 goes, I will wait till I get a correct answer. I don’t just distribute points randomly. You’ll never hear me use the phrase, ‘You can all have 10 points!’

“Curiously, there are some viewers who take a great deal of interest in who wins the episode? Now, they’re hardly playing for a huge cash prize. It’s not The Floor….of course, we’re there for the comedy. But it is a quiz.”

It’s a format that is the envy of rival networks, and one that has attracted some international interest, albeit not yet setting MIPCOM sales on fire.

“We’ve had all of two! New Zealand, which sadly has seen all television stripped back. And Cyprus did a version, which translated rather casually as Pay Attention! with an exclamation mark. So that was fun,” he continues.

“The United States keep expressing interest and getting very excited. But as anyone who’s dealt with the Americans will tell you, it’s a lot of meetings, and ‘This is the best thing we’ve ever seen in our life’, and then radio silence for six months. So we’re not naive to think that anything is going to happen quickly. But, who knows?”

Once again the Working Dog team are set to introduce some new faces to the panel. It has, no doubt, made stars of comedians like Sam Pang, Guy Montgomery and Aaron Chen -all of whom have gone on to other TV successes.

“I’m delighted that coming in with a relatively low profile and a few appearances on Have You Been, is enough to give them a bit of a boost… Guy went and did that amazing Spelling Bee show on the ABC. That’s probably the hardest thing we have at the moment -getting people into the studio, because so many of our contestants are very successful touring stand-ups.

“Someone like Urzila Carlson, who’s just wonderful and always makes time for us, is rarely in the same hemisphere! So to kind of get her for the five minutes that she’s floating through Australia is a bit of a logistical effort,” says Gleisner.

“We made a commitment, informally, years ago with Have You Been that we would resist the temptation just to have the same people every week, as comfortable and as fun as that is. So we really will continue this year trying to introduce new faces.

“We saw a bunch of people at the recent Melbourne International Comedy Festival. So they’ll be making appearances as we go, including a couple of internationals. We’re just sorting out a few visa issues, because we love having people from foreign locales on the show.”

Not on the roster so far is Marty Sheargold, who apologised for radio comments around women’s sport, considered misogynistic and offensive.

“Marty actually reached out to Michael Hirsh shortly after the incident and asked that his name be taken off,” Gleisner reveals.

“I believe he did that with both, Have You Been and The Front Bar as a semi-regular on that. So in a sense, Marty made the decision for us. He said he would not be comfortable doing Have You Been so we obviously respect that wish from him.”

Is he out for the full season or the immediate future?

“I don’t think it had a time placed on it. Obviously, we’re thinking about the 2025, series, and at Marty’s initiative we’ve removed his name from the whiteboard.”

With a steady stream of comedians knocking on the door to appear, the show is set to lure viewers back to screens for 10. Gleisner is convinced the annual break is good for the show.

“It would have been tempting to run the show all year, but the break, I hope, makes the audiences’ appetite keener, and it certainly makes mine. I’m really looking forward to Monday. It’s always a great feeling to be back for another season.”

Have You Been Paying Attention? returns 8:40pm Monday on 10.

Seven has denied the speculation in two media articles by news.com.au which suggests Larry Emdur may be replaced as host of The Chase

According to the article, “… the position of The Chase host Larry Emdur was under review, a search is said to be underway to find a replacement program for the slot in the hope of arresting the slide of audiences to main competitor Nine.”

It’s factually correct that Tipping Point now wins the timeslot, this week by a gap of up to 183,000.

Does it mean the host is to blame? Of course not.

Aside from the fact Larry Emdur helped save the show when Andrew O’Keefe had to be replaced, he went on to win the Gold Logie last year (something he hadn’t achieved with The Morning Show, until The Chase was added to his roster).

Nine’s gamble with Tipping Point and likeable host Todd Woodbridge has also paid off. Some viewers have switched allegiance and it is aiding Nine News, which enjoyed a win on Thursday.

But there are also other factors to consider.

The Chase still remains competitive for Seven. It is Nine which has shot ahead after replacing Hot Seat.

Comparing a Chase week in May to the same in 2024, some days the difference is only 5,000 viewers.

The Chase week on week:
Monday May 6 2024: 737,000
Monday May 5 2025; 726,000

Tuesday May 7 2024: 730,000
Tuesday May 6 2025: 654,000

Wednesday May 8 2024: 688,000
Wednesday May 7 2025: 683,000

Thursday May 9 2024: 708,000
Thursday May 8 2025: 642,000

Friday May 10 2024: 670,000
Friday May 9 2025: 614,000

Average for the week in 2024: 706,000
Average for the week in 2025: 664,000

Media speculation reports of Seven supposedly contemplating replace Emdur, the show, or both.

This is despite new episodes about to be filmed by ITV Studios Australia.

A Seven spokesperson said, “The Chase doesn’t need reviving! It remains very competitive in its timeslot, delivering a big audience night in, night out. And Larry will absolutely continue to host The Chase. To suggest otherwise is nonsense and deliberately misleading.”

The article also refers to tension amongst Seven executives, with talk of a push for more news programming as a possible solution. Riiiight.

There are no guarantees more news programming would solve any problems.

Indeed, that might only send Tipping Point even higher.

Frankly, the whole thing reeks of internal power games at Seven, probably leaking to press, leaving a loyal host in the crosshairs.

Winners were announced at the Screen Producers Awards last night, hosted by Nina Oyama, as the Screen Forever conference drew to a close on the Gold Coast.

Northern Pictures (pictured) again took out the Production Business of the Year (repeating a 2022 win in the same category).

Ludo Pictures took out two wins, with Thou Shalt Not Steal as Drama Series Production and Bluey for Animated Production.

Lingo Pictures & Luminous Beast won Telemovie or Mini Series Production for NZ drama After The Party while Origma 45 took out Comedy Program or Series for Fisk.

The night saw producer Anthony I. Ginnane given a standing ovation for Lifetime Achievement for his 55 year screen career, including as an ‘Ozploitation’ producer.

The Assembly by Helium Pictures, took out a separate Screen Diversity and Inclusion Network award for making a significant contribution, through excellence or impact to diversity and inclusion either on or offscreen.

“During a period of enormous change for screen production, both in Australia and overseas, it is vital to celebrate the resilience, creativity and adaptability of the Australian screen sector. Despite the challenges faced by our community recently, producers and production businesses across the country continue to deliver outstanding screen stories across all genres and formats. “Each production and production business awarded tonight is part of a large membership that represents the best of the Australian screen sector. It was a privilege to celebrate the achievements of all award nominees and winners alongside industry leaders and reaffirm our pride in our vibrant sector,” said SPA CEO Matthew Deaner.

TV and related categories (winners in bold):

Production Business of the Year
BBC Studios Productions Australia
Curio Pictures
Easy Tiger Productions
Jungle Entertainment
Lingo Pictures
Ludo Productions
Matchbox Pictures
Northern Pictures

Lifetime Achievement Award
Anthony I. Ginnane

Breakthrough Business of the Year
Inclusively Made
Kindling Pictures
Orange Entertainment Co.

