Latest news with #Logies
Herald Sun
3 days ago
- Entertainment
- Herald Sun
Sam Pang locked in to host Logie Awards for third year in a row
Don't miss out on the headlines from Fiona Byrne. Followed categories will be added to My News. It is a Sam Pang 'three-peat,' with the Front Bar star locked in to host the Logie Awards for the third year in a row. Pang, who received high praise for his hosting efforts in 2023 and 2024, will be at the helm of Australian TV's biggest night in Sydney on Sunday, August 3. Sam Pang is hosting the Logie Awards for the third year in a row. Picture: Paramount The role continues Pang domination of local TV in 2025 with the likeable funny guy this year hosting his own tonight show for Channel Ten, appearing on Have You Been Paying Attention on 10 and being a part of Channel 7's hit sports nostalgia show The Front Bar. Sam Pang with Tom Gleisner and Ed Kavalee for Have You Been Paying Attention. Picture: Supplied Sam Pang, Mick Molloy and Andy Maher on The Front Bar. Picture: Supplied The TV Week Logie Awards is acknowledged as one of the toughest hosting gigs in TV with two hard to please audiences — those watching at home and the industry guests in the room for the live broadcast — to entertain and impress. 'It's been an honour to host the last two years and I'm looking forward to again celebrating the talented people and amazing shows that combine to make the Australian television industry something everyone can be proud of,' Pang said. 'I am very excited to return for another Logies and would like to thank 7 for asking me back.' The Logies will be held at The Star and be broadcast on Channel 7. Last year, the Logies drew a total TV audience of 1.44 million, the biggest audience for the awards since 2016. Nominations for the 2025 Logie Awards will be announced on Monday, June 16. Morning Show and The Chase host Larry Emdur took home the coveted Gold Logie in 2024.
The Age
13-05-2025
- Entertainment
- The Age
The strangest and most underrated performances (yes, it's a turkey) in Eurovision history
The Eurovision Song Contest was launched in 1956, as a means of uniting the countries of Europe in song. Shocking the rest of the world with campy performances, truly crazy stunts and song lyrics that leave your head shaking was just a happy by-product. Each participating country – some are occasionally banished for awful performances – sends a three-minute song, to be performed live by a singer or a group of up to six people. They are then scored by professional juries and television viewers – think the Oscars meets the Logies – who assign one to eight, then 10 and finally 12 points to their 10 favourite songs. Loading There is a well-worn history of Eurovision that will take you through the high-profile highlights, from Cliff Richard (in 1968) and Julio Iglesias (1970) to Celine Dion (1988), Engelbert Humperdinck (2012) and, of course, ABBA, who won in 1974 with Waterloo and are wheeled out as living proof that someone who wore satin on the Eurovision stage can not only live to tell the tale but make a quick billion, to boot. This is the alternative history. There are some less-known performances that should have made the history books, which teach the all-important lessons that make a performance memorable and give an artist (and country, and song) a fighting chance to carve off their slice of the Eurovision meringue. Nothing is ever too strange With a stage look that stepped straight out of J.R.R. Tolkien's oft-overlooked second-best bestseller Lordi of the Rings, Lordi are the Eurovision-winning act that represented Finland at Eurovision in 2006. A mash-up of monster masks, glam rock, horror make-up and, somewhere in all that, a kind of post-KISS vibe, Hard Rock Hallelujah hit Eurovision hard. Of course, they won, and the rest is Eurovision history. If you're shopping fabric, don't go past satin French twins Sophie and Magaly Gilles – known on stage as Sophie & Magaly – dialled up the shimmer in this memorable performance, representing Luxembourg in 1980. Their song Papa Pingouin ('Daddy Penguin') is memorable, but best remembered here are the ABBA-inspired satin jumpsuits they wore on stage. Setting aside the shocking risk of static electrocution, this is the shimmery glam look that defined Eurovision in the '70s. (Shame it landed a year late.) Yodelling? That's a hard yes It is almost surprising there isn't more yodelling in Eurovision, but this 2017 performance put Romanian entrants Ilinca and Alex Florea on the stage in Ukraine performing Yodel It! Written by Alexandra Niculae and produced by Mihai Alexandru, Yodel It! was a hot mess of genres and techniques, a bit of rock, a bit of pop, rap vocals from