Radio ratings: 6PR slumps as 96FM triumphs with midday listeners
New GFK radio ratings released on Tuesday for the March to May period show 6PR hosts Simon Beaumont and Oliver Peterson both lost 1.2 per cent in their ratings.
Overall, the station's weekday audience dropped 0.9 per cent to 6.6 per cent, after a turbulent year, including losing 4.3 per cent of listeners aged 55 to 64 — a key demographic for the station,
Both Beaumont and Peterson were shifted as part of a programming overhaul late last year, with Nine's east coast bosses dumping the afternoon's show, forcing the pair to cover the space.
Peterson's ratings of 4.5 per cent are now lower than when Nine dumped former host Julie-anne Sprague's show.
Once a Drive host from 3pm to 6pm, Peterson was relegated to a 1pm to 5pm shift — now missing out crucial listeners after 5pm.
Instead, 6PR now runs sports talkback into the early evening.
Across town, ABC Perth saw a rise of 0.6 per cent — lead by new Drive host Gary Adshead, who defected from 6PR late last year, who saw ratings grow to 5.7 per cent, up 1.2 per cent.
It follows new ABC managing director Hugh Marks visiting the ABC Perth offices last week, telling staff of a renewed importance of traditional broadcast — such as radio and TV.
On the FM dial, after reaching stratospheric highs last survey, Nova dropped 2.3 per cent as a station, while breakfast crew Nat Locke and Shaun McManus were hit with a 2.2 per cent drop, as speculation continues over the absence of the pair's partner Nathan Morris.
96FM maintained a solid midday audience between 9am and 4pm, winning a fifth of the Perth market.
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The Age
a day ago
- The Age
What to stream this week: Richard Roxburgh as Joh and five more to watch
This week's picks include a sun-soaked Spanish crime drama, a documentary about former Queensland premier Joh Bjelke-Peterson, a potential Yellowstone successor and silly action thriller Heads of State. When No One Sees Us ★★★★ (Max) 'We're in Easter: pain, passion, expiation of sins,' notes a laconic medical examiner early in this compelling Spanish crime drama, and he's not wrong. Inner turmoil and the public acts that can't quite remedy them are essential to this lean eight-part series. Avoiding the icy realms of Scandi-noir, this is a sun-soaked procedural where guilt and responsibility play as two sides to the same coin. The show has an understated calm: even as the crimes accumulate, life goes on for better and worse. The plot engineered by creator Daniel Corpas fuses two different realms. The first is the town of Moron, where the community is gearing up for a headline week of religious celebrations that has police detective Sargeant Lucia Gutierrez (Maribel Verdu) in her ceremonial uniform even as a teenage boy goes missing. The second is the vast nearby United States Air Force base, a transplanted America where an IT specialist with security clearance is AWOL, necessitating the deployment of investigator Lieutenant Magaly Castillo (Mariela Garriga). Both women are to the point and inclined to put work above all else, including, in Lucia's case, a rebellious daughter and ailing mother-in-law. But even as they liaise, each retains a formality that emphasises how their professionalism anchors them. When No One Sees Us is a particularly observant show, and that starts with how Magaly and Lucia prepare, the way they finesse their uniform and crease their hair. They don't become partners, bonding with confessions. They're weighing each other up. Without rushing, much happens as the authorities search for links between the two disappearances. You get a sense of the systems that underpin Moron and the air base, and how they might be corrupted, plus the pressing weight of faith's burden. Images of religious ecstasy, whether divine or drug-induced, punctuate the narrative, and the Catholic imagery that adorns the town feels like a backbeat to the many sins characters bear like their own crosses. As with Netflix's outstanding recent mystery Dept. Q, little here is radical in outline. But this genre piece's detail and specificity – whether geographic, logistical, or familial – is immersive without becoming overwrought. A pair of Lucia's mismatched subordinates investigating the drug overdoses become a dry comic duo. You watch When No One Sees Us not