After more than 15 years on air, Channel 10’s flagship current affairs program, The Project, is reportedly set to be replaced by a new show in the coming weeks. Insiders have revealed that the network is developing a fresh format aimed at revamping the evening timeslot, with the new program expected to air four nights a week for 30 minutes, a significant shift from The Project‘s six hour-long broadcasts.

The decision comes amid declining viewership for The Project, which has seen its ratings halve in recent years. The show, which debuted in 2009, has struggled to retain its audience as viewing habits shift from live free-to-air TV to streaming platforms. Financial constraints and shrinking audiences have contributed to concerns, especially amid broader network cost-cutting measures.

Entertainment expert Peter Ford commented on the situation, stating that he believes the show may not last the year. “I don’t think The Project will see the year out,” Ford told 3AW Breakfast, suggesting that the new show will be based in Sydney.

The new program is part of Channel 10’s strategy to adapt to changing viewer habits and economic pressures. The network has previously removed other programs like The Masked Singer and The Bachelor from its schedule, reflecting a broader shift in programming.

While Channel 10 has yet to comment publicly on the replacement, the move indicates a significant change in the network’s approach to current affairs programming. The new show’s format and content are expected to be announced in the near future.

Jane Harper’s acclaimed novel The Survivors has been masterfully adapted into a six-episode limited series, now streaming on Netflix. Set against the rugged coastline of Tasmania’s fictional town, Evelyn Bay, the series explores the profound impacts of unresolved grief and buried secrets within a close-knit community.

The narrative follows Kieran Elliott (Charlie Vickers), who returns to his hometown with his partner Mia (Yerin Ha) and their infant daughter, 15 years after a devastating storm claimed the lives of his brother Finn and friend Toby. Kieran’s homecoming coincides with the discovery of a young woman’s body on the beach, reigniting old wounds and unearthing long-held secrets.

Showrunner Tony Ayres, known for The Slap and Stateless, describes the series as “a family melodrama disguised as a murder mystery.” He emphasizes that the core themes revolve around familial relationships, loss, and the stories communities tell themselves to cope with trauma.

Critics have praised the series for its atmospheric storytelling and emotional depth. The Guardian highlights the intense performances, particularly by Robyn Malcolm and Catherine McClements, noting that the series stands out as more than a conventional crime drama, offering a powerful exploration of pain and memory.

However, some reviews point out areas where the series could have delved deeper. ScreenHub mentions that while the mystery is compelling, character development could have been more robust to fully engage the audience.

Filmed in Tasmania’s Eaglehawk Neck, the series captures the haunting beauty of the landscape, which serves as a fitting backdrop for the unfolding drama. The setting amplifies the story’s themes, with the natural environment reflecting the characters’ internal turmoil.

The Survivors is now available for streaming on Netflix, offering viewers a poignant and suspenseful journey into the complexities of human emotion and the shadows of the past.

The Predator franchise takes a bold leap into animation with Predator: Killer of Killers, an anthology film that reimagines the iconic extraterrestrial hunters across various historical epochs. Directed by Dan Trachtenberg and Joshua Wassung, this 90-minute feature is now streaming on Hulu in the U.S. and Disney+ internationally.

The film comprises three distinct segments: “The Shield” set in Viking-era Scandinavia, “The Sword” in feudal Japan, and “The Bullet” during World War II in Florida. Each narrative introduces a formidable human warrior—be it a shield-maiden, a ninja, or a fighter pilot—who faces off against the relentless Predator. The anthology culminates in a gladiatorial showdown on the Predator homeworld, bringing together the protagonists in a battle for survival.

Critics have lauded the film’s innovative approach and visual flair. Clint Worthington of RogerEbert.com praises the animation’s blend of 3D styles reminiscent of Spider-Verse and Arcane, stating that the film “moves with tremendous ferocity.” Meagan Navarro from Bloody Disgusting highlights the distinct cultural settings, noting that each story “reflects its era and cultural specificity, lending a distinct style and tone to each act.”

While the animation has been commended for its technical prowess, some reviewers express a desire for the visceral impact of live-action. The Guardian mentions that the animation, though competent, “lacks the spark of life and ingenuity that can make even flawed animation so fascinating.”

Despite minor critiques, Predator: Killer of Killers stands as a testament to the franchise’s adaptability and enduring appeal. With a Rotten Tomatoes score of 96%, it surpasses previous entries like Prey (94%) and the original 1987 Predator (80%). This animated installment not only reinvigorates the series but also sets the stage for future explorations, including the upcoming live-action film Predator: Badlands, slated for release in November 2025.