Screen Business Export Award
High Country – Curio Pictures
Good Cop/Bad Cop – Jungle Entertainment
Bluey – Ludo Productions
House of Gods – Matchbox Pictures

Services and Facilities Business of the Year
All Her Fault – BCD Media & Entertainment
How To Make Gravy – TAG

Animated Production of the Year
200% Wolf – Flying Bark Productions (Feature)
Bluey – Ludo Studio (ABC)
Ginger and the Vegesaurs (Season 3) – Cheeky Little Media (ABC)
The Strange Chores (Season 3) – Ludo Studio & Media World Pictures (ABC)

Children’s Production of the Year (Excluding Animation)
Fizzy & Suds – Tilt Media & Entertainment (ABC)
Planet Lulin – Princess Pictures (ABC)
Spooky Files (Season 2) – Tony Ayres Productions & Megaboom Pictures (ABC)
Teenage Boss – Next Level – McAvoy Media (ABC)
Windcatcher – Unless Pictures & Every Cloud Productions (Stan)

Comedy Program or Series Production of the Year
Austin – Northern Pictures & ITV Studios Australia (ABC)
Bump (Season4) – Roadshow Rough Diamond (Stan)
Colin from Accounts (Season 2) – Easy Tiger Productions (Binge)
Fisk (Season 3) – Origma 45 (ABC)
Hard Quiz (Season 9) – Thinkative Television (ABC)
Population: 11 – Jungle Entertainment & Factor 30 Films (Stan)
Question Everything (Season 4) – CJZ (ABC)
The Office – BBC Studios Australia (Prime Video)

Documentary Series Production of the Year
Australia’s Sleep Revolution with Dr Michael Mosley – Artemis Media (SBS)
Miriam Margolyes: Impossibly Australian – Southern Pictures (ABC)
Muster Dogs (Season 2) – Ambience Entertainment (ABC)
Outback Truckers (Season 10) – Prospero Productions (Seven Network)
Stuff the British Stole (Season 2) – Wooden Horse & WildBear Entertainment with Cream Productions (ABC)
The Assembly – Helium Pictures & Bus Stop Films (ABC)
The Jury: Death on the Staircase – Northern Pictures (SBS)
This Is Going To Be Big – Fremantle Australia & Truce Films (ABC)

Drama Series Production of the Year
Fake – Kindling Pictures (Paramount+)
Heartbreak High (Season 2) – Fremantle Australia (Netflix)
High Country – Curio Pictures (Binge)
Last King of the Cross – Helium Pictures (Paramount+)
Prosper – Lingo Pictures (Stan)
Return To Paradise – BBC Studios Australia (ABC)
Territory – Easy Tiger Productions & Ronde Media (Netflix)
Thou Shalt Not Steal – Ludo Studio (Stan)

Entertainment Production of the Year
Australian Idol 2024 – Eureka Productions (Seven Network)
Dancing with the Stars (Season 21) – BBC Studios Australia (Seven Network)
Mastermind (Season 6) – BBC Studios Australia (SBS)
Shaun Micallef’s Eve of Destruction – ITV Studios Australia (ABC)
Tony Armstrong’s Extra-Ordinary Things – Fremantle Australia (ABC)

Feature Documentary Production of the Year
Like My Brother – Naked Emperor
Midnight Oil: The Hardest Line – Beyond Entertainment
Mozart’s Sister – Media Stockade
Porcelain War – Songbird Studios
Unbreakable: The Jelena Dokic Story – In Films 

Online Series Production of the Year
Bad Ancestors – Purple Carrot Entertainment
Descent – Haven’t You Done Well Productions
D*** Slider (Season 4) – Scenario Productions
The Most Upsetting Guessing Game in the World (Season 2) – Haven’t You Done Well Productions
Videoland – Pikelet Pictures

Reality Series Production of the Year
Farmer Wants A Wife (Season 14) – Fremantle Australia & Eureka Productions (Seven Network)
Made in Bondi – Matchbox Productions (Seven Network)
Shark Tank Australia (Season 6) – Curio Pictures (Network Ten)
The Amazing Race (Season 8) – Eureka Productions (Network Ten)
The Great Australian Bake Off (Season 8) – BBC Studios Australia (Foxtel)

Telemovie or Mini Series Production of the Year
After The Party – Lingo Pictures & Luminous Beast (ABC)
Four Years Later – Easy Tiger Productions (SBS)
House of Gods – Matchbox Pictures (ABC)
Human Error – Roadshow Rough Diamond (Nine Network)
Last Days of the Space Age – Princess Pictures (Disney+)
Nugget Is Dead: A Christmas Story – Easy Tiger Productions (Stan)
Plum – Roadshow Rough Diamond (ABC)
Swift Street – Magpie Pictures (SBS)

SDIN Award:
The Assembly – Helium Pictures
Four Years Later – Four Years Productions and Easy Tiger
Moonbird – kutikina Productions and SheOak Films.

ABC Managing Director Hugh Marks got a round of applause and cheers today from the largely independent producers attending Screen Forever on the Gold Coast when he advocated for more original ideas and less licensing of international formats.

Marks, a former Nine managing director, has previously been a producer himself at both Dreamchaser and Southern Star.

Speaking with moderator Virginia Trioli he said, “We must have an industry that’s focused on the creation and generation of IP and the exploitation of that around the world. So for me at the ABC in our entertainment ambitions or our factual ambitions, I want to preference local IP. I want to preference original ideas. These are things that come with risk. Original ideas are more risky than licencing international formats. But the ABC must be the place that’s prepared to take those risks, prepared to fail. If you work with the right people, and there are many in this room, and they will have more hits than losses.

“The other thing I’ve learned over time is that when you have a success, successes tend to build upon themselves and last for a long time. Failures, you can exorcise and try something new. So over time, if you get more right than wrong, you end up in a very good position. So very important for me at the ABC (is) original Australian IP created locally.”

With that the room broke into applause.

“Of course, there will always be exceptions to every rule, and there might be things that is the nature of formats that just sits on the ABC and not naturally on a commercial network. So I wouldn’t completely exclude it, but our focus should be the creation of multi generational intellectual property.”

His comments come after recent ABC formatted shows The Piano, House of Games, Old People’s Home for 4 Year Olds, Back in Time for Dinner, War on Waste and more. It also marks a return towards the 2010 approach by then ABC Director of Television Back Kim Dalton who had an ouright ban on the public broadcaster picking up international formats.

Marks also flagged making commissions and negotiations less caught up in red tape at the public broadcaster.

“I think the ABC, in many ways, has been difficult to deal with and and we need to not be difficult to deal with. We need to be easy to deal with. We should be the first choice for people to come with their great shows,” he said.

“I think we should be much faster and clearer in our commissioning. We should be prepared to say to a producer, ‘We’re going to do that show, even though you don’t yet have the international components on board [cheers from the floor] so that they can go to the international market, with more certainty. We need to be faster at that. We shouldn’t over-develop ideas. We should be confident that the producer we’re dealing with has evidenced their ability to execute time and time again, and not everything needs complete over-development.

“I think if we can be faster and give people more clarity and be prepared to sit in a grave (where) we’ve got 10 things that we’ve commissioned, and if they all come off, we’ll be in trouble. That’s okay. We’ll manage that. So I think these are sorts of changes we need to be conscious of and make.”

President Donald Trump’s threat to add 100% tariffs on all films made in foreign lands sent the industry into a spiral this week,

“Although no final decisions on foreign film tariffs have been made, the Administration is exploring all options to deliver on President Trump’s directive to safeguard our country’s national and economic security while Making Hollywood Great Again,” said spokesman Kush Desai.

It is yet to clarify how it would be implemented or whether it encompasses TV production.

This week at the Screen Forever conference on the Gold Coast, a Canada Connect delegation was in attendance.

Despite the close production ties in cities such as Vancouver and Toronto, the tariff talk is not yet being seen as realistic.

Valerie Creighton, President & CEO of Canada Media Fund, said, “I think this is a bit of a distraction. He makes these things all the time. He’s a master, I think, of creating unsettled chaos. And sometimes, you can’t really read …does he really have an agenda? Does he really know something that he’s projecting these ideas on? But even the reaction in the US was ‘What? We thought we were getting a tax credit for California.’ So no, I don’t think it’s about fear. I think it’s a distraction and I think there’s bigger issues that all of us, and particularly talking Australia and Canada, need to focus on, as two countries to work together.

“Is it tiresome? Does it take a lot of energy? (Yes) because everybody reacts, and you have to respond to ministers in the industry.’