just for motives, but to learn more about these disparate lives. Note how locals practice carrying an ornate ceremonial float, dozens of people in the dark underneath slowly shuffling forward. It's the striking encapsulation of this show: small steps made in shared hope. Joh: Last King of Queensland ★★★★ (Stan) The impact of Joh Bjelke-Peterson, the power-wielding premier of Queensland from 1968 to 1987, cannot be underestimated. A prototype populist who promoted sunshine state exceptionalism, Bjelke-Peterson was a farmer's son who became a cunning politician and stood atop a state ultimately revealed to be rife with corruption. It's easy to describe him as a one-off, but his beliefs endure and his playbook has been streamlined for 21st century use. Brisbane-born filmmaker Kriv Stenders combines his eye for the dramatic (Red Dog, The Correspondent) and documentary (The Go-Betweens: Right Here) in this thorough examination of Bjelke-Peterson's rule. Richard Roxburgh captures Bjelke-Peterson's essence in a series of 'dramatised' soliloquies, offering a can-do philosophy from the back blocks and dismissing historic criticisms. It's an illuminating accompaniment to the narrative, as if the archival voice is happily reclaiming prominence. Bjelke-Peterson was a satirist's delight, but Last King of Queensland always casts a sombre eye. Loading In collaboration with writer Matthew Condon, Stenders calls on various sources: historians and Bjelke-Peterson's children, former colleagues and Queenslanders brutalised by an unregulated police force because they believed in their right to demonstrate in public. There is no definitive description of Bjelke-Peterson's, but the many perspectives have a cumulative weight. Hubris and investigative journalism brought him down, finally overcoming a gerrymandered electoral system, but hindsight shows that Bjelke-Peterson's's brazen failings shouldn't be forgotten. The Waterfront ★★★ (Netflix) There's been no shortage of hopeful Yellowstone successors recently, but this drama about a fractured clan trying to keep their North Carolina commercial fishing empire afloat may be the best of a bad bunch. Dawson's Creek and Scream creator Kevin Williamson lays out lashings of plot, with every character in conflict with several others, starting with patriarch Harlan Buckley (Holt McCallany) and his just-rehabbed daughter Bree (Melissa Benoist). Neither the escalations nor resolutions are particularly striking, but on this waterfront the churning complications get by via never relenting. Loading Heads of State ★★½ (Amazon Prime Video) Just three months after Viola Davis played the US president in the Die Hard at a global summit action-thriller G20, this goofy action-comedy rejigs the leadership formula with Jon Cena as a Hollywood movie star turned US president who gets into a world of trouble with the British prime minister (Idris Elba) after Air Force One is shot down with both on board. The two bicker and blow away bad guys in a formulaic take from Nobody director Ilya Naishuller that has only a hint of the gonzo energy it requires to transcend its limitations. Ironheart ★★ ★ (Disney+) This is the 14th and latest television show in the Marvel Cinematic Universe, and thankfully it makes a more lasting impact than most of its lacklustre predecessors. Introduced in the margins of 2022's Black Panther: Wakanda Forever, science prodigy and inventor Riri Williams (Dominique Thorne) returns home to Chicago with a barely functional armoured suit, disregard for official channels, and some flashback-friendly trauma. At just six episodes, this is a small-scale Marvel venture, leaning towards an adolescent audience, that's not tied to previous stories but does possess a fair measure of galvanising energy. Loading Watchmen ★ ★ ★½ (Paramount+) Published nearly 40 years ago, Alan Moore and Dave Gibbons' graphic novel may well be the Citizen Kane of comic books. It's complex, bittersweet weave of historic vigilantes and alternate history conspiracies was too big for Zach Snyder's 2009 live action movie, but this two-part animated adaptation manages to encompass a little more of the storytelling and the underlying sense of tragic wonder. The voice work from Matthew Rhys (Night Owl) and Titus Welliver (Rorschach) is supple and sympathetic, while the visual palette is true to Gibbons' original panels.
