Influencer brand marketing, especially within Gen Z, has completely dismantled the traditional marketing funnel, according to Australian Influencer Marketing Council (AiMCO) member Edward Deal, founder of The Gifted Group.
Deal says influencers and YouTubers have completely reinvented brand marketing, introducing what he has seen referred to as the “loop”.
“(The loop) is an infinite cycle that circulates through inspiration, exploration, community and loyalty, and it’s the best explanation of this transition I’ve seen,” he told Mediaweek.
“Brand marketing has become so much more of a reciprocal relationship now, where brands need to give back to consumers consistently, and there is where influencers, YouTubers, and creators step in.”
YouTubers such as MrBeast, Logan Paul, and KSI are prime examples of influencers ‘tearing’ apart what traditional marketing is.
MrBeast at the Sydney Opera House for the launch of Feastables
MrBeast has an array of businesses that he now owns and runs under his YouTube name. The man behind the beast is 26-year-old Jimmy Donaldson. On top of being the world’s biggest YouTube star, he is the founder of MrBeast Burger, a fast food chain of restaurants, and Feastables, a chocolate bar brand that saw all of Sydney turn their eyes to the Opera House forecourt in June for the launch of the snack in Australia.
In potentially the biggest mass truancy event in Sydney’s history, scores of kids were present at the promotional event that saw some try their luck at winning one of 10 cars being given away, including a $450,000 Lamborghini.
Giving away luxury items or large sums of money is business as usual for Donaldson, and Deal says this is where the reciprocal nature of influencers shines.
“No one provides more value in return, often in the way of hours of entertainment, inspiration and a community to dive right into, quite like (influencers and YouTubers).”
MrBeast Burger
AiMCO member Stefanie Jung, talent and partnerships director at Two Palms Media says YouTubers have mastered the art of authenticity, sharing their lives and opinions in ways that resonate with their followers.
“(They) create a sense of trust that polished advertisements often lack,” she said.
“A long-format platform like YouTube also provides a more in-depth insight into their lives compared to Instagram or TikTok, so viewers feel like they get to know YouTubers on a deeply intimate level.
“For younger audiences, these online personalities feel more like trusted friends than distant celebrities.”
Two Palms Media manages one of Australia’s top YouTubers, Sarah’s Day, and Jung said her secret to success lies in the fact that her audience feels as if they have grown up with her over the years.
“It all boils down to connection – the more viewers feel connected to the individual, the more likely they are going to buy into the influencer’s brand offering.”
KSI and Logan Paul
Logan Paul and KSI’s hydration drink brand, PRIME also blew up in popularity last year in Australia, after it was confirmed Woolworths would be stocking the brightly coloured bottles. They come in a wide variety of flavours and have acquired endorsements from some of the world’s most popular athletes including Kevin Durant, Patrick Mahomes, Erling Haaland, and Aussie MMA fighter Alexander Volkanovski, among others.
AiMCO member Jordan Michaelides, managing director at Neuralle, says that because influencer and YouTuber brand marketing is digital-first, it gives “fantastic” measurement that traditional mediums aren’t known for.
“The CPMs – when the right talent is selected – are also fantastic compared to traditional mediums like radio and TV,” he said.
UFC fighters Alex Volkanovski and Israel Adesanya, PRIME Ambassadors
Influencer marketing agency Social Soup’s strategy behind effective influencer marketing is designed around understanding the audience it is trying to influence, and founder/CEO Sharyn Smith says this includes where they are, what influences them and the types of content and trends relevant to them.
“This is different across all demographics and niches to craft a successful strategy,” she said.
“We also believe strongly in looking at diversity in creators across different tiers, and sizes along with ensuring we are genuinely representing all cultures and subcultures in the population. Younger generations really appreciate this approach.”
Smith says influencers like MrBeast tend to build communities that are more than just numbers.
“They foster relationships with young audiences who are looking for more meaningful connections online.
“Mr Beast is also a well-known philanthropist and is very active on social media using his influence and money for positive purposes, which drives greater engagement in his brand, as he really understands his position of privilege and the need to give back, which is something that matters more to younger audiences.”
Smith believes the future of influencer and YouTuber brand marketing will be all about tapping into moments of discovery and “meeting audiences where they exist and partnering with the right people who have real influence over their lives.”
