Nine reporter Tim Arvier quits Channel 9 for a top Crisafulli government job
After all, we've been warning for months now that Nine's best Brisbane newsbreaker, Tim Arvier, was likely on the move and, indeed, he is.
Diary can reveal the network's award-winning state political reporter has been headhunted by Queensland Premier David Crisafulli's government to head up its crisis communications network – where he will be tasked with, among other things, containing political scandals rather than exposing them.
We hear the veteran news hound struggled with making the decision to leave the network where he first began his career as a cadet reporter in 2004, but ultimately decided he was ready for a new challenge and the fancy deputy director-general title that apparently comes along with it.
Of course, the pay doesn't sound too bad either.
When we first revealed the network's gun state political reporter might be eyeing off the exit at its Mt Coot-Tha studios back in May, and that if the news bosses at rival Seven rummage around down the back of the coach for about $300,000 a year, they might be able to convince him to change channels.
Although we hear Seven did make some furtive inquiries about procuring Arvier's services, unfortunately they couldn't find quite enough spare change under the sofa cushions.
Their loss was Crisafulli's gain, though, with the execs in at George Street happy to pass a hat around and come up with the desired result.
Arvier is expected to spend the next couple of weeks working with young up-and-coming reporters at Nine before wrapping up at the network at the end of the month.
Although he leaves on amicable terms, his departure will leave a massive void in the newsroom.
Not only a popular member of staff, Arvier was Nine's most consistent newsbreaker and often cited as one of the key reasons people opted to tune in to Nine over Seven at 6pm.
He was also its most experienced journo, having spent lengthy stints reporting for A Current Affair and as the network's European and then North American correspondent during his 20-year career at Nine.
Indeed, Arvier was working in Minneapolis in the US when he was named Journalist of the Year at Queensland's Clarion media awards, while also picking up gongs for best broadcast interview and best TV news report for his coverage as civil unrest spread across the city in the wake of George Floyd's death.
Nine's Queensland news boss, Brendan Hockings, told Diary he was disappointed to lose a journo and a mate of Arvier's calibre, but was confident he had enough rising stars in his newsroom to keep him on his toes in his new job.
'Tim and I started in the industry together around 20 years ago, and I've seen first hand how much he's poured into his journalism career,' he said when we tracked him down on Wednesday.
'We've spoken about this at length, so I know how Tim has agonised over leaving a profession and place he loves but, in the end, he feels the time is right to take on this new role. He leaves with our thanks and best wishes.
'Nine is Queensland's No.1 television news thanks to the strength of our team across the board.
'We have a very healthy stable of newsbreakers and I'm excited to watch them take up the challenge of holding the government to account.'
And to be fair (and we always try to be), Hocko's not wrong – with the Brisbane newsroom thriving under him since he was made news director in January, the station's prime-time 6pm news bulletin ratings are up 21 per cent year on year for the first six months of 2025.
Arvier confirmed the move not long after we first broke the news, saying after two decades at Nine, it was time for 'a bit of a change'.
'I'll be moving away from the day to day shenanigans of Queensland politics and heading to government department land for some new responsibilities, including heading up the Queensland Crisis Communications Network to oversee events like floods, cyclones and major police/emergency incidents,' he said on social media.
'I will miss working at Nine. It's a great place full of great people and I've made many lifelong friends amongst the camera teams, producers and editors. The newsroom is in great hands and I know it will continue to thrive.' Free-to-air rich list: the top 35 salaries in TV Read related topics: Nine Entertainment
Steve Jackson is The Australian's media diarist. He has spent more than two decades working across the most-read mastheads and most-watched television current affairs programs in Australia and the United Kingdom. Wealth
The Australian is launching Wealth, a dedicated digital-first section to help more Australians make smarter money choices. World
A former Israeli prime minister has accused The New York Times of 'blood libel' after the NYT admitted a child in Gaza whom the masthead and other media outlets claimed was suffering 'severe malnutrition' had been diagnosed with pre-existing health conditions.