Sydney Morning Herald
a day ago
- Sydney Morning Herald
What to stream this week: Richard Roxburgh as Joh and five more to watch
This week's picks include a sun-soaked Spanish crime drama, a documentary about former Queensland premier Joh Bjelke-Peterson, a potential Yellowstone successor and silly action thriller Heads of State. When No One Sees Us ★★★★ (Max) 'We're in Easter: pain, passion, expiation of sins,' notes a laconic medical examiner early in this compelling Spanish crime drama, and he's not wrong. Inner turmoil and the public acts that can't quite remedy them are essential to this lean eight-part series. Avoiding the icy realms of Scandi-noir, this is a sun-soaked procedural where guilt and responsibility play as two sides to the same coin. The show has an understated calm: even as the crimes accumulate, life goes on for better and worse. The plot engineered by creator Daniel Corpas fuses two different realms. The first is the town of Moron, where the community is gearing up for a headline week of religious celebrations that has police detective Sargeant Lucia Gutierrez (Maribel Verdu) in her ceremonial uniform even as a teenage boy goes missing. The second is the vast nearby United States Air Force base, a transplanted America where an IT specialist with security clearance is AWOL, necessitating the deployment of investigator Lieutenant Magaly Castillo (Mariela Garriga). Both women are to the point and inclined to put work above all else, including, in Lucia's case, a rebellious daughter and ailing mother-in-law. But even as they liaise, each retains a formality that emphasises how their professionalism anchors them. When No One Sees Us is a particularly observant show, and that starts with how Magaly and Lucia prepare, the way they finesse their uniform and crease their hair. They don't become partners, bonding with confessions. They're weighing each other up. Without rushing, much happens as the authorities search for links between the two disappearances. You get a sense of the systems that underpin Moron and the air base, and how they might be corrupted, plus the pressing weight of faith's burden. Images of religious ecstasy, whether divine or drug-induced, punctuate the narrative, and the Catholic imagery that adorns the town feels like a backbeat to the many sins characters bear like their own crosses. As with Netflix's outstanding recent mystery Dept. Q, little here is radical in outline. But this genre piece's detail and specificity – whether geographic, logistical, or familial – is immersive without becoming overwrought. A pair of Lucia's mismatched subordinates investigating the drug overdoses become a dry comic duo. You watch When No One Sees Us not just for motives, but to learn more about these disparate lives. Note how locals practice carrying an ornate ceremonial float, dozens of people in the dark underneath slowly shuffling forward. It's the striking encapsulation of this show: small steps made in shared hope. Joh: Last King of Queensland ★★★★ (Stan) The impact of Joh Bjelke-Peterson, the power-wielding premier of Queensland from 1968 to 1987, cannot be underestimated. A prototype populist who promoted sunshine state exceptionalism, Bjelke-Peterson was a farmer's son who became a cunning politician and stood atop a state ultimately revealed to be rife with corruption. It's easy to describe him as a one-off, but his beliefs endure and his playbook has been streamlined for 21st century use. Brisbane-born filmmaker Kriv Stenders combines his eye for the dramatic (Red Dog, The Correspondent) and documentary (The Go-Betweens: Right Here) in this thorough examination of Bjelke-Peterson's rule. Richard Roxburgh captures Bjelke-Peterson's essence in a series of 'dramatised' soliloquies, offering a can-do philosophy from the back blocks and dismissing historic criticisms. It's an illuminating accompaniment to the narrative, as if the archival voice is happily reclaiming prominence. Bjelke-Peterson was a satirist's delight, but Last King of Queensland always casts a sombre eye. Loading In collaboration with writer Matthew Condon, Stenders calls on various sources: historians and Bjelke-Peterson's children, former colleagues and Queenslanders brutalised by an unregulated police force because they believed in their right to demonstrate in public. There is no definitive description of Bjelke-Peterson's, but the many perspectives have a cumulative weight. Hubris and investigative journalism brought him down, finally overcoming a gerrymandered electoral system, but hindsight shows that Bjelke-Peterson's's brazen failings shouldn't be forgotten. The Waterfront ★★★ (Netflix) There's been no shortage of hopeful Yellowstone successors recently, but this drama about a fractured clan trying to keep their North Carolina commercial fishing empire afloat may be the best of a bad bunch. Dawson's Creek and Scream creator Kevin Williamson lays out lashings of plot, with every character in conflict with several others, starting with patriarch Harlan Buckley (Holt McCallany) and his just-rehabbed daughter Bree (Melissa Benoist). Neither the escalations nor resolutions are particularly striking, but on this waterfront the churning complications get by via never relenting. Loading Heads of State ★★½ (Amazon Prime Video) Just three months after Viola Davis played the US president in the Die Hard at a global summit action-thriller G20, this goofy action-comedy rejigs the leadership formula with Jon Cena as a Hollywood movie star turned US president who gets into a world of trouble with the British prime minister (Idris Elba) after Air Force One is shot down with both on board. The two bicker and blow away bad guys in a formulaic take from Nobody director Ilya Naishuller that has only a hint of the gonzo energy it requires to transcend its limitations. Ironheart ★★ ★ (Disney+) This is the 14th and latest television show in the Marvel Cinematic Universe, and thankfully it makes a more lasting impact than most of its lacklustre predecessors. Introduced in the margins of 2022's Black Panther: Wakanda Forever, science prodigy and inventor Riri Williams (Dominique Thorne) returns home to Chicago with a barely functional armoured suit, disregard for official channels, and some flashback-friendly trauma. At just six episodes, this is a small-scale Marvel venture, leaning towards an adolescent audience, that's not tied to previous stories but does possess a fair measure of galvanising energy. Loading Watchmen ★ ★ ★½ (Paramount+) Published nearly 40 years ago, Alan Moore and Dave Gibbons' graphic novel may well be the Citizen Kane of comic books. It's complex, bittersweet weave of historic vigilantes and alternate history conspiracies was too big for Zach Snyder's 2009 live action movie, but this two-part animated adaptation manages to encompass a little more of the storytelling and the underlying sense of tragic wonder. The voice work from Matthew Rhys (Night Owl) and Titus Welliver (Rorschach) is supple and sympathetic, while the visual palette is true to Gibbons' original panels.