“The ecosystem of creators is only going to grow as younger audiences mature with their desire to create content and share their lives and discoveries,” she said.
“Brands need to accept this and invest more money in the people-based channels that will deliver genuine growth and sales as traditional marketing loses more ground.”
AiMCO member Stephanie Scicchitano, general manager at Born Bred Talent, believes the industry is poised for continued growth and evolution.
“We believe we are going to see more diversification of content, increased integration, sustainability and social responsibility,” she said.
“There will be greater emphasis on transparency and authenticity.”
TikTok ANZ will reportedly be making several of its Australian roles redundant following large-scale layoffs affecting roughly 1,000 global employees of the ByteDance-owned social media platform.
As reported by The Information, the layoffs will impact TikTok’s operations, content, and marketing teams. Additionally, TikTok plans to disband its global user operations team, which handles user support and communications. The remaining employees will be reassigned to TikTok’s trust and safety, marketing, content, and product teams.
The restructuring comes at a time when the company’s future in the US remains uncertain. The US Congress passed a law requiring TikTok to sever its ties with China by next year or face a ban in the country.
In April, TikTok Australia stated there is “zero evidence” that the app poses a “national security risk” to Australia.
The news follows widespread redundancies across Australia’s media industry. This week, News Corp Australia announced it would cut 20 journalists as part of ongoing cost-saving measures following a restructure in May, which included the exit of news.com.au editor Lisa Muxworthy.
Additionally, Seven West Media plans to make up to 150 jobs redundant, following cost-cutting measures.
Nine CEO Mike Sneesby also announced the company will cut “around 200 jobs” in its publishing business to “offset the loss of revenue from the Meta deal and challenges in the advertising market.”
Mediaweek has reached out to TikTok ANZ for comment.
Nova group programming director Brendan Taylor told Mediaweek that the team are “thrilled with where we’re sitting” at the halfway point of the ratings year.
In a big survey, Taylor said the standout for Nova was “definitely Jase & Lauren, and their impact on the Melbourne market.”
“There’s been so much talk about the Melbourne market. This survey’s results are really, really pleasing, and quite emotional for the team, to see the results, to see that their connection with the audience has transferred.”
This survey was the second since Jase & Lauren switched their mic on at Nova, having been picked up after they were sacked from KIIS 101.1 to make way for Kyle & Jackie O’s expansion.
“Jase & Lauren have a 9.6 share – for Nova, to see those results in breakfast, you have to go back as far as 2017. It means a lot to get that result today, and to be the most listened to breakfast show in Melbourne from a cume perspective is just such a thrill for the guys,” said Taylor.
Elsewhere, Taylor admitted that survey three was “rough”, a result that flattened out in survey four.
“The positive out of Sydney is the cume that’s connecting with the station. If you look across the board, you have KIIS, Triple M, WSFM, and 2Day coming off cume and Nova going up 48,000. With Fitzy, Wippa & Kate Ritchie going up 30,000 in breakfast, it just gives us confidence. We still have work to do and Sydney is a very tough market, but the audience is there.”
In Adelaide, Jodie & Hayesy took back the title of most listened to Breakfast Show. “The cume and the audience are so close in the Adelaide market, and it was really pleasing to see the result for them,” said Taylor.
In Perth, Nova returns to number one. “David McClung does such a great job with that team in Perth, and Amy the executive producer of Nathan, Nat & Shaun put on such a great show. To be over an 18 share for breakfast show and over 15 for a station is amazing.”
In Brisbane, Taylor said survey four “really wasn’t our day,” but notes that the team will use the dip as motivation. “It’s such a competitive show, Ash, Luttsy & Susie O’Neill – they want to win, they like winning. It’s always a good reminder at this halfway point of the year to know what we need to focus on for the back four surveys.”
For the second survey in a row, Sydney’s smooth 95.3 has come out as the most listened to station in the country. In Melbourne, smooth is the number two FM station.
“To be playing up against some real heavyweights, they do so well,” said Taylor.
“It’s that consistency in the day-to-day product. They do it so well, and they’re such a great unit working together, the smooth team. While there’s a lot of talk in the Melbourne market about competitors, smooth deserves a lot of credit for the results.”
Looking ahead for the final four surveys of the year, Taylor said “it’s pleasing to see where we are.”