Florea and, of course, Ilinca's yodelling. Nothing has lit a yodelling fire like this on stage since The Lonely Goatherd. When in doubt: clowns Djambo, Djambo, Switzerland's entrant for Eurovision in 1976, is a poignant reflection by an old man playing a barrel organ for coins in the street on his younger days as a clown. But, let's be honest, the poignancy stops there. Peter, Sue and Marc, a Swiss group from Bern, were wearing so much denim the screen almost warped. And Djambo, Djambo himself? He was smirking on stage the whole time. When you run out of clowns: vampires Romanian singer Cezar brought It's My Life to Eurovision in 2013, performing the song in what looked like a sparkly, sequin-studded robe borrowed from the wardrobe of Drag Dracula. Chuck in some dancers and a lot of wafting red sheets and you have … well, who knows. In musical terms, Cezar was genuinely compelling, belting out a Bohemian Rhapsody -beating falsetto set to an electronic dance beat. Shame about the Dracula shtick. Move over, Beelzebub, the Prince of the Undead is in town. Bring Your Nana to Work week is real It may have gone down in Eurovision history as one of the greatest shtick moves ever, but Buranovskiye Babushki rocked the house. An Udmurt-Russian ethno-pop band comprising eight elderly women from the village of Buranovo, Udmurtia (yes, they were legit), their song Party for Everybody was a showstopper. Alas, it came second, beaten only by perennial Eurovision winner Sweden. When you run out of vampires: turkeys The fact this was basically a novelty pop song – the Irish equivalent of sending Shaddap You Face to Eurovision – Irelande Douze Points, as the name suggests, was nodding to the fact that the objective of any song in Eurovision is to secure 12 (douze, in French) points. The inspiration? The preceding year's Irish entrant, They Can't Stop the Spring, performed by Dervish, had been ranked 24th out of 24 competing countries. Jim and Keith. Hashtag no judgment Leave it to Norway… In 2022 they sent a British-Norwegian pop trio named Subwoolfer to compete: Keith and Jim the wolves – wearing stylised yellow wolf-head masks, no less – and DJ Astronaut (Carl-Henrik Wahl), wearing a gold space suit. The wolves were later revealed to be British singer Ben Adams and Norwegian singer Gaute Ormasen. Their song? Give That Wolf a Banana. The Eurovision Song Contest will be held May 13-17 and screened live on SBS and SBS On Demand.
Daily Mail
12-05-2025
- Entertainment
- Daily Mail
EXCLUSIVE Lisa Wilkinson launches astonishing public attack on 'three women' at Network Ten - as she reveals her surprise next career move
Lisa Wilkinson has sharply criticised Network Ten during a public question and answer session - with the TV star pointing the finger at 'three women' at the network who she claims share the blame for her catastrophic Logies speech. During a talk at a book festival in Taree, on the NSW mid-north-coast, on Friday night, the one-time co-host of The Project unleashed a fiery blast at her former bosses at Network Ten. Addressing a dimly lit, half-full auditorium for $25-a-head, Wilkinson was asked by one attendee why women fail to support other women in media, leading the veteran TV and magazine journalist to reply: 'I would love to know'. She then went on to slam a trio of unnamed women who 'run Channel Ten ' for allegedly failing to accept their share of the blame for her controversial 2022 Gold Logie victory speech. That speech, where she praised Brittany Higgins ' courage, led to the delay of the trial of Bruce Lehrman n for allegedly raping Ms Higgins at Parliament House - leading Wilkinson to be widely pilloried. 'Three women who run Channel Ten all read that speech,' Wilkinson said. 'When s*** hit the fan I said: "I'm on the front page of every newspaper in the country right now, I am being destroyed. 'I will take some of the blame because I said those words, but they are the words you asked me to say. 'You (the Ten women) know the legal position I am in. You approved it. I went to the legal department .... three times, including up to the afternoon of the Logies before I got on that stage. 'You've got to take some of the blame. 'I was told: "Oh we couldn't do that. That will only make it worse". 'And as the weeks went on and I said: "This is getting worse, not for you, no-one's mentioned the role that any of you have played". 