Karen Thorne-Stone, President & CEO of Ontario Creates said, “I think it’s a moment of awakening for us to pay attention to other partnerships around the world. In Canada, we’ve become complacent, if not dependent, on that relationship with the US and I totally agree with Val. I don’t think we’re worried about it. I think we have seen a lot of bluster from this President in many sectors, and in time, that has softened in each case. The practical reality of how he could possibly implement what he’s proposing seems unlikely. But it is certainly a moment for us to sit up, pay attention and think about building stronger relationships and co- production elsewhere around the world.”

Lisa Broadfoot, Vice President, Industry and Business Affairs, Canadian Media Producers Association said,the US and Canada was a highly integrated production chain.

“A number of us productions come up and shoot in Canada. They (do post production) in the States. It’s very, very integrated. It’s been great for the Canadian sector in that it creates a lot of jobs. It creates a lot of infrastructure. It trains up our crews. With the affects of the strikes, foreign location service in Canada actually dropped quite significantly, down 26%,” she said.

“It showed us just how vulnerable you can be to outside forces when something happens outside your borders, and it can really affect the entire industry. But the truth is that we are incredibly integrated. The truth also is that the US has a very strong trade surplus with the content it exports, and the prospect of potential retaliatory tariffs, would just be an enormous mess to try and untangle the global production industry we’ve become.”

Sweet Sweet, Yum Yum!

Move over the Big Banana, the Big Lobster, the Big Pineapple a 4 metre Big Blender has taken to the Eurovision stage with staging unveiled for Go-Jo’s performance in Basel, Switzerland.

First images have been released following a first rehearsal of Semi Final Two at St. Jakobshalle Arena.

He’s been keeping a big secret for many months, telling TV Tonight that spilling details “would be like opening presents before Christmas – it would ruin the magic.”

Taking cues from the Willy Wonka-meets-Rocky Horror aesthetic of the official ‘Milkshake Man’ music video (directed by Josh Harris), Go-Jo’s staging brings the wall-to-wall chaos from the milkshake van to the Eurovision stage. Working with staging directors and producers Marvin Dietmann (Voyager, 2023), and Dan Shipton and Ross Nicholson of Black Skull Creative, it promises a riot of retro flair and high-octane showmanship with bold neon hues, playful costumes, and a ripped, gyrating Marty Zambotto, aka Go-Jo.

It also throws in a little ‘infomercial’ feel. As the lights dim and the playful introduction of Greensleeves begins, the audience is invited to the world of a unique talent. An origin story of sorts, meet ‘The Milkshake Man’ – a magical salesman with an all-powerful elixir that can turn anyone into the best version of themselves. With the lyric, “The shake is not a drink – it’s a state of mind, it’s a secret superpower you were born to find,” Go-Jo encourages everyone to embrace their individuality, unapologetically and wholeheartedly.

Through ‘80s-inspired infomercial graphics, the audience is drawn into the allure of the Milkshake Man’s world – a limitless wonderland of endless possibility. Go-Jo himself is transformed, beginning the show in an outfit reminiscent of traditional milkmen, revealing a sparkly sequinned number underneath (a nod to the music video).

Joined on stage by Jenaya Okpalanze (Surely Shirley) and Jeannine Bruderer, we see how Go-Jo’s ‘Milkshake Man’ inspires self-expression and unlocks the power that already exists within you. Once you step into the giant blender, what comes out isn’t just you—it’s the unleashed, unshakable, fullest version of yourself.

The blender almost acts like a metaphor for the Eurovision experience; a once-a-year moment in time that invites people from all around the world into an inclusive space free from daily constraints to be themselves. For Go-Jo, it’s an experience that’s helped him elevate his art and step into his own.

Go-Jo said: “Stepping onto the stage for the first time was the most incredible experience of my career to date. The first official rehearsal was epic, and I can’t wait for a packed arena full of “Yum Yums” next week!

Staging Producer Marvin Dietmann said: “Always a pleasure teaming up with Australia – always fearless, always inventive. They get it, Eurovision isn’t won with lights and props alone, it’s won with a big character at the centre. That’s the winning formula, and with Go-Jo, they’ve absolutely nailed it. He’s magnetic, cheeky, and totally in command. The giant blender prop brings the fun, but it’s Go-Jo’s energy that shakes the whole thing to life. When the artist connects, the staging soars and this one’s built to do that.”

Australian Head of Delegation and SBS Head of Entertainment Emily Griggs said: “From the moment we saw Go-Jo on stage, we knew he was made for Eurovision. He’s been a joy to work with; enthusiastic, hands-on, and creative. The giant blender isn’t just big and playful, it’s symbolic. Like Eurovision, it’s a celebration of transformation, where artists and audiences alike step into a space that encourages freedom, expression, and becoming the boldest, most confident version of yourself.”

Australia’s Creative Director for Basel, Paul Clarke said: “Who’s seen a 4-metre milkshake maker before? Only at Eurovision. It feels like ‘The Milkshake Man’ staging is a generational shift after 10 years, going to a place that is exciting and fun. We hope everyone enjoys it!”

Live early morning broadcast on SBS and SBS On Demand
Semi Final 1 – Wednesday 14 May at 5:00am AEST
Semi Final 2 – Friday 16 May at 5:00am AEST *Features Australia
Grand Final – Sunday 18 May at 5:00am AEST

Prime time ‘Access All Areas’ event coverage on SBS and SBS On Demand
Semi Final 1 – Friday 16 May at 7:30pm
Semi Final 2 – Saturday 17 May at 7:30pm *Features Australia
Grand Final – Sunday 18 May at 7:30pm

sbs.com.au/Eurovision

Proud Quandamooka man and playwright Wesley Enoch (The 7 Stages of Grieving, Black Medea, The Sunshine Club, The Story of the Miracles at Cookie’s Table) delivered the Hector Crawford Memorial Lecture at the Screen Forever conference yesterday.

Here are two excerpts from his presentation:

“Hector Crawford. Say his name and for many, it conjures cop dramas, period pieces, family sagas from the 70s and 80s. But for me, his work represents something deeper. A belief. A fight. A vision. A man who understood the power of stories — not just as entertainment, but as a civic architecture for a nation.

“At a time when Australian voices were barely heard on our own screens — when American and British accents filled our living rooms — Hector was insisting: we have stories worth telling. His strength wasn’t just in producing popular television; his strength was in believing that popular television could be profoundly cultural. That it could reflect us back to ourselves.

“Shows like Homicide, The Sullivans, Matlock Police weren’t just hits — they were part of a cultural revolution. They said: this is what justice looks like here. This is what family feels like here. This is what grief, joy, struggle, and love look like through an Australian lens. Not borrowed. Not secondhand. Ours.

“And behind those stories was a fierce sense of responsibility. Hector Crawford fought for local content quotas. He knew that without structural protection, our stories would be drowned out. That without government support, Australian creativity would become a footnote, not a foundation.

“Now let’s be honest — the world is different now. Streaming platforms, fractured audiences, algorithms dictating what stories rise. We’re global citizens and digital natives. But in all this noise, I keep coming back to Crawford’s core idea: that a strong, complex, independent nation must tell its own stories.

“Is this idea too old fashioned? Have we achieved the desired outcome and can now let go of this ambition?

Because here’s the thing — when we fail to tell stories, someone else tells them for us. And too often, they reflect their cultural goals and ambitions. They simplify and deny difference. Stereotype and weaken the specific. Silence.

“And I think of us — First Nations storytellers, marginalised voices, communities still fighting to be seen — and how Hector’s legacy gives us a model. Not a perfect one. But a powerful one. He didn’t wait for permission. He built the platforms. Trained the teams. Made the case. Again and again and again.

“That’s what legacy really is. Not what you leave behind — but what you set in motion.”

“Local content quotas for streaming services are essential if we are to preserve and promote Australian voices in the digital age. As audiences shift away from traditional broadcasters to global platforms like Netflix, Disney+, and Amazon Prime, we risk losing the infrastructure that once nurtured our national storytelling. Without firm, enforceable quotas, these platforms can reap the benefits of our audiences and locations while contributing little to the cultural and creative fabric of this country. Introducing local content requirements ensures that Australian writers, directors, actors, and crew are given the opportunity to create work that reflects our society, our diversity, and our identity. It’s not about restricting creativity—it’s about levelling the playing field so that Australian stories are not only seen at home, but valued and celebrated around the world. Quotas are a commitment to cultural equity, and a declaration that Australian stories matter in every medium. About paying back into a regenerative relationship rather than an extractive one.