“Obviously, you want to continue the momentum, as we saw in Melbourne. It’s just about honing in and making sure that we’re feeding the audience, and we’re connecting with the audience in the respective markets in a way that they’re engaging with, we’re delivering on our product position.
“It’s something that we’re refining constantly, but when you get results like today, it’s good to reflect on them and just see that we’re on the right path.”
Andie Potter, group digital director at PHD, was celebrated as the winner of the ad tech category at Mediaweek’s Next of The Best awards last month.
She told Mediaweek: “Receiving this recognition is like a pat on the back and makes everything worthwhile.”
Mediaweek caught up with Potter to get her thoughts on fostering a collaborative team effort and the current state of the ad tech space.
It feels amazing. It means a lot to be recognised by such an accomplished group of people – big thanks to them.
Our journey is often challenging, involving a lot of hard work and perseverance to move from problem to solution. I work with businesses that have extreme amounts of pressure and we have to deliver and prove that the work we’re doing has tangible benefits to their business. Getting from A to B for me involves (quite literally) some sweat and tears!
Receiving this recognition is like a pat on the back and makes everything worthwhile.
This is a hard one, because to be completely honest, I don’t often look back and reflect on the achievements. Like many people, I quickly move on to the next thing.
Receiving recognition like ‘Next of the Best’ genuinely means a lot to me. I really appreciate industry bodies like Mediaweek for creating the space to celebrate the work we do as individuals.
My proudest moments at PHD have always been when delivering amazing work with a team. The moments following a pitch, when we finally get to relax and celebrate the hard work, are incredibly fulfilling. It’s remarkable to see the colossal amount of work we accomplish under intense pressure. Whether we win or not, there’s a deep sense of pride in the collaborative spirit we foster during these high-stakes projects.
I am also particularly proud of the innovative work we do alongside our clients. In recent years I’ve worked closely with Virgin Australia, where we are constantly pushing boundaries and thinking ahead, often venturing into uncharted territories to deliver groundbreaking solutions. This requires a great deal of creativity, resilience, and collaboration. The process is extremely complex, but when we finally see the results, it’s incredibly rewarding.
The sheer magnitude of transformative forces at play. From the deprecation of 3rd party cookies, stringent privacy regulations, the rapid acceleration of AI and the explosive growth of tech and data platforms.
These forces are compelling businesses to re-evaluate their priorities and shift their focus towards technology, privacy, ethical practices, and sustainability. This obviously means a big shift in how we’ve been operating. Feels a bit like trying to change the tyres on a moving car.
What I find exciting is the challenge and opportunity this presents. The need to integrate cutting-edge technologies and adhere to new standards forces us to think creatively and strategically.
The controversies that have rocked the advertising industry in recent years need to be a wake-up call for us all. We’re now at a pivotal moment in our industry’s history, and we must approach any new developments (such as the deployment of AI) with a deep sense of responsibility grounded in values such as transparency, accountability, and privacy.
I have lots of hobbies outside of work, so I have fantasised about doing many different things… Interior design, pottery, photography, starting an animal sanctuary… you name it! My dream is to start my own business one day (maybe by saying it here, I’m manifesting it!)
However, without having to completely change industries, I’d still be drawn to areas of marketing innovation and transformation, specifically around AI and sustainability. Future-proofing businesses and embracing these emerging areas feels like an adventure in its own right. It’s all about staying ahead of the curve and finding new ways to overcome business challenges.
Marketing has become increasingly complex, with each brand’s needs varying based on scale, maturity, ambition, and internal expertise. This year, at PHD we’re really focused on rolling out our AaaP (Agency as a Platform) offering our clients a more flexible service with technology and tools centralized through our OMG operating system, Omni. With our new approach we want to ensure clients have easy access to top-notch talent and cutting-edge capabilities, to better serve and anticipate their needs.
We’re also diving headfirst into the world of AI, integrating it into all our systems to boost strategic and creative thinking. This will not only supercharge our strategic and planning approach but also enhance our AdTech prowess, enabling data-centric media activation and cookieless personalization and measurement.
A major focus area for me personally is measurement. As I previously mentioned, all aspects of marketing and media are being reshaped by significant transformational forces, and measurement is no exception.
Most marketers are not conducting holistic measurement and struggle to keep pace with best practice.