'And it was three women.' Wilkinson did not refer to the three women she was speaking about by name. However, in an affidavit to the Federal Court for Lehrmann's defamation trial against Ten, Wilkinson said she believed Ten's senior legal counsel Tasha Smithies, head of PR Cat Donovan and CEO Beverley McGarvey had 'reviewed and approved' her speech. Only Ms McGarvey is employed in a major executive role running Ten. The extraordinary public blast is the first time outside court proceedings that Wilkinson has been critical of her former employer, which paid her $1.7million a year to co-host The Project - only for her to disappear off air on gardening leave for the final two years of her contract. Lisa Wilkinson reveals her next job Wilkinson started off her 'Evening With Lisa Wilkinson' event with a joke about the Logies saga. 'Before I begin, before anybody starts feeling a bit nervous, I have to confirm that I have had this speech legalled by my independent legal team, so don't anybody panic, least of all me,' she said. She then trotted out her familiar working-class-girl-from-Sydney's-west-makes-good story, portrayed her downfall from network television as hardship suffered with dignity. Asked by an audience member why she had not yet taken up a post at a public broadcaster - such as the ABC or SBS - Wilkinson answered that she was still in a form of legal limbo, despite Ten and her triumph over Lehrmann in their defamation case. 'I'm in a very interesting position at the moment. That's the most generic word I can come up with for the position I'm in,' she said. 'I don't know if you're aware that even though we've won the legal case - and the judge did declare that Bruce Lehrmann is a rapist - Bruce Lehrmann has appealed that finding. 'And so the case, the appeal, is back in court in August ... I don't know what's going to happen.' She swatted down rumours of a foray into politics, claiming her time was instead being taken up by penning a biography on a woman whose life she sees as the 'greatest Australian story that has never been told'. Wilkinson said the unnamed woman's story crossed her desk at her darkest hour in recent memory - the weekend after Channel Seven's Spotlight aired a tape of a pre-interview she had with Ms Higgins before she appeared on The Project. Channel Seven's 'disgusting' edit Wilkinson was clearly still upset by the network's portrayal of a five-hour meeting she had with Higgins and her now-husband David Sharaz. 'They completely twisted what was said, edited it in a way that was disgusting, that made it look like we were in a nightclub,' she claimed. 'It was all caught on tape because we were ordered by the courts to give them everything we had. 'And I'm an honest journalist. I'm not going to hide anything, you know, I want the truth to come out, but what Channel Seven did with it blew my mind, and for me, I couldn't see a way forward.' The mum-of-three, who lives in Cremorne on Sydney's lower north shore, said she was unable to leave her palatial home for two weeks after the story aired. Wilkinson said things got so bad her husband, Peter FitzSimons cancelled a work trip to be by her side. 'He was really worried about me, and he had good reason to be very worried about me,' she told the audience. While she remained tight-lipped on her upcoming biography, the parallels with her efforts to bring Higgins' story out of the darkness were plain to see. 'When Australia learns about this woman and realises that her story has been buried, you're all going to fall in love with her,' she said. After a life spent within the media looking out, the light has been turned back on her. Or as she put it: 'I've found myself in the unfortunate position of going from reporting the news to actually becoming the news.' It's led her to disdain the industry that made her and broke her. 'When you're at the bottom of a pile and you know the truth, and you know that there are journalists who do know the truth, will either stay silent or invent a narrative, because I was silenced legally, there's a lot of mainstream media I'm quite disgusted by,' she said. And yet, she still believes in its power to achieve positive change. 'Despite all that I have witnessed in recent times and all that I have been through, I do believe that it has all been worth it, because sunlight really is the best disinfectant, and that the only thing more frightening than speaking your truth is not speaking at all,' she said. 'And as personally, financially and professionally hard as the last few years have been for me, I will never regret putting the Brittany Higgins story to air. 'It has changed our country. 'It has exposed truths that desperately needed to be exposed, and as the toxic culture wars, the cheap headlines and the uninformed commentators have begun to fall away, I know the legacy that this story is continuing to deliver for so many women and survivors of sexual assault around this country, and I'm so proud to have been a part of that. 'That is what matters in my story.'