Sky News AU
2 days ago
- Sky News AU
Jelena Dokic looks slimmer than ever at Wimbledon after the tennis great revealed she 'halved' dress size
Jelena Dokic has stunned fans with a photo of herself looking slimmer than ever before at the iconic Wimbledon tennis tournament. The retired tennis star is currently serving as part of Nine's commentary team for the tournament, the same event where she advanced to the semifinals in 2000 aged 16. Dokic, 42, took to Instagram Stories on Tuesday to post a stunning photo of herself inside the commentator's booth at the famous two-week event. She flashed her signature mega-watt smile at the camera in the snap, with her pinstripe trousers and burgundy blouse accentuating her figure. Dokic looked confident as she posed with one hand on her hip, wearing glamorous makeup and her hair styled in loose waves. "Ready for Wimbledon," she wrote in the caption. "And, like always, so is the whole styling and hair and makeup team. "Wouldn't be able to do anything without them all." Fans of the tennis great flooded the comments praising the star, with many people pointing out how much Dokic's Wimbledon look suited her. "Burgundy really suits you, Jelena," one person said. "Looking amazing. That colour so suits you. But the best beauty here is your confidence shining through," another person said. "Lovely outfit Jelena, enjoy your time commentating at Wimbledon," a third person said. One more fan said Dokic had a "beautiful glow" in her latest photo, while another person said the media figure is a "wonderful role model". The retired tennis great has publicly chronicled her weight loss journey after shedding about 20 kilos through diet and lifestyle changes. However, commentators have expressed doubts about her weight loss amid the rise of injectable GLP-1 medications like Ozempic. Dokic recently shared a remarkable comparison of herself before and after her transformation on Instagram, where she addressed more claims she has 'abandoned plus-sized people' after halving her dress size. 'When I was a size 20, someone always complained, and now that I am a size 10, someone is always complaining too,' she wrote in the caption. 'It's now bad that I am healthier and lost some weight, and I have abandoned standing up for plus-size people." Dokic's glowing Wimbledon appearance comes after she shared a telling post hinting that the retired tennis star has found love, just weeks after she was spotted cosying up with a mystery man at Melbourne Airport. "May you attract someone who treats you like they've been waiting their whole life to find you," read a post Dokic shared on Instagram last month. She said she "absolutely" agreed with another post, which spoke about "redefining what love looks like", and it's not "roses or expensive gifts". Dokic looked visibly elated as she touched down at Melbourne Airport in May. It's there she embraced an unknown man who was seen eagerly awaiting her arrival inside the terminal. In footage obtained by Dokic could be seen running her fingers along the side of the man's torso. The pair then walked out into the pickup zone of the airport. Dokic split from her previous partner, Brazilian-born Tin Bukic, in late 2022 after an almost two-decade-long relationship. She recently opened up on the Mental As Anyone podcast about how the demise of her relationship jeopardised her plans to start a family. 'I was in a relationship for almost 19 years from the age of 20, and right when we split up, we were about to start trying for a family,' Jelena said. 'I actually think I would be a good mum, to be honest; I love kids.' Dokic revealed she was now planning to start a family as a 'single parent' and was open to exploring adoption. 'It is something I would like to do because I love kids,' she said. 'I didn't have the best experience (but) if I was, let's say, a single mum and adopted one day, it would have all the love in the world.' The former Wimbledon semi-finalist was born in 1983 in the former communist state Yugoslavia before resettling in Serbia and then arriving in Australia as a refugee in 1994. Dokic in 2009 enjoyed an unforgettable run at the Australian Open after entering as a wildcard and ultimately advancing to the quarter-finals. She retired from the sport in 2014 and turned to commentating tennis, a role for which she is highly sought after. Dokic revealed the harrowing family violence she suffered at the hands of her estranged father and coach Damir Dokic in her memoir Unbreakable. She has claimed her father has never apologised for his alleged verbal, emotional and physical abuse.