Alongside Annalect and our PHD Measurmeent arm, we are rolling out cookieless and reliable solutions tailored to our clients’ specific needs, such as regression-based attribution, agile MMM and campaign passive tracking. These solutions will be key for PHD and our clients to truly understand the impact of our media investments and optimize our marketing mix.
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Top image: Andie Potter
Christmas in July has become a quirky tradition that brings the festive spirit to Australia’s winter months. It’s a time for cosy celebrations and mid-year cheer, and as a British blow-in it just doesn’t feel like Christmas when its 35 degrees outside. But as we tick over into a new financial year, it’s a timely reminder for marketers – the real Christmas season is now less than six months away. Where has this year gone!
In recent years, the last quarter has become a high-stakes game for marketers, with spending events like Black Friday, Cyber Monday and now Singles Day, turning the season into a spending frenzy. Last year, Aussies spent over $107 billion in retail during the fourth quarter, with Black Friday alone seeing nearly $9 billion in sales, a whopping 22% jump from 2022. With consumer wallets wide open, this is a make-or-break moment for brands.
Planning your advertising strategy for Christmas is like preparing for the Christmas grand feast or gearing up for a big game. You need the right mix of ingredients and tactics to ensure everything comes together perfectly. Gone are the days of last-minute scrambling; now, optimal media mix is essential for maximising return on your advertising spend. Success or failure can hinge on these decisions, so the time to act is now.
TV and digital have long been the festive media heavyweights. But with linear TV audiences in significant decline and performance media costs on the rise, out of home (OOH) has been making major inroads in the weeks and months leading up to Christmas as more of us are enjoying Australia’s great outdoors. In the last quarter of 2023, while other media channels struggled, OOH was on the rise. Its share of media spending grew by 5% from the previous year, hitting $300 million. And from Q3 to Q4 last year, OOH spending surged by 49%, outpacing other media channels.
If we take a closer look at the media mix for Q4 2023, out of the 17 major advertising categories, alcohol brands spent 47% of their Q4 budget on OOH.
Other categories also ramped up their OOH spending from Q3 to Q4. For example:
• Household goods and appliances saw a huge boost of +144%.
• Department stores went all out with a 305% increase.
• Household and cleaning products stepped up their OOH game by +110%.
However, categories like food, produce and dairy, consumer electronics, and food delivery services are still underrepresented in OOH spending. In all of the 17 ad categories spending in Q4 2023, just four spent the majority of their budgets on TV and 12 in digital.
So, what’s the big takeaway? A smart media mix is crucial for maximising audience reach and driving sales. And here’s the exciting part: new research shows that OOH isn’t just a passing trend. Brands investing more in OOH saw a 17% stronger ROI. Even better, when you combine OOH with TV and digital, you can achieve a 27% higher ROI compared to using TV alone for the same spend.
In addition, one of OOH’s biggest strengths is its creative capabilities. For example, with shoppers starting their Christmas buying as early as November’s Black Friday sales, dynamic pricing and countdowns can whip up a sense of urgency. Contextually relevant digital content grabs attention and boosts response. And remember, the key to success lies in a multi-format approach that mirrors the consumer’s journey, from large format OOH to retail centre placements. With 45% of shoppers heading to large retail centres, they’re the battlegrounds for consumer attention and the oOh! network covers 55% of all large retail centres in the country.
With OOH media showing significant growth and offering impressive ROI, either in isolation or when combined with TV and digital, marketers need to leverage the channel’s unique strengths. The time to strategise and execute is now, ensuring that come November, your brand isn’t just part of the conversation – it’s unmissable.
See also: MOOD calls on industry to run City2Surf for youth mental health
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Top Image: Chris Freel
Former Australian Prime Minister Malcolm Turnbull has returned to LiSTNR with a new season of his podcast series Defending Democracy with Malcolm Turnbull.
“In this year of major elections around the world, none is more consequential than that in the United States on the first Tuesday in November.” said Turnbull.
Turnbull looks past the day-to-day headlines to understand the electoral system that will determine who takes the presidency, and how this differs from the Australian system.
In season three, Turnbull discusses the upcoming threats to global democracy, with insights from those trying to defend it.
Turnbull poses the key question on everyone’s mind: can America, and the world, survive a second term of Donald Trump?
LiSTNR head of news and information, Melanie Withnall, said: “In what is a crucial time for democracy, we are delighted that Mr Turnbull has returned for a third season of his successful podcast series with LiSTNR. Having turned his attention to the upcoming US election and the implications it has for democracy across the globe, this new season is a must-listen for anyone seeking to better understand what is unfolding in the US.
