You then still need to throw on the movie packs on top for an equal offering. We update our data regularly, but information can change between updates. Confirm details with the provider you're interested in before making a decision. Learn how we maintain accuracy on our site. Here's the full list of features:. As mentioned earlier, Foxtel use to be the home of sport and it largely still is, though it did disperse this with Kayo Sports and Foxtel Now. BINGE has zero sports content.
Though it's worth noting it won't have any of the music or news channels. At this stage BINGE won't have any exclusive content, which makes sense given that Foxtel wants the iQ box to be its most premium offering. View TV shows on Foxtel. View movies on Foxtel. Internet TV. BINGE is here, joining a stacked streaming market. But will Foxtel just cannibalise itself? Aaron McAllister. Updated Nov 12, What changed? Learn more about how we fact check.
Navigate Internet Tv In this guide. Streaming free trials. TV streaming. Find a TV show. Watch the latest shows. Coming soon. Online Providers. Free Trials. BINGE free trial. Kayo Sports free trial. Foxtel Now free trial. NBA League Pass free trial. Apple Music free trial. Head to head. Netflix vs Amazon Prime Video. Foxtel vs Netflix. Foxtel Now vs Foxtel GO.
Trending shows and films. That was one of the early things that inspired us. Karvan : I brought the idea of "the legacy of past relationships" to John and Jac [co-creator Jacquelin Perske] and we developed it together. We had this team of guns; just really extraordinary people, brave writers, smart writers, all at the beginning of their careers. I guess that was partly luck, and also John's extraordinary ability to put a team together and to recognise talent.
Credit: Janie Barrett. I had a meeting about The Secret Life of Us , which didn't work out, and then John read a little bit of stuff of mine through my acting agent and gave me a call and went, "You know, we need a bit of a young male voice in this story room, do you want to come in?
Edwards : We put together a writers' room that was quite inexperienced in many ways — they only really had a few hours [of TV experience between them], with Jacquelin leading them. Cowell : I ended up kind of becoming a spokesman for Tom and Charlie [Dan Wyllie], the brothers; really pushing the masculinity and the sibling rivalry and the fact they loved and hated each other at once; trying to really get that to the forefront.
Because I thought that the men in The Secret Life of Us were a little bit metrosexual; kind of like a fantasy of a male — they were doctors and the worst thing they ever did was masturbate! So I thought, "I want to have a couple of flawed males at the forefront of this show. Edwards : We were really confident and very pleased with the work we had done — and then Channel Ten passed. We all got a bit upset and called people rude names and things like that, and got banned for life from Channel Ten — again!
Cowell : Ten commissioned six episodes, and then for reasons I don't really bother myself with, it didn't happen. So we were nowhere with these great six episodes. Edwards : That was Claudia and I went to see Brian Walsh [Foxtel executive director of television], and said, "Brian, we've got this show which we think is really hot.
We can have it ready for you at Christmas time when the free-to-airs aren't on air. My greatest fear at the time was that we were making a navel-gazing arty show for the middle class. But I kept saying, 'Oh well Cowell : [Originally] it was probably a continuation of Secret Life of Us ; it was bedrooms, hallways, sex, love, failure, hopes, dreams. And then Foxtel grabbed it. It was the beginning of, "Oh, TV can be good! Brian Walsh Foxtel, Executive Director of Television : If I am being frank, at that stage, producers were coming to Foxtel with drama pitches that had been rejected by commercial free-to-air networks — we were the last cab on the rank.
We felt we were not getting introduced to ideas that were unique, fresh, provocative, and that pushed the envelope. We wanted them to come back to us with something Karvan : One of the beauties of Love My Way is that we developed it for so long with Channel Ten, so we had a whole lot of percolating time before Foxtel very bravely picked us up. We were Foxtel's big drama commission. So in terms of the DNA of the show, that was a massive game-changer, because we didn't have to make a show and include their stable of actors, for instance.
They didn't have a drama "brand" that we needed to make a nod to. To be honest, my greatest fear at the time was that we were making a navel-gazing arty show for the middle class. But I kept saying, "Oh well, that's the instinct — we're just putting our honest, bare lives on the page, and we are all bringing our secrets into the room and using them for material.
It was a very intimate group of writers; we all respected each other. Those sorts of dynamics don't come along every day. Edwards : Jacquelin Perske came into the story room one day and said, "What if the whole reason for this group of people, this extended family all broken up and twisted around, what if the whole reason for them being together was gone?
What if we killed Lou? Walsh : I remember vividly the debates we had about the storylines, and particularly the character of Lou, and how we would deal with that tragedy. It was pretty ground-breaking for us to do what we did with that character. But we really wanted to rattle the cage. We wanted people to stand up and take note of the sort of drama that Foxtel was capable of commissioning. Cowell : I have got a terrible memory, but I remember being in the writer's room when we decided to do it.
That's my most cemented memory — of all of us looking to each other, and it was like we were going to climb Everest or something. It was like, "Are we going to jump out of this plane? Dan Wyllie the role of Charlie : Lou's death was the linchpin of the series.