“And finally, we need to recalibrate the way we engage with foreign productions. Yes, international investment brings jobs and opportunities—but it should not come at the cost of our cultural agency. We must advocate for reforms that link location offsets and government incentives to genuine cultural outcomes. Australia should not be treated as a blank slate. If productions come here, they must come with a spirit of collaboration, not just exploitation. We must move from being service providers to being co-authors of the stories told on our soil.

“Cultural sovereignty is not about shutting the world out. It is about opening our doors on our own terms. It’s about inviting others to see who we are—not as a backdrop or a dormitory for skilled workers, but as a bold, complex, and sovereign storytelling nation.

“In the 1970s, Australia took great pride in telling its own stories —they were affirmations of who we were. Hector Crawford championed Australian content because he understood the power of cultural self-recognition. In today’s globalised, fast-paced screen economy, we must be reminded of that same ethos. But now, more than ever, we need to reclaim the pride and purpose of those earlier decades—to tell stories that are unmistakably ours and ensure that future generations know the value of seeing themselves on screen, not as imitations, but as originals.”

Screen producers have gathered on the Gold Coast for the annual Screen Forever conference, just a day after US President Donald Trump announced a 100% Tariff on all films produced in foreign lands.

Across three days of networking, panels and presentations the 600+ delegates will participate in some 2000 meetings. They have travelled from across Australia, France, Germany, New Zealand, Ireland, Singapore, the UK, the USA, and Turkey -with a notable presence this year from Canada Connect Producers.

At the top of Screen Producers Australia agenda, just days after a Federal Election, is local quotas on streaming platforms (again). But Trump’s surprise tweet yesterday has created a new talking point whilst ironically drawing media to a media event … news crews are on the ground in the Gold Coast to gauge reaction -something Screen Forever has rarely attracted.

CEO Matt Deaner said, “SPA is always ambitious for our industry. On your behalf, we try to look up and look ahead to the horizon to take stock of where our industry is headed. Where the sticking points are and what is needed to fix them. We aim for a continuous loop of feedback to inform our advocacy. Through online meetings, surveys and in-person forums, we are always aiming to take the pulse of the industry and respond to systemic issues. It’s no understatement to say that in an already high-risk industry, we have been in a world of heightened uncertainty for the past year or so. And this is showing no signs of abating! We are in a permanent state of advocacy and activism for our industry.

“Complicating our task here is that in a global industry, systems of global trade are either being or being threated to be turned upside down, and no one knows how or when this disruption will end and how it will draw our industry in. We living with a higher degree of instability and uncertainty more than ever before. We live in interesting times. Maybe a bit too interesting! So we must adjust our expectations and be pragmatic in our responses.

“Let’s catch us up…In the last term of Parliament, our hopes were high that we were on the cusp of achieving our long awaited ambition of securing local content rules on streaming platforms. But then – The Empire Fought Back. And the deadline is missed. And real damage is caused.

“No-one can accuse me of not being patient. I know that frustration and pessimism has grown within our industry at this delay. I can’t blame anyone for this. It’s hard to remain optimistic in the face of such a prolonged delay.”

Delegates then heard a pre-election pledge by Anthony Albanese for local quotas and supporting Australian stories.

“I’d like to take this opportunity to congratulate The Prime minister on his new electoral mandate achieved on the weekend,” Deaner continued. “And to bring us up to speed just yesterday we received the latest missive from the USA on trade matters, with a seemingly 100% tariff on all movies ‘produced in foreign lands.’

“Nobody really knows yet what this means for our industry – but it has sent shockwaves around the world. For the Australian industry, it reinforces the need for the Government to focus immediately and swiftly on building a resilient local industry that can withstand global shocks like this,” said Deaner.

“Last week, Minister Burke spoke to our membership about his commitment to getting this regulation done. In the world we live in, global corporations are the toughest of opponents. But they should not and will not decide what is in a nations social, cultural and industry interests are.

“The US Administration’s aggressive stance on trade and tariffs has embolden entities like the MPA and the global streamers they represent – but the Australian Government has stood firm under this pressure and of course must continue to do so. This is about more than us – its about the ongoing role of the Australian story in our lives.”

Comedian Melanie Bracewell can’t quite believe The Cheap Seats is headed to a fifth season.

The show that began in lockdown, with no studio audience, has grown to become one of 10’s most popular shows.

“I can’t believe it when our swipe cards work every year. We’re just as shocked as the public,” she tells TV Tonight.

“We started, basically, in a cupboard with about 10 people in it. Especially with lockdown, we didn’t have an audience at all, and we just had crew that who were very generous laughers and had already seen the clips three times. So that was a tough way to start the show.

“But after people started getting into the show, now we have about 100 people in the crowd that are really keen, so that that really helps us. They kind of are, like the referees in a way … it helps us know what clips are good and what aren’t. If we had no audience, we might keep some absolute clangers that we find funny but no-one else finds funny.”

Alongside Tim McDonald, and regular entertainment contributor Mel Tracina, the show’s mix of news and comedy highlights clips, bloopers and regional TV offcuts with little interference from network. When it first launched 10 said it was happy to give the kids the keys to the network.

“Sometimes when Tim and I plan something, we just can’t believe there’s no-one from Channel 10 batting the door down, going, ‘No!’ Like, that’s kind of surreal, really.”

But surely there is a detour via the legal department?

“Sometimes they go, ‘You need to say ‘Allegedly.” That’s not in my lexicon,” she admits.

“But sometimes when you say ‘allegedly’, you end up giving more gravitas to a joke that was clearly not true. Like ‘Oh my gosh, this person has a drug addiction…. Allegedly.’

“No one’s alleging it!”

There are regular segments on targets such as Across the Ditch, Pacific Update Update and What’s on in the Warehouse, which takes aim at Chemist Warehouse advertisements.

“People seem to think, ‘Is this a deal you have with Chemist Warehouse?’ No, we’ve not gotten a cent from any of these sort of informercials that we play and we rip into.

“We genuinely do it because we just find it so jarring and funny. When people try and make ads into content and just really make it feel authentic, it’s nevergoing to feel real. It’s an ad. It is an ad. So it’s always gonna have this kind of Uncanny Valley feel, as if it’s an actual television show. There’s narratives and relationships between the people that we like dialling in on. It’s a lot of fun for us.”

Are there any sponsored segments on the 10 show itself?

“We’re pretty upfront, but sometimes we do have a sponsor. I think the movie Thunderbolts has been sponsoring us the first couple episodes. We want to keep our ads fun. We’re not trying to sell miracle weight loss powder or anything. Every now and again, we have a sponsor that will come on board, which is nice for us,” she explains.

The show also prefers not to announce guests in advance.

“We did a whole promo that we had Jamie Oliver on, and then he pulled out at the last minute, and we had to address it. So we like to keep it a surprise, especially for the audience as well. They don’t know if they’re going to see Lady Gaga, or just a contestant from reality show. It’s kind of a mixed bag.”

Lady Gaga, of course, is yet to grace the studios with her presence.

Filming takes place just several hours before broadcast, allowing little time to edit out anything that didn’t fire with the audience.

“It’s such a tight turnaround. We’re filming it on the day, and it’s going out a couple hours later. So there’s not really much time. It’s essentially editing out the ‘allegedlys’ and making sure that we haven’t said anything completely illegal, or I haven’t dropped too many F-bombs.

“I think a lot of people are under the assumption that it’s live, and we kind of like to keep that assumption going. We want people to think it’s spontaneous, and it is for everyone in the room. A lot of the time it’s like ‘Holy f***, there’s a rate rise being announced, let’s try and find something quickly and chuck it in at the very last minute, ‘ because we want it to be like the news of that day as well.”