[Listen to Defending Democracy here]
Ahead of NAIDOC Week 2024, NITV Radio has released a new podcast, Ngiyang, which tells the story of how the Wiradyuri language is being reclaimed by the people of central NSW.
Ngiyang gives multicultural and multilingual audiences a glimpse into the journey of reclaiming and reviving the Wiradyuri language as well as the triumphs of teaching and learning Wiradyuri.
As part of SBS’s Reconciliation Action Plan (RAP), NITV Radio will expand content in Aboriginal and Torres Strait Islander languages and promote language growth through its podcast content.
Hosted by Lowanna Grant, NITV Radio executive producer, the new podcast features Wiradyuri language pioneer, Uncle Stan Grant Senior, along with language teachers and learners, speaking their language and how this has enriched their lives as Wiradyuri people.
Hosted by Alex Turner-Cohen, and executive produced by senior audio producer, Nina Young, the eight-part podcast tells the story of Alan Metcalfe, an eccentric Queensland businessman who convinced investors he had found the secret to artificial intelligence while reading the Bible.
He persuaded over 600 supporters to contribute millions of dollars to his new venture but when he died in 2017 he left them penniless, wondering how they could have been conned and desperately trying to find out what happened to their money
News.com.au editor Kerry Warren said: “About 14 months ago, Alex got an email that would end up consuming her life. It was a tip-off about the incredible story of a Gold Coast man who had seemingly duped Aussies out of millions of dollars, money that to this day has not been recovered.
“What started as a text-based feature for news.com.au has snowballed into this incredible eight-part investigative podcast that we can’t wait for Australia to experience.”
The podcast will be accompanied by comprehensive editorial coverage including video and social.
ARN’s iHeart has launched a special daily series of the podcast, Two Good Sports, hosted by sports journalists Abbey Gelmi and Georgie Tunny.
The new Two Good Sports: Green & Gold Edition will deliver a daily take on the headlines from Paris every weekday from Monday 29 July.
In addition to the daily episodes Two Good Sports: Green & Gold Edition will provide radio listeners with daily updates. These bite-sized updates will be broadcast across ARN’s metro brands, including KIIS, Pure Gold, and CADA.
Host’s Abbey Gelmi and Georgie Tunny said: “At Two Good Sports we’ve loved connecting with sports fans who take a deep dive with us into the biggest and sometimes most absurd headlines, and now we we’ll take a daily look at the stories on sport’s biggest stage.
“It’s an inconvenient time zone for Aussie fans, so we’ll keep everyone up to date with all the action overnight and what’s to come, and some fun facts for good measure. The Games are so special to both of us, and we’re pumped for everyone to join us for our new unofficial games series, Two Good Sports: Green & Gold Edition!”
ARN’s iHeart has announced the addition of a new partner podcast, Backstage with Cooper and Matty Johns.
Hosted by father and son duo, Matty and Cooper Johns, “Backstage with Cooper and Matty Johns” offers a blend of comedy, insight, and heartfelt dialogue. Each episode delves deep into the lives and experiences of illustrious personalities, providing listeners with a fresh perspective on the entertainment and sports icons they admire.
Matty Johns said: “We are delighted to partner with ARN’s iHeart and bring ‘Backstage with Cooper and Matty Johns’ to an even wider audience.
“Our aim is to share the stories and experiences that have shaped the lives of our guests in a way that is both interesting and entertaining, and getting the chance to do this with Cooper was a no-brainer, we are having a ball.”
The Australian and Prestige titles have unveiled a new leadership team to drive the next phase of audience and commercial growth, led by managing director and publisher Nicholas Gray and editor-in-chief Michelle Gunn.
Gray has made several key appointments to expand the division’s focus on audience engagement and digital subscription growth, digital storytelling, and increased global collaboration with The Wall Street Journal and The Times.
Gray said: “These roles are key to building on our relationships with commercial clients, growing subscription and marketing capabilities, and deepening our global connections to deliver the greatest impact for Australia’s largest media portfolio reaching and engaging with affluent and invested Australians.
“Our ambition is to craft first-class journalism for our audiences and subscribers and great business results for our clients.”