Sydney Morning Herald
11-05-2025
- Entertainment
- Sydney Morning Herald
The strangest and most underrated performances (yes, it's a turkey) in Eurovision history
The Eurovision Song Contest was launched in 1956, as a means of uniting the countries of Europe in song. Shocking the rest of the world with campy performances, truly crazy stunts and song lyrics that leave your head shaking was just a happy by-product. Each participating country – some are occasionally banished for awful performances – sends a three-minute song, to be performed live by a singer or a group of up to six people. They are then scored by professional juries and television viewers – think the Oscars meets the Logies – who assign one to eight, then 10 and finally 12 points to their 10 favourite songs. Loading There is a well-worn history of Eurovision that will take you through the high-profile highlights, from Cliff Richard (in 1968) and Julio Iglesias (1970) to Celine Dion (1988), Engelbert Humperdinck (2012) and, of course, ABBA, who won in 1974 with Waterloo and are wheeled out as living proof that someone who wore satin on the Eurovision stage can not only live to tell the tale but make a quick billion, to boot. This is the alternative history. There are some less-known performances that should have made the history books, which teach the all-important lessons that make a performance memorable and give an artist (and country, and song) a fighting chance to carve off their slice of the Eurovision meringue. Nothing is ever too strange With a stage look that stepped straight out of J.R.R. Tolkien's oft-overlooked second-best bestseller Lordi of the Rings, Lordi are the Eurovision-winning act that represented Finland at Eurovision in 2006. A mash-up of monster masks, glam rock, horror make-up and, somewhere in all that, a kind of post-KISS vibe, Hard Rock Hallelujah hit Eurovision hard. Of course, they won, and the rest is Eurovision history. If you're shopping fabric, don't go past satin French twins Sophie and Magaly Gilles – known on stage as Sophie & Magaly – dialled up the shimmer in this memorable performance, representing Luxembourg in 1980. Their song Papa Pingouin ('Daddy Penguin') is memorable, but best remembered here are the ABBA-inspired satin jumpsuits they wore on stage. Setting aside the shocking risk of static electrocution, this is the shimmery glam look that defined Eurovision in the '70s. (Shame it landed a year late.) Yodelling? That's a hard yes It is almost surprising there isn't more yodelling in Eurovision, but this 2017 performance put Romanian entrants Ilinca and Alex Florea on the stage in Ukraine performing Yodel It! Written by Alexandra Niculae and produced by Mihai Alexandru, Yodel It! was a hot mess of genres and techniques, a bit of rock, a bit of pop, rap vocals from Florea and, of course, Ilinca's yodelling. Nothing has lit a yodelling fire like this on stage since The Lonely Goatherd. When in doubt: clowns Djambo, Djambo, Switzerland's entrant for Eurovision in 1976, is a poignant reflection by an old man playing a barrel organ for coins in the street on his younger days as a clown. But, let's be honest, the poignancy stops there. Peter, Sue and Marc, a Swiss group from Bern, were wearing so much denim the screen almost warped. And Djambo, Djambo himself? He was smirking on stage the whole time. When you run out of clowns: vampires Romanian singer Cezar brought It's My Life to Eurovision in 2013, performing the song in what looked like a sparkly, sequin-studded robe borrowed from the wardrobe of Drag Dracula. Chuck in some dancers and a lot of wafting red sheets and you have … well, who knows. In musical terms, Cezar was genuinely compelling, belting out a Bohemian Rhapsody -beating falsetto set to an electronic dance beat. Shame about the Dracula shtick. Move over, Beelzebub, the Prince of the Undead is in town. Bring Your Nana to Work week is real It may have gone down in Eurovision history as one of the greatest shtick moves ever, but Buranovskiye Babushki rocked the house. An Udmurt-Russian ethno-pop band comprising eight elderly women from the village of Buranovo, Udmurtia (yes, they were legit), their song Party for Everybody was a showstopper. Alas, it came second, beaten only by perennial Eurovision winner Sweden. When you run out of vampires: turkeys The fact this was basically a novelty pop song – the Irish equivalent of sending Shaddap You Face to Eurovision – Irelande Douze Points, as the name suggests, was nodding to the fact that the objective of any song in Eurovision is to secure 12 (douze, in French) points. The inspiration? The preceding year's Irish entrant, They Can't Stop the Spring, performed by Dervish, had been ranked 24th out of 24 competing countries. Jim and Keith. Hashtag no judgment Leave it to Norway… In 2022 they sent a British-Norwegian pop trio named Subwoolfer to compete: Keith and Jim the wolves – wearing stylised yellow wolf-head masks, no less – and DJ Astronaut (Carl-Henrik Wahl), wearing a gold space suit. The wolves were later revealed to be British singer Ben Adams and Norwegian singer Gaute Ormasen. Their song? Give That Wolf a Banana. The Eurovision Song Contest will be held May 13-17 and screened live on SBS and SBS On Demand.