F-Bomb count: 1.

The Cheap Seats 8:40pm Tuesdays on 10.

EXCLUSIVE:

9:30am. It’s a Tuesday morning when I arrive at the production office of The Weekly with Charlie Pickering at ABC Southbank studios. Thinkative TV’s open plan space feels like I have walked into Utopia, but it’s accrued telltale props and photos in between faux ferns, a Hard Quiz brass mug (it’s surprisingly heavy) and books on Quotations and even Olivia Newton-John.

It’s also “show day” for the team, the culmination of a week of writing. By 6:30pm tonight there will be an audience ready for Pickering’s take on the week in news ahead of a Wednesday broadcast.

There are 10 staff huddled around a large table ready for a script reading lead by Pickering. Amongst them are Executive Producer Chris Walker, Co-Exec Producer Frank Bruzzese and Head Writer Scott Abbot. Pickering mentions he is recovering from a migraine.

The Weekly‘s format rests on a Thursday – Wednesday commentary of Australian and world news events, interjected by sketches / interviews this week involving Rhys Nicholson, Zoë Coombs Marr and “Instant Expert” Bronwyn Kuss.

The script read of the news events will last around two hours. While the day will encompass fine-tuning over gags, here is where all the heavy lifting is done. Script sketches about Elon Musk, the Pope, the election campaign, Clive Palmer spam texts, Anzac Day coverage are read aloud for group discussion.

Pulling apart gags and questioning their merit is analytical stuff. Syntax is dissected. Is it too wordy? Too heavy? Too long? There are questions around a reference to Elon’s actual wealth, but agreement the fewer times he is mentioned by name is probably “better for the world.”

There are also questions around the legalities of sketches, but one neo-Nazi is self-declared. References to a deep fake of South Australia’s Opposition Leader don’t state anything about snorting cocaine (he wasn’t). Watching video of booing at Anzac Day is confronting. Someone finds the length of it troubling. Pickering believes it is important to sit in all its ugliness, contrasted by the fact media then gave the protestor airtime via interviews.

After hearing jokes twice I’m not really laughing anymore (and by day’s end I will hear them many more), so I deduce it’s important not to lose sight of why the humour worked in the first place. Welcome to the business of being funny.

10:40am. I can’t help but notice food is ferried into the office on a trolley. It reminded the tea lady was once an ABC tradition. Script work rolls on. An election debate over the price of eggs has been turned into a Price is Right gag with a fake showcase graphic (should a VCR should be above or below a microwave?). If there is uncertainty over any gags, it’s deemed a later rehearsal on the studio floor will determine their fate.

One sketch around the 20th anniversary of YouTube is abandoned entirely. Originally planned for “Charlie’s Heroes” it is considered the weakest of all sketches and not a great one to finish on. Goodbye gags about Crazy Frog, Unboxing, Joe Rogan and Baby Shark. Writer Scott Abbot suggests another sketch about Valerie, a daschund found on Kangaroo Island after being missing for 2 years, could be elevated to “hero” status. Tick.

Nick Maxwell

11:40. After the script meeting I hear a voice in the office which sounds familiar. It is Senior Writer / Producer Nick Maxwell, who you will hear narrating video sketches, this week on “Albo’s F***ing Dog.” When the PM’s team once came to visit, they too recognised his voice and loved his work.

12:30. After scoffing down a chicken wrap, I jointly interview Walker and Pickering, who’s now feeling much better which I presume is the healing medicine of laughter.

The Weekly has a Thinkative staff of 33 (excluding ABC crew) and begins the writing process each Wednesday. There’s even a small Sunday team although Pickering doesn’t always get involved.

“If we go into the weekend and we don’t have enough, it’s been a slow news week. Then I’ll get more involved on Sunday on zoom. … but it’s also refreshing to see what they come up with away from my ideas,” says Pickering.

Chris Walker notes, “The biggest writing day is Monday by far, 85% of the show is in its structural form. Someone will be writing a story on a Monday but then we will start the process of reading and re-reading.  I think it’s something like 7 or 8 drafts, by the time we hit today … but after rehearsals it gets close to 10.”

Charlie Pickering, Chris Walker

Over its 11 years the show’s format has evolved. Previously an opening monologue would power through the week’s news allowing for more ‘deep dives’ into topics. In recent years the week has formed the backbone of the show, under the slogan, ‘We watch the news so you don’t have to.’

“We just learned that the week is a structure that people understand,” Pickering explains. “The purpose of our show, or our understanding of it, changed over time, in that people were giving us a lot of feedback, saying, ‘I watched your show, and I know what happened this week.’ When Prime Minister Anthony Albanese came in for Rhys to interview him, I made a joke about how he’d be way too busy to be watching our show. And he said, ‘Normally I watch it on the weekend, and sometimes it’s how I catch up with what happened this week.'”

“We felt over time, there was a real benefit in just capturing the news for the week and delivering it in a way that you now know what happened. If you watch Have You Been Paying Attention? you’re actually more up with the news than most people,” Walker suggests.

“Our Tuesday meeting is pretty efficient, everyone knows what they’re doing. But we’ve had a very democratic Writers’ Room for a long time. If you write on this show, you will see your work on screen,” Pickering explains.

“I think for our writers, this is a pretty rewarding TV writing job. They get to make proper jokes… (Chris and I) would both rather make the best joke we possibly can and apologise for it afterwards, than censor ourselves beforehand. Not all shows have that approach.”

Over that same period, comedy and the way we tell jokes has also shifted. But there is still ample room for humour and context is everything.

“You have to be careful, if you’re not part of a (specific) group, that to generalise or to speak on their behalf, can land badly. You have to remember that your perspective is your perspective. You don’t necessarily have anyone else’s perspective,” says Pickering.

“The thing that we concern ourselves with is that human frailty hasn’t changed. There’s always going to be things to make fun of,” Walker suggests.

“It’s exhausting hearing people go, ‘You can’t make jokes anymore,” says Pickering. “Like, I don’t know if you’ve noticed, there’s more comedy in the world than ever before. If you’ve not evolved with society, that’s up to you. We’re fortunate that the audience is in our mind the whole time. Despite my name being on the show, it’s not about me, it’s not about Chris, it’s about what is great for the audience and what’s the best thing that we can give the audience?”

The show has also evolved its segments including introducing the Instant Experts sketch with emerging comedians. This week Bronwyn Kuss becomes an expert on How to Live Forever.

“It came from the fact that there are fewer scripted comedy shows on TV. There’s nothing ‘off Broadway’ anymore. There used to be The Feed, The Roast, ABC had Tonightly,” Pickering continues.

“We’ve had new writers who haven’t written for TV, even if it’s just one day a week, and starting on some very simple writing, not necessarily writing a whole story, but teaching them how to find the clips, how we structure a script. So we’ve had new voices within the writers room and within the show, which is good.”

1:45pm. In studio it’s time for the Autocue Rehearsal with Floor Manager Serge Adimari. The same production team are now perched on the end of the host desk ready to make further script tweaks. Some camera shots are also assigned here. Pickering, acknowledging his own delivery stumbles concedes, “Terrible read so far today!”

I learn that behind Pickering’s desk is a sticker that reads ‘It’s just a TV show’.

“It’s what Chris once said to me before a particularly hectic episode when I’d just bitten my tongue and bleeding profusely. He was so relaxed about it and we weren’t ready, but then it all went fine,” he explains.

“It’s the last thing I read before each episode. It serves as a reminder that while the team takes making the show very seriously, there’s no need to be too serious about it. The show’s job is to be funny. And the first step is making sure you have fun.”

Rhys Nicholson

2:55pm I’m in the Control Room as director Peter Ots, Walker and Bruzzese lead a full rehearsal. There’s about 17 people in the darkened room full of monitors and tech desks. Walker on headset talks directly to Pickering for any changes while Ots runs the crew. It’s the first time I spy Rhys Nicholson and hear their routine about school parent group chats. “It’s good, there’s just one bit to come out,” Pickering advises.