Sophie Raptis has been appointed general manager, commercial for The Australian and Prestige Titles. Raptis returns to the Australian market to join the business in this new role and will be responsible for driving revenue growth and partnerships across the portfolio.
Sophie Raptis
Raptis has more than 20 years’ sales experience, most recently as director of client sales at Ozone, an advertising platform powered by technology and data, founded by the UK’s leading publishers, News UK, The Guardian, The Telegraph and Reach plc, for their advertiser’s video, display, and e-commerce campaigns. She has also previously held senior client and sales roles at News UK, WSJ, and Hearst.
Reporting to Gray, Raptis will work closely with News’ managing director client partnerships Lou Barrett and the client partnerships team. She will begin her new role on 15 July.
Other editorial leaders under Gunn include:
• Kelvin Healey, editor of The Australian
• Edwina McCann, editorial director and publisher, prestige and Conde Nast Titles
• Darren Davidson, managing editor and commercial director
• Petra Rees, deputy editor
• Georgina Windsor, deputy editor
• Christine Kellett, head of digital
• Claire Harvey, editorial director
• Perry Williams, business editor
• Johnathan Barhoumeh, head of video
Other recent senior appointments reporting to Gray are:
Suz Rolfe, current head of subscriber experience, will move to the new role of general manager, Marketing, Audience and Digital Development to drive audience growth and lead digital product management.
Chrissie Bell, appointed general manager, Subscriber Data, Platforms and Growth, will optimise revenue growth and enhance subscriber experience through platforms, data, pricing strategies and consumer operations for all News Corp Australia.
Helen McMurdo, current general manager, Tech Platform Partnerships, will continue to lead the strategy and execution for content licensing, technology platform partnerships, and content partnerships for all of News Corp Australia reporting to Gray.
The Australian and Prestige portfolio of brands includes The Australian, Wish, The List, Travel + Luxury, The Weekend Australian Magazine and the Conde Nast International titles – Vogue Australia, Vogue Living and GQ Australia.
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Top image: Nicholas Gray and Michelle Gunn
About Time, a national newspaper for Australian prisons and detention facilities, has launched its first edition in all prisons in Victoria, NSW, Tasmania and the ACT in the first week of July.
The paper is independent of Corrections authorities and is published by the recently established non-profit About Time Media Ltd.
About Time will also be distributed monthly to all incarcerated people across Australia free of charge. The non-profit will have deductible gift-recipient status, meaning the paper will be primarily funded by donations.
The company states it also aims to have advertising opportunities for other charities and legal services.
The company has not yet received approval from the corrections departments in Queensland, South Australia, Western Australia and the Northern Territory.
About Time is written primarily by current and formerly incarcerated people, and the newspaper seeks to provide these people with a voice. A platform for news, education, expression and hope, categories of topics to appear in the paper will include:
• Letters: About Time will dedicate many of its pages to publishing incarcerated people’s letters. The letters can be reflective, advice-based, or profound, but they might also be writings about everyday life in prison. The paper also publishes letters from people outside prison, including family and friends, and people who were formerly imprisoned.
• News and Investigations: About Time publishes news articles and investigative pieces, which are topical stories that will often be focused on prisons and criminal justice.
• Experiences: The paper will include several features about individuals’ experiences with the criminal justice system.
• Culture: About Time will keep readers informed about the latest in sport, media and the arts.
• Health: Each edition will include information that will help people inside stay physically and mentally healthy. This includes exercise programs, mindfulness training and useful recipes.
• Legal Corner: About Time states it is conscious of the myths that circulate around prisons, and the shortage of available information inside. The paper will seek to alleviate these issues by publishing informative legal content to avail people in prison of their rights and opportunities.
• Mob: About Time includes material dedicated to the unique experience of First Nations people and their interaction with the criminal justice system.
• Reintegration: About Time will create educational content to assist readers in preparing for the outside, relying on the expertise of relevant organisations.
• Creative: The paper will publish creative contributions from incarcerated and formerly incarcerated people. This includes short-stories, poetry, creative non-fiction and art.
• Play: The paper will also include jokes, cartoons, puzzles and a monthly quiz.
About Time will be freely available online, and available in print to people outside prison through a subscription.
Mushroom Connect – the Mushroom Group’s newly launched talent management and partnerships agency – has become the latest member of the Australian Influencer Marketing Council (AiMCO).