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They're sticking together - and they will soon be doing that in ways they could never have imagined. One day, on a hike, they fall into an underground cave that seems like it was some kind of structure - there are bells - and as it's pouring rain they decide to wait out the storm. Tim gets thirsty and decides to drink some water from a pool. This would be a stupid idea at the best of times but he gets something much more painful than a bout of vomiting and/or the runs. And longer lasting. When Tim and Millie wake up, their bare legs are literally stuck together. Separating themselves is like pulling off a particularly nasty Band-Aid. They shrug it off - he guesses it might be mildew - but things are about to get even weirder, very soon. Tim experiences episodes where he is irresistibly drawn to make physical contact with Millie, and not in a good way: it's non-consensual for both of them and terrifying. They find out from Jamie (Damon Herriman) a neighbour who's a colleague of Millie, that the cave contains the remains of a fringe church that (literally) collapsed, but that doesn't tell them much about what's happening, and their attachment issues are only getting worse. This is body horror - is it ever - but not in the cold, clinical way David Cronenberg tends to do it. Compared to most of the Canadian filmmaker's misfits and weirdos, Tim and Millie are relatably human and Franco and Brie make you care about what happens to them. The feelings seem real and while the metaphoric element isn't terribly subtle, it works, giving the film some substance. There are some moments where the horror is mixed with very dark comedy, like a scene in a school toilet where Tim and Millie can't fight the compulsion to have sex, with somewhat predictable - and graphic - results. Apparently for one particularly, shall we say, intimate shot Shanks was able to procure prosthetic parts through his own longtime partner, who worked for a sex toy business. This is not a film for the squeamish, but you've probably guessed that by now. But Shanks also shows restraint at certain moments: sometimes what you don't see is worse than what you do. The film wasn't made for a huge budget - horror movies produced at a modest cost have long been a reliable way of making money - but the production values are good and, crucially, the special effects are grotesquely convincing. Together was shot in Australia are there are a few familiar faces who pop up but apart from an effective turn by Herriman, Franco and Brie are almost the whole show. Fortunately the couple, who are frequent co-stars, are up to the challenge. The climax - in which a Spice Girls song plays a key part - works and the coda is eerily restrained. This is another in the line of recent Australian horror movies well worth seeing. We all know couples who seem clingy and co-dependent, perhaps to an unhealthy degree. Australian writer-director Michael Shanks takes this to extremes in his grossly vivid debut. Tim and Millie (real-life spouses Dave Franco and Alison Brie) are almost 10 years into their relationship and things are a little strained. Do they still love each other or are they just used to each other, in a state of inertia? Long-simmering tensions break out after a going-away party where her public proposal blindsides him and doesn't elicit the hoped-for response. Nevertheless, they move together to a country town where Millie will take up a good teaching job. Tim is, in his 30s, still pursuing a music career without much luck. He can't drive so she will have to take him to the railway station to get to gigs. It doesn't seem the most satisfactory situation but they are making a go of it. They're sticking together - and they will soon be doing that in ways they could never have imagined. One day, on a hike, they fall into an underground cave that seems like it was some kind of structure - there are bells - and as it's pouring rain they decide to wait out the storm. Tim gets thirsty and decides to drink some water from a pool. This would be a stupid idea at the best of times but he gets something much more painful than a bout of vomiting and/or the runs. And longer lasting. When Tim and Millie wake up, their bare legs are literally stuck together. Separating themselves is like pulling off a particularly nasty Band-Aid. They shrug it off - he guesses it might be mildew - but things are about to get even weirder, very soon. Tim experiences episodes where he is irresistibly drawn to make physical contact with Millie, and not in a good way: it's non-consensual for both of them and terrifying. They find out from Jamie (Damon Herriman) a neighbour who's a colleague of Millie, that the cave contains the remains of a fringe church that (literally) collapsed, but that doesn't tell them much about what's happening, and their attachment issues are only getting worse. This is body horror - is it ever - but not in the cold, clinical way David Cronenberg tends to do it. Compared to most of the Canadian filmmaker's misfits and weirdos, Tim and Millie are relatably human and Franco and Brie make you care about what happens to them. The feelings seem real and while the metaphoric element isn't terribly subtle, it works, giving the film some substance. There are some moments where the horror is mixed with very dark comedy, like a scene in a school toilet where Tim and Millie can't fight the compulsion to have sex, with somewhat predictable - and graphic - results. Apparently for one particularly, shall we say, intimate shot Shanks was able to procure prosthetic parts through his own longtime partner, who worked for a sex toy business. This is not a film for the squeamish, but you've probably guessed that by now. But Shanks also shows restraint at certain moments: sometimes what you don't see is worse than what you do. The film wasn't made for a huge budget - horror movies produced at a modest cost have long been a reliable way of making money - but the production values are good and, crucially, the special effects are grotesquely convincing. Together was shot in Australia are there are a few familiar faces who pop up but apart from an effective turn by Herriman, Franco and Brie are almost the whole show. Fortunately the couple, who are frequent co-stars, are up to the challenge. The climax - in which a Spice Girls song plays a key part - works and the coda is eerily restrained. This is another in the line of recent Australian horror movies well worth seeing.