During this rehearsal the crew pepper the gags with some chuckles, hearing them for the first time (it’s needed by now). That long vision of booing at Anzac Day is still raw when seen for the first time by some in the Control Room. As heads quietly shake I sense even seasoned pros feel affected by what went down that day….

4:15pm. After rehearsal I ask Walker about balance given the script has two gags around Peter Dutton. He reminds me of Nick Maxwell’s sketch on Albo’s dog, which equates to longer airtime. Fair point.

6pm. Genial warm-up man Ben Lomas is welcoming the studio audience into the ABC foyer, asking them to break the ice by introducing themselves to a stranger. And please check out his Instagram where they can send a question which forms part of the studio warm-up.

6:30pm Episode filming begins. The audience and Pickering are both very happy to see one another and as the recording proceeds there is some chit-chat in between segments. Lomas keeps the ball in the air, jokingly guessing someone’s occupation based on their coffee orders. The shoot runs smoothly, with little need for pick-ups. There’s a promo or two to film at the end, plus a further segment with Concetta Caristo to screen later.

8pm As I depart ABC studios I reflect on how chilled the day was given it was “show day.”  I’m reminded of Pickering telling me he often listens to an NFL podcast directly before showtime.

“NFL is a great example, because you’ve got a quarterback, this one person who throws the ball, right? Everyone has a job to do but there’s one person who’s delivering the play. And once I got my head around that, I was like, that’s literally the way I want this show to work,” he says.

“So I have to be able to focus, have the right mindset, not be distracted and be calm to deliver the show the best I can.  If we’ve done all our work for six days before we record, I’m executing a good plan, and that’s it.”

The Weekly with Charlie Pickering 8:30pm Wednesdays on ABC.

I miss playing the piano.

It’s been a long time since I used to regularly play piano. I was only ever an OK pianist, but I could play by ear whether on an upright piano or an synthesizer. I spent several years as a restaurant pianist… but confession time… even through a month’s residency at Launceston Casino nobody ever knew I wasn’t playing live. I had sequenced every note of every bar of every song by ear (all my own work to be fair).

So I come to new ABC series The Piano with all the feels, completely understanding how a soul connects with the ivories. How it is personal, therapeutic, and a gift all at the same time. You step up to the piano with respect, but it will unleash creativity for all to bear witness.

This is a UK format in which upright pianos are positioned in public places – railway stations, markets etc – for members of the public to play before the cameras. In episode one a piano is located at Sydney’s Central Station, in episode two at Southern Cross Station in Melbourne. Amanda Keller serves as host as pianists young and old show what ‘hidden’ talent they have. In this most public of places it’s so much more endearing than on a Got Talent stage, as passers-by pause to appreciate the power of music.

But this is Reality TV, in a hybrid form, with two top judges secretly watching on. Harry Connick Jr. and classical pianist Andrea Lam are nearby scrutinising monitors, ready to invite one player per venue to perform in an end of series concert at Sydney’s City Recital Hall. Surprise.

Make no mistake, the real power in this series is the individuals who sit down at the keys. The styles range from Chopin and Beethoven to Taylor Swift and John Williamson. They play from 5 years old to 103 years young. There are original compositions. A quartet. A young man who, remarkably, even plays with one hand.

For 17 Dom of Naraween, it’s a most personal matter.

“It’s not a very masculine thing… so I tried to hide it,” he says, adding, “The piano gives me a purpose.”

For 103 year old Bill it evokes memories and memory muscle.

“Playing a piano I have something to hang onto,” he says.

Andrew, 29, spent time in a mental health ward … he gravitated to a lone piano every day, while Michael, 76, is grateful to play to his wife in her nursing home because music makes her smile. It’s a story that evokes tears in the eyes of Amanda Keller, who reveals her own challenges with husband, Harley. “You feel like you lost them in increments.” Dammit, I just wanna give her a hug.

The Piano provides such power from screen to couch. You’ll smile, you’ll fight back tears with Keller as the perfect host, warm, spontaneous, down to earth and genuine. Even judges Harry Connick Jr. and Andrea Lam are lost for words at the talent sitting down to the keys while The Ghan pulls into platform.

One quibble, it’s very obvious producers have cast our pianists from far and wide. It’s not candid camera where randoms who just happened to be catching a train paused to play. I guess we have YouTube clips for that.

ABC has had huge success with magical shows like Old People’s Home for 4 Year Olds and Muster Dogs. These are big crowd-pleasers that show the face of Australia and warm your heart. The Piano is easily the next in that line. It had me smiling from beginning to end, and maybe even longing to reacquaint myself with my own ‘hidden’ talent some day soon.

The Piano screens 7:30pm Sunday on ABC.

It was just 90 seconds to the 6pm when producer Daniella Scotti made the call to Nine News anchor Peter Overton.

“She calmly said to me, in my ear, ‘Peter…. the Pope has died,’ and I went, ‘Have we confirmed?’

“And she said, ‘It’s confirmed.'”

What could have been upheaval followed a calm plan of attack to cover the breaking news. Overton opened by informing the audience of the news, and moving to the prepared lead story as the team gathered the obituary.

“‘Good evening. We begin with breaking news. The Pope has died.’ And I think I might have said, ‘I have heard this in the last 90 seconds,…’ My sentiments were basically, come with us over the next hour, as we navigate this.

“And then it was on. That’s where you rely on your skills, I almost call it muscle memory, knowing how to do rolling coverage.

“It was invigorating for me, but it keeps you on your toes, I can tell you.”

Tomorrow Overton will again draw upon his rolling coverage skills as he co-hosts Nine’s Federal Election coverage with Ally Langdon. It’s a challenge Overton welcomes having first faced rolling coverage as a young sports reporter.

“Rolling coverage for me, started way back when Super League happened,” he recalls. “The big Rugby League war. I was a very young sports reporter in my 20s, I think, and we broke into programming when the big decision was made. Kerry Packer and Rupert Murdoch were at war about Rugby League. I remember I was in the court, and it was a huge event. Ken Sutcliffe was in the studio, and I sprinted down through the lobby of the court and got first to air with the news that the Packer / ARL had won.

“We broke into Days of our Lives, I think, which was unheard of.”

Navigating the moving parts of news, and remaining calm, is all part of the anchor’s role. In a recent Live cross to Canberra Overton was unable to hear the audio from a Federal Budget panel led by Charles Croucher. Instead of bluffing it, he invited the audience into the tech challenges.

“I could not hear a word. But I’m just honest with the audience, where I say, ‘Look, I can’t hear the panel, and we’re going to proceed as normal, because I know they can hear me,’ he explains.

“The other night, when the Pope died, I just say it like I’m having a conversation and I think the audience really appreciates that. I was a motor registry yesterday, with my 16 year old daughter, and the guy in front of me looked around saying, ‘Oh, Peter, I felt for you last night. We’re all watching the news, and you handled it so well, how you just took us in. ‘ And I really appreciated him saying that.”

He also recognises the importance of passing it on to Nine’s next gen.

“I love not only what I do, but I love being able to help and guide and champion our young producers, our reporters, and they seek out advice. There’s no question. It’s often not only career advice, it’s life advice. I love that they want to talk to me about that,” says Overton.

“I said to a whole lot of people in the newsroom, ‘Daniella, what you did last night was, was beyond your years. You were so calm, you were so focused and such a guide for me.’ A lot of people will panic. But she didn’t panic. She was calm while the newsroom was peddling at 100 miles an hour, getting everything in order.

“I just love seeing young people flourish.”

Election 2025: Australia Decides 5pm AEST Saturday May 3 on Nine.

Producers will descend upon the Gold Coast next week for the annual Screen Forever conference.

The 3 day event held by Screen Producers Australia is the leading calendar event for producers to exchange ideas, lobby for industry support and to forge new creative relationships.