Mushroom Connect, officially launched by Mushroom Group chief executive Matt Gudinski and director Kirsty Kassabis yesterday, provides specialist talent management services, influencer marketing, and artist representation to serve as a connection point between talent and brands.
Mushroom Connect already manages a roster of influencers, including Luke and Sassy Scott, Inspired Unemployed Impractical Jokers co-star Dom Littrich aka Big Twisty, viral sensation 100 Percent That Tim and trend-setting food blogger Bites with Lily.
Mushroom Connect joins AiMCO’s growing member base, which includes more than 100 partners in agencies, consumer brands, legal services, and more.
Kassabis said: “Our partnership with AiMCO is a critical part in demonstrating Mushroom Connect’s commitment to best practice influencer marketing from the outset.
“We share AiMCO’s vision of recognising that talent-led digital content has changed the way brands interact with audiences, and the need to continue developing and celebrating these partnerships. We look forward to working closely with AiMCO to drive and facilitate the talent-brand relationship to help it reach new heights.”
Patrick Whitnall, AiMCO managing director, said: “We are absolutely delighted to have Mushroom Connect join the AiMCO family. The Mushroom Group has been a critical part of Australia’s creative scene since 1972 and become renowned for growing local artists.
“The launch of Mushroom Connect demonstrates the group’s unrelenting commitment to nurturing creatives and formalising the important brand-talent dynamic.
“To have the new company as part of AiMCO demonstrates the strength of our organisation in leading the way for influencer marketing in Australia and the increased desire for brands to ensure their agreements reflect industry best practice.”
The Mushroom announcement follows the recent addition of Subway Australia to AiMCO’s member base, becoming the first major food brand to join the organisation.
See also: Subway becomes first major food brand to join AiMCO
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Top image: Kirsty Kassabis and Matt Gudinski
In a bid to tackle vaccine misinformation, the WA Department of the Premier and Cabinet and Department of Health have launched a public awareness campaign, Don’t Assume You’re Immune, via 303MullenLowe, Mediahub, and Carat Western Australia.
Launching for 12 months across TV, online video, social media, large and small format OOH, radio (targeted and mainstream), press, cinema, high-impact digital displays, and search, the campaign aims to educate the public about the importance of vaccines, encourage people to get vaccinated as per the WA immunisation schedule, and raise awareness of the potentially life-threatening complications of vaccine-preventable diseases.
“The subject of vaccinations is clouded by misinformation and disinformation, so it makes behaviour change challenging. One of the biggest barriers to vaccine take-up is a sense of complacency – essentially, ‘it’ll never happen to me’, demonstrating that complacency has very real consequences was an important element to address,” said 303 MullenLowe Perth’s chief strategy officer, Matt Oakley.
“As a result, Sara Oteri (ECD) and the creative team flipped the many excuses for not getting immunised as the very reason why people should get vaccinated. The campaign’s tagline of Don’t Assume You’re Immune is not just a memorable mnemonic, but also a call to action for our target audiences that we hope will increase the perceived risk to the health of themselves, and crucially, their loved ones.”
Creative agency 303MullenLowe was appointed to the account following a competitive pitch. The agency has been tasked with driving medium and long-term behaviour change around immunisation through strategy, creative, and production.
Media agencies Mediahub and Carat WA collaborated on the integrated campaign’s media plan, with the former looking after strategy and the latter developing the channel implementation plan.
“A key role in delivering campaign effectiveness was to ensure all media aligned with the identified stages of behaviour change,” said Mediahub Perth GM, Kylie Macey.
“Having the right mix of channels meant that we could firstly capture the general population’s attention and subsequently raise their motivation. Secondly, we needed to fill knowledge gaps by giving answers and capability to key segments. And finally, we needed to demonstrate the opportunity to take action with disease specific creative.”
Carat WA client partner, Michelle Testa, added: “The campaign is grounded in fusing behaviour change principles with metrics of attention to jolt the community into action. Whilst a robust digital strategy shifts that attention to building trust and action through pairing data signals to match content and audience.
“This campaign demonstrates the power of collaboration for the public good and Carat WA is pleased it could play a part in such an important community initiative.”
The work follows the powerful first-responders campaign 303MullenLowe launched for St John Western Australia and the Road Safety Commission in April, which highlighted the critical first four minutes after a crash.