It was, "What do you think would be the worst thing that could happen? Everyone was traumatised when writing it, calling their preschools to make sure their kid was OK. It was really brutal. Karvan : One of our catch-phrases in the room when we'd be pitching ideas, or plotting a little scenario or run of events, was, "Nope, that's too TV. Cowell : The fact that it shook the foundations of the writers to such a degree kind of cemented that we had to do it.
You had this group of adults, all deeply immature and flawed, with all these tangled relationships, and they were all being adults because there was a kid there. The only reason they were being jovial and not kind of exploding was because they cared about Lou. And then we thought, "What happens if we take her out? What is this family dynamic?
But suddenly we were really making something quite special and layered, and we knew we had the characters and set-up to go there — and we went there. Edwards : I felt very uneasy about it. I had killed a couple of [characters] before, and I always thought it was a phony way of getting drama; I've felt it since — I felt bad about killing Patrick in Offspring.
Karvan : I don't think any commissioner in Australia would let us do something like that, but [Kim] just didn't bat an eyelid and said, "Yep, let's run with it.
It's very expensive to make television, so much of it is playing it safe and second-guessing your audience — we didn't have to. Walsh : It absolutely reset people's perceptions of Foxtel drama and signalled a dramatic shift in the commissioning process at Foxtel. We were no longer the last cab on the rank Edwards : So we went ahead and did it and planned around it.
The central question of the show when we started was, "Can love survive divorce? Credit: Fairfax. Alex Cook the role of Lou : To be honest, I think I didn't really have to [think too much about the tragedy when filming.
I don't think I could really have grasped it. But I think my parents, especially, had to really brace themselves. They got the whole series and were asked, "Are you going to be OK with this? And I just had a whole bunch of fun! After it aired, though, my mum actually took me to Centennial Park [where the character of Lou suffers a massive heart attack and dies] and made me run around to erase the memories! She was like, "OK, we're good. You're alive and you're fine.
Asher Keddie the role of Julia : I wasn't aware of the show in development at that stage in my life — I was in a very different place to Claudia. I was asked to audition and given a couple of scenes to do, and they were fantastic scenes. One was the quite well-remembered Ikea scene with Charlie, where I'm screaming about needing storage! At that point, I had been working really heavily in the theatre. It was the first lead role that I'd been asked to audition for, as opposed to guest roles.
I remember feeling excited that it was John and Claudia because of Secret Life. I had done a guest role on [that] and had had such a wonderful time. Edwards : Asher had done a fantastic bit in Secret Life. Nobody knew who she was then, but she tested and she was streets ahead.
Cowell : I'd been writing a lot for Tom and at the end John said, "You're going to have to end up bloody auditioning for the role! I can't just give it to you. Edwards : Brendan tested for that role and the network were really happy with him straight away. So we had Brendan, Claudia and a lot of people forget this but we had Sam Worthington too in that first series. We went to Sam for the role Worthington played Frankie's love interest, Harold, in season one because we needed a bit of a name.
And Dan Wyllie — we had always wanted him. In fact, we had wanted him for Secret Life but he was unavailable as he was doing theatre. The other massive parameter was that I didn't like working in a studio — Secret Life of Us was a studio. I said to John, "We have to do everything on location. We need that little bit of sunshine that comes randomly through a window," or "We need wind to blow a tree branch out the window. And great things come from mistakes.
I'm not really sure I understood the impact that developing a character like Julia would have. It really was a precursor for what was to come for me. The house — that house was a nightmare to shoot in, because it was so tiny. But we had seen that house, and it was Claud's idea to use it. I knew about it — I used to play football on the ground underneath it.
Got two tries under those goalposts there! Cowell : We got to make the show we wanted to make. It's as simple as that. Then cast the best actors in the country, not just pluck them from the Logies foyer. It was alchemy. Who would have known Asher Keddie would have gone on and had that career?
She turned up and goes, "Why am I in this TV show? I'm doing theatre in church halls in Melbourne! The scripts started coming in, and they were all brilliant. Karvan : Often in serial television you have the guestie who comes in, but we avoided that like the plague. If you compromise on the quality of that performance, you compromise the whole episode.
One moment of dodgy acting and you drop the ball. Keddie : With retrospect, I'm not really sure I understood the impact that developing a character like Julia would have. I just feel so grateful that at that time in my early career I was offered the opportunity to be challenged by putting a character like her on the screen. It really was a precursor for what was to come for me, and what I would be attracted to in the future. Wyllie : Everyone was saying that Charlie was a bit of a jerk, and he was looking out for himself and being a bit selfish, but I completely got the guy.
He just wanted to have a surf! Which gets harder and harder to do! We were allowed to tinker, and make things our own with the directors, and on set. It was a different level of engagement. Asher had a theatre background, so we were pretty sympatico from the get-go. I really do believe it's one of the great offerings of Australian TV history. It's funny how it kind of remains under the radar in a lot of ways.
Keddie : I hadn't met Dan or worked with him, but it was an easy and robust connection. So what you see is really the dynamic that was there between us, and between Julia and Charlie together. We loved that they grated on each other, but that they adored each other as well. The four of us — Dan, Claudia, myself and Brendan — really didn't know how it was going to be received.
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