Collaboration is key but as producer and showrunner Tony Ayres (Clickbait, Fires, Glitch, Nowhere Boys) explains, gathering as a sector is essential.

“Personally, I think that any time we get together as an industry, it’s useful because it’s rare,” he tells TV Tonight.

“We just don’t do it very often. I mean, it is necessarily a collaborative industry, particularly television. It’s at a scale where you need more people and you have to work with people. And I think that weirdly, surprise surprise, you work out who you want to work with when you meet them.

“I mean, it’s kind of like the difference between Grindr and a gay bar,” he teases. “I’m old fashioned. I just like to be in a space where I can actually meet people and talk to them and see how we connect.

“Otherwise, it’s just names… I mean, zooms are okay but, I don’t love zooms because there are limitations to it. So I think that anytime we get everyone together, there is a lot of information exchanged. A lot learning through osmosis, a lot of connection in the interstitial moments. And sometimes the panels are great as well. Like, you learn from that as well. But actually it’s all the bits in between, where I think you really benefit and and certainly the fact that Screen Forever is open to younger and emerging producers, writers and directors is really important because the beginning of the process is actually meeting people.”

The conference also facilitates round table pitching, whether to other producers, or sometimes to commissioners. Attendance this year includes ABC, SBS, NITV, Stan, Foxtel, ACTF,  Fifth Season, Lionsgate, Madman, Roadshow, Sky NZ, StudioCanal, Warner Bros Discovery NZ and more.

Ayres will participate in a mock game show session Redlight Greenlight in which producers will create new show pitches on the spot for judging by industry execs.

So what makes a good pitch?

“I think that we’ve got it all wrong with pitching. What makes a good pitch is someone who is prepared to catch. If your project is what the buyer wants, at the time that you pitch the project, then it’s a great pitch. Quite frankly, if the project is not what the buyer wants, it’s a terrible pitch,” he suggests.

“Originally, Clickbait was sold to Amazon in the UK. But there was a change of management, the project got dropped, and the studio basically pitched the project to every single buyer over it got dropped and every single buyer said no.

“Fast track a year later, and I reset the show in the States because I happened to be in the States. I pitched the show to five different people. We got about four offers within 24 hours and there was a bidding war for it. Same pitch, same idea, but at that particular moment in time, the project was what people were looking for.

“Of course there are rules of thumb like, don’t be boring. don’t make it too long. But I think there’s no magical secret sauce that will guarantee a pitch being bought. The only thing that will lead to a pitch being bought is if someone wants to buy it.”

Since Covid, pitching has also shifted from face to face to more online pitches, especially those involving US streaming platforms.

“In America now that they just want pitches to be shorter, they don’t want to know everything. They just want the the essence of the show. I’ve always found pitching in Australia to be way more casual, not quite as formal. But with the advent of the streamers in Australia, we’re moving towards a more formal pitching style that the Americans use. A lot of the streamers have either American execs or execs who are answerable to Americans so the style has bled into the way that we do things,” he continues.

“In America, they like to do the pitches on Zoo. and sometimes you’re pitching to 12 people who never say anything.

“I like the Australian version. I’m used to it, but I do think we are becoming a little bit more formal in Australia.”

If attending Screen Forever, Ayres also urges not to overwhelm buyers with a pitch at every opportunity.

“Sellers are always a little bit desperate, like, that’s just the nature of selling. But I also think you try to get to know people more (to ascertain) whether there is any chance of selling something. Is there any kind of overlap in taste and sensibility? If you can enjoy a meal together or laugh at a joke together, or have a conversation about something else, I think that is kind of useful as a foundation for a relationship.”

Screen Forever May 6 – 8, The Star Event Centre, Gold Coast.

Foxtel has made 100 staff redundant, less than a month after being acquired by British firm DAZN.

The Age reports the cuts largely target staff from Foxtel’s marketing and engineering teams, including some staff from Hubbl.

A Foxtel spokesperson confirmed a number of “highly skilled and highly valued people… will leave the Foxtel Group”.

“Our transformation is not new. We have been focused on efficiency for almost a decade, which has seen us successfully transform our business from being a single-product pay-TV operator to a modern Australian leader in streaming,” the spokesperson said.

“As part of the DAZN Group, we now have the opportunity to continue our transformation and take advantage of their global engineering and services. We are also working with DAZN to share our world-class product and technology expertise.”

Last week, The Australian Financial Review speculated about the future of straming aggregator Hubbl, launched ambitiously in 2024.

“We are maintaining Hubbl, and customer feedback about the product has been very positive,” a spokesperson told B&T. “Naturally, having made a significant marketing investment to build consumer awareness and establish a market position in its first year, we are now looking at how best to maintain Hubbl as a more mature business within the Foxtel Group portfolio of products.”

DAZN completed its acquisition of Foxtel Group from News Corporation in a $3.4b deal ending a 30 year media partnership.

Better Homes & Gardens landscaper Charlie Albone recently headed to Uluru for story screening this week.

Here’s what else keeps him distracted….

What shows are on your must-see TV list lately?
My children are obsessed with Survivor, so as a family we have just watched the latest season. I think they want me to have a go at it, but don’t worry, you won’t see me living on a beach eating rice for a month – I couldn’t think of anything worse. I have just binged Last One Laughing and loved it. I grew up watching Bob Mortimer on a show called Shooting Stars so they whole thing had me in hysterics.

Which guilty pleasure show are you reluctant to admit watching?
CA: I’m a gardening tragic so I wake up early on the weekend to watch gardeners world on YouTube. Thank you to all the UK residents who post their gardening videos!

My eldest son Leo loves to watch cooking shows (watch out Clarissa and Colin, he’s coming for your job). I really enjoy watching them too, because unlike gardening you get the finished product at the end and don’t have to wait for anything to grow!

When you settle down for a night on the couch what are your ‘must-haves?’
CA: The weekdays are pretty busy for us with family life, school , sports looking after the pets (two dogs, a bearded dragon and four fish tanks) so we don’t really watch TV until the weekend, if it’s during the day I love a cup of coffee or tea to watch with, my absolute favourite is some sort of afternoon sport (anything!) and a beer though.

What show would you secretly love to appear on?
CA: I used to want to go on SAS Australia but now I’m not so sure as it’s just so full on. That said I would find it hard to turn down an opportunity like that. There’s a UK gardener called Monty Don who did a show called Around The World in 80 Gardens, that would be a dream come true for me.

What can we expect to see in the Uluru episode of Better Homes & Gardens and what was your personal highlight?
CA: Uluṟu was such an amazing experience filled with Camel riding, five star dining, bush walking and of course taking in all the beauty of Uluṟu itself. My top highlight though was the sunrise light show, it was truly magical watching the day arrive and the stunning stars disappear was something I will never forget and one viewers have to tune in for.

Better Homes & Gardens screens 7pm Friday May 2 on Seven / 7TWO.

“It’s the great leveller, isn’t it?” says Rodger Corser, host of Nine’s new game show The Floor.

“It doesn’t matter how many university degrees you’ve got, if you come up against a Taylor Swift song and you don’t know it you could be in trouble.”

Filmed on a super-sized set in The Netherlands with 81 Aussies competing for a $200,000 prize, the show is based on a Dutch format.

When Corser got to Amsterdam his first sight of the set was a daunting experience.

“When the lighting guys had the full rig up, and then switched it on, everyone wanted to see because the scale is big! The Floor is the size of a basketball court. When it’s filled with 81 people, and we’ve got our crew, multiple screens and a studio audience, the scale is really, really huge.

“We did nine episodes, and by the time they get halfway through the season, I’ve had a lot of them up on the stage a couple of times and had a chat to them. Even in between getting them up on stage, I’d chat to themon the floor, asking about their their lives outside the show. But they were all pretty energetic. They were, they were vetted very well. Like, they were all really happy to be there. We shot it in Amsterdam so you can imagine it was like a massive Rock Band or Contiki tour for them,” he explains.

