First, an admission: I didn't watch X Factor to begin with.

I was still sulking about the combined cancellations of Ten's Australian Idol and So You Think You Can Dance Australia, and thus in no mood to give my heart to a new talent quest, lest the network rip it away in its prime (or, in the case of Idol, in its dotage, without painkillers or dignity, bathed in kerosene and swathed in its own filth. Ahem.).

It was also because, as you read, I was one of the 1.74m people who watched the Newton family implode on A Current Affair instead of the X Factor premiere on Monday.

There was another reason I was reticent about getting involved with Seven's megabucks new search for Australia's blah blah blah: it is not, of course, the first time Australia's tried its hand at its own X Factor franchise.

Remember this?



That's Mark Holden, Kate Ceberano and John Reid, from The X Factor circa 2005!

Remember the winners, Random?



Remember, guys? Guys??



Anyway, I gather the producers of X Factor mark 2010 are hoping we've forgotten that ill-informed foray into the brand, and they're probably not going to be disappointed on that front.

After an intense amount of pre-airdate promoing that rivalled only another Seven effort, their demented "After The Olympics" reign of terror, it's safe to say that the country was well and truly primed for Gabbo X Factor once it rolled onto our screens this week.

The arrival was overshadowed by the fall of Matt Newton, who was allegedly paid $200,000 to host the show (he's been replaced by Luke Jakobzzz).

It's clear there wasn't much money left for the patch-up edit to remove him, because what was clearly once footage where Newton would have revved up the contestants from the side-stage has been replaced by this:



Every. Single. Time.

Still, aside from Mr Omnipresent Mixer Fingers, they've done a remarkable job of magicking Newton out of the show.

And, more importantly, the show is great. They've wisely erred on the side of talent rather than freakshow value (though they've let a few corkers slip through, such as the deluded Michael Jackson impersonator), and the judges - yes, even Kyle - are generous and fair.

In particular I've been struck by what a dag Natalie "Boog" Imbruglia is - bopping from side to side and wagging her hair around to the music; all that's missing is a jazz-ballet-mum clap along. And I've always loved Ronan Keating.

What sets X Factor apart from its peers, at least in Australia, is the lack of age limit; it means the glut of R&B youngsters is offset with people whose sob stories have substance and whose voices have a richness that the under-28 set can't always compete with.

Time will tell if I become as hooked on X Factor as I did on Idol and Dance, but for now, I'm sold.



(That was Matt Newton saying "Great job, Clem!")