Sydney Morning Herald
07-05-2025
- Entertainment
- Sydney Morning Herald
The strangest and most underrated performances in Eurovision history
The Eurovision Song Contest was launched in 1956, as a means of uniting the countries of Europe in song. Shocking the rest of the world with campy performances, truly crazy stunts and song lyrics that leave your head shaking was just a happy by-product. Each participating country – some are occasionally banished for awful performances – sends a three-minute song, to be performed live by a singer or a group of up to six people. They are then scored by professional juries and television viewers – think the Oscars meets the Logies – who assign one to eight, then 10 and finally 12 points to their 10 favourite songs. Loading There is a well-worn history of Eurovision that will take you through the high-profile highlights, from Cliff Richard (in 1968) and Julio Iglesias (1970) to Celine Dion (1988), Engelbert Humperdinck (2012) and, of course, ABBA, who won in 1974 with Waterloo and are wheeled out as living proof that someone who wore satin on the Eurovision stage can not only live to tell the tale but make a quick billion, to boot. This is the alternative history. There are some less-known performances that should have made the history books, which teach the all-important lessons that make a performance memorable and give an artist (and country, and song) a fighting chance to carve off their slice of the Eurovision meringue. Nothing is ever too strange With a stage look that stepped straight out of J.R.R. Tolkien's oft-overlooked second-best bestseller Lordi of the Rings, Lordi are the Eurovision-winning act that represented Finland at Eurovision in 2006. A mash-up of monster masks, glam rock, horror make-up and, somewhere in all that, a kind of post-KISS vibe, Hard Rock Hallelujah hit Eurovision hard. Of course, they won, and the rest is Eurovision history. If you're shopping fabric, don't go past satin French twins Sophie and Magaly Gilles – known on stage as Sophie & Magaly – dialled up the shimmer in this memorable performance, representing Luxembourg in 1980. Their song Papa Pingouin ('Daddy Penguin') is memorable, but best remembered here are the ABBA-inspired satin jumpsuits they wore on stage. Setting aside the shocking risk of static electrocution, this is the shimmery glam look that defined Eurovision in the '70s. (Shame it landed a year late.) Yodelling? That's a hard yes It is almost surprising there isn't more yodelling in Eurovision, but this 2017 performance put Romanian entrants Ilinca and Alex Florea on the stage in Ukraine performing Yodel It! Written by Alexandra Niculae and produced by Mihai Alexandru, Yodel It! was a hot mess of genres and techniques, a bit of rock, a bit of pop, rap vocals from Florea and, of course, Ilinca's yodelling. Nothing has lit a yodelling fire like this on stage since The Lonely Goatherd. When in doubt: clowns Djambo, Djambo, Switzerland's entrant for Eurovision in 1976, is a poignant reflection by an old man playing a barrel organ for coins in the street on his younger days as a clown. But, let's be honest, the poignancy stops there. Peter, Sue and Marc, a Swiss group from Bern, were wearing so much denim the screen almost warped. And Djambo, Djambo himself? He was smirking on stage the whole time. When you run out of clowns: vampires Romanian singer Cezar brought It's My Life to Eurovision in 2013, performing the song in what looked like a sparkly, sequin-studded robe borrowed from the wardrobe of Drag Dracula. Chuck in some dancers and a lot of wafting red sheets and you have … well, who knows. In musical terms Cezar was genuinely compelling, belting out a Bohemian Rhapsody -beating falsetto set to an electronic dance beat. Shame about the Dracula shtick. Move over, Beelzebub, the Prince of the Undead is in town. Bring Your Nana to Work week is real It may have gone down in Eurovision history as one of the greatest shtick moves ever, but Buranovskiye Babushki rocked the house. An Udmurt-Russian ethno-pop band comprising eight elderly women from the village of Buranovo, Udmurtia (yes, they were legit), their song Party for Everybody was a showstopper. Alas, it came second, beaten only by perennial Eurovision winner Sweden. When you run out of vampires: turkeys The fact this was basically novelty pop song – the Irish equivalent of sending Shaddap You Face to Eurovision – Irelande Douze Points, as the name suggests, was nodding to the fact that the objective of any song in Eurovision is to secure 12 (douze, in French) points. The inspiration? The preceding year's Irish entrant, They Can't Stop the Spring, performed by Dervish, had been ranked 24th out of 24 competing countries. Jim and Keith. Hashtag no judgment