“Besides the pilot every other day of shooting was a 2 ep day. We’d do one before the dinner break and one after. They’d all go back to the bar at their hotel, and socialise which is great, because with the chemistry between the people in the show, we wouldn’t have to do much work. They were having a great old time.”

Camaraderie and competition were so relaxed that Corser reveals there were few rules behind the scenes. Winners who passed on a new trivia challenge and returned to The Floor had the advantage of knowing their ‘neighbour’s’ category and bought themselves time.

For those who thought through strategy, it could get them closer to the $200,000 prize.

“You don’t need to be super, super (smart). Everyone was really worried about the Periodic Table. But between shows, people jumped on their phones,” Corser confirms.

“If you’re going to have to play one of these people coming up, go and study their category.

“Periodic Table was pretty finite. We’re not going to be asking post-grad questions about it. It’s basically going to be like ‘What do these two letters represent?’ It’s kind of finite whereas Celebrity Hollywood Couples is a bit infinite.”

The Floor marks the second time Corser has hosted a game show on television, following two seasons of The Traitors for 10. But he hasn’t given up acting altogether.

“I feel like it’s been a bit quiet in the acting world. So it’s more of a pivot than an overload. Mind you, they aren’t short of a promo for this show. A few of my mates are saying, ‘If I see your face on a billboard one more time, I’m going to throw a stone at it.’ So my good friends are giving me a healthy reality check.

“I’m 52 now, so the roles are going to be different… there are landscape changes, which is part of any industry. I mean, I’ve pitched to a couple of different places with different projects and talking with different producers. I’ve been into networks to pitch various different shows, both scripted and non scripted. Hopefully one of those will come off soon, and I can do a bit more work behind the camera as well.”

He has guest presented on Today Extra which puts him in good stead for the contestants on The Floor. On both shows presenters wear an earpiece which can assist -or not- with banter with players.

“There’ll be a few suggestions. There’s a few people in the control so sometimes there’s three or four voices in your head. Sometimes you’ve just got to ignore them, especially as I got got more into the season. I thought ‘I’ve got this. It’s all good. ‘So it was actually quite enjoyable, because you actually get to know the people.”

As for the gameplay on The Floor, Corser recommends a quick pass when in doubt at any given trivia image for fear of losing precious time.

“It starts off usually easier for the first images, like a picture of a basketball or cricket bat. But then you’ll getsome obscure ones thrown in. And all it takes is one, like curling or something, and it’s on the tip of your tongue, and this is where people get found out. They don’t say Pass quickly, they ‘umm’ and ‘ahh’ for 15 seconds and they’re gone,” he continues.

“But this is where the strategy comes in, because one person absolutely lied about their category and their prowess in it. No one went near it because it was something that, you thought you may need a degree for. Then when they actually started to play the said, ‘I actually know nothing about this subject, you were sucked in.’ As long as you’re very good at general knowledge, because most of the time you’ll be playing in someone else’s category.

“It’s a little bit Squid Game-esque but we do send the losers home to their families. That’s the one difference compared to Squid Game, I suppose. But if you lose, you’re gone, so you have that sort of juxtaposition of people who don’t spend very long on the show. We don’t get to know them, unfortunately, compared to other people who stick around for nine episodes, which is a long run in a game show.”

And what category would Corser nominate as his speciality?

“I’d probably, brush up on a sport, AFL or Cricket. I was a cricket tragic as a kid. I’m good at knowing 5% of a lot of things, so a master of none would definitely be how you describe me.”

The Floor screens 7:30pm Mondays and Tuesdays on Nine.

It was after Go-Jo was invited to represent Australia at the Eurovision Song Contest in Switzerland that he wrote Milkshake Man.

Thankfully Marty Zambotto, stage name Go-Jo, pumped out a banger of a song together with co-writers Amy Sheppard, George Sheppard, and Jason Bovino.

“I was told in December,” he tells TV Tonight, “We had a few songs that we had shown SBS which they really liked. But I remember, thinking ‘I want to see if I can top these, if I can make something a bit more extraordinary,’ which SBS were very nice and trusting about.

“That was when I had a writing camp with Sheppard, writing 10 songs in two days. Milkshake Man was one of them.”

WA-raised Go-Jo drew millions of views with his breakout song Mrs Hollywood before he was invited by SBS to represent Australia for the 10th year of competing. The gamble to create a Eurovision-worthy song has paid off with Milkshake Man drawing over 3 million streams in the first 6 weeks of release, 1.4 million views on YouTube, and charting in 16 countries on Spotify Viral Charts.

“I feel like I’ve always thrived in those environments. It really comes back to my childhood and the way my mother and father raised me because we grew up off grid, yeah, and learned so much about hard work, being in pressured situations, not being financially stable and things like that. Mum and dad surrounded us with love always, and they showed us that life doesn’t need to be taken seriously,” he continued.

“You don’t have to let these things get the better of you.”

Zambotto has been criss-crossing Europe in recent weeks, joined by a Chugg Music representative, meeting media and performing to Eurovision fans.

“We’re on the go 24/7, although we still get to see a lot and have nice foods and stuff like that too, which is good. But I love just sitting at a viewpoint, being able to soak it up without knowing that I’ve got a billion things to do.”

While Milkshake Man is cheeky, sexy, and full of double entendres, it is also layered in meanings.

“When I knew I was doing Eurovision, I knew I was going to be performing in front of a massive audience so I wanted to write and have a concept that would bring joy and help people. The song is all about confidence and self-expression. The Milkshake Man hopes to inspire other people to feel larger than life and vibrant. It’s all about bringing you into the world of that,” Zambotto insists.

“When you think of ice cream trucks, you’re instantly taken back to when you’re a kid, when you’re just so unapologetically yourself. You don’t have a worry in the world.”

Zambotto says his first memories of Eurovision extend back to childhood.

“My dad was born and raised in France, so he introduced me to Waterloo by Abba. He had it on VHS, and I remember we used to play it on the TV every now and then. That was kind of when I was first introduced to it. And dad would always talk about it over the years,” he explains.

“We didn’t have cable TV or electricity… so it was kind of hard to watch it and follow along as much as possible. But I know Dad would have it on the SBS radio.”

If performing on stage in Basel next month is a dream come true, it follows from many years of hard work. Go-Jo is no overnight sensation.

“The thing that a lot of people don’t see, is the hardest times of my career… I was in my room, working every single day for 12 hours, just learning everything about music, not having any idea what I was doing because I didn’t do any lessons. I wasn’t taught by anyone. It was purely through trial and error,” he recalls.

“After the fourth year of really perfecting my craft, I feel like I kind of hit this point where I’d learned so much on my own, and it was time to see what it’s like from the pros. I’d go to Los Angeles, and I would learn so much from writers and producers over there, and it would kind of expand my brain.

“I haven’t come from a financially stable background so everything I’ve had to do has had to be through hard work. So I feel like a lot of people don’t really see that story. When you see someone on social media or you hear their music, you don’t really deep dive into the background.

“A few times during my career, people would say, ‘You’re really lucky’ or whatever and I’ve never felt that, because I know how much work I put into everything, and the way those sacrifices have punished my personal life. I’m so hung up on music and so driven by it that it can obviously imbalance other relationships and things like that.”

In Switzerland it will all come together when Go-Jo opens Semi Final Two in Basel, as Australia hopes to qualify for the 2025 Final.

Not surprisingly, he is keeping his cards close to his toned bare chest as to how they song will be staged.

“I’ll just say, fun,” he teases. “That’s so broad, but I want to keep it a secret. It’s like opening a present before Christmas, it ruins the magic!”

Eurovision Song Contest on SBS
Semi Final 1 – Wednesday 14 May at 5:00am AEST (rpt Friday 16 May at 7:30pm)
Semi Final 2 – Friday 16 May at 5:00am AEST *features Australia (rpt Saturday 17 May at 7:30pm)
Grand Final – Sunday 18 May at 5:00am AEST (rpt Sunday 18 May at 7:30pm)