In May, it was also announced that the agency had been appointed by Netball Western Australia as its brand strategy partner.
See also:
303 MullenLowe Perth shows ‘Anyone Can Save a Life’ for St John WA
Netball WA appoints 303 MullenLowe
Credits:
WA Department of the Premier and Cabinet
Strategic Communications Unit
WA Department of Health
Communications Directorate
303 MullenLowe Perth
Managing Director & Business Lead: René Migliore
Chief Strategy Officer: Matt Oakley
Planner: Harvey Clarke-Smith
Executive Creative Director: Sara Oteri
Art Director: Stephen Hansen
Copywriter: Zosia Kilpatrick, Ellysia Burton
Head of Design: Alby Furfaro
Graphic Designer: Lucas Faim
Finished Artist: Suzanne Whoston and Angela Homman
Head of Production: Johnathan Julius
Business Director: Connie Trinh
Mediahub (Media Strategy)
General Manager: Kylie Macey
Carat (Media Planning)
Client Partner: Michelle Testa
Group Investment Director: Sam Giuffre
Digital Strategy Director: Dale Ferreria
Client Manager: Sophie Park
Client Associate: Ollie O’Meehan
Digital Manager: Nicole MacNeil, Megs Hollis
Performance Manager: Gerry Eeringa
Data & Analytics Lead: Griffin Becker
Larchmont (Primary Campaign, Production)
Director: Mitch Green
Producer: Luke Kneller
MD: Liv Reddy
1st AD: Mark Boskell
DOP: Gregoire Liere
Photography: Finlay MacKay
1st AC/Focus Puller: Murray Johnston
2nd AC: Amelia Morgan-de Laine
Gaffer: Jean Vandermeiren
Best Boy: Andrew Piercy
Key Grip: Greg Stirling
Grip Assistant: Blade Chenoweth
Grip Assist: Zac Walker
Sound Recordist: Scott Montgomery
Production Designer: Kylie Clifford
Art Assist: Darrell Beck
Wardrobe: Lien See Leong
Make Up & Hair: Ali Knapton
Location Manager: Crystal McCallum
Location Assistant/Unit: Carmel Fox
Casting: Megan Carpenter
Post Production & Audio Post
Offline Edit: Lucas Vazquez
Colour: Marcus Friedlander
Online & Delivery: The Office of John Cheese (James Hawkes)
Audio Mix: Electric Sheep Music
Sound Designer, Radio: Soundbyte (Brad Habib)
BTL / Social Campaign produced by Clockwork Films WA, Directed by Mikey Hamer
Allianz has launched its Go Australiaahhh campaign at Allianz Stadium ahead of Paris 2024. The campaign comes via Eleven, TBWA‘s earned creative, PR, and social agency, to encourage Australian children to stay involved in sports.
The campaign is based on research by the insurer which revealed that a third of Australian kids wish to stop playing sports and are at risk of dropping out of extracurricular sports altogether.
Allianz has been the Worldwide Insurance Partner of the Olympic and Paralympic movements since 2021. In Australia, they have partnered with Paralympics Australia since 2011 and the Australian Olympic Committee since 2019.
Ahead of the upcoming Olympic games, Allianz Australia worked with local grassroots sports teams to inspire Australian children to stay in sports, and envision becoming the next generation of Olympians and Paralympians.
The campaign builds on Allianz’s June brand campaign, launched via Howatson+Company, which was the first to leverage the Allianz ‘Ahhh’ brand code to resemble the sound of cheering as a move to strengthen the insurer’s association with the Olympic and Paralympic Games.
The campaign allowed young athletes to experience the support of the nation. Although the grandstands were empty, when a goal was scored or a race finished, they heard and felt the roar of 45,000 Australians cheering them on with ‘Go Australiaahhh’. The recordings also featured the voices of Olympic and Paralympic athletes like wheelchair sprinter Madi de Rozario, judoka Joshua Katz, and diver Nikita Hains.
The activation was filmed for earned and social content, with experts, ambassadors, and brand spokespeople sharing messages and research findings through PR interview opportunities and a media call.
“This campaign demonstrates how the Olympic and Paralympic Movements can help to inspire young Australians to get involved in sport, and we’re proud to use this moment to cheer on the next generation of elite athletes and local sporting legends so they can feel the support of the nation behind them.” said Allianz Australia general manager of customer strategy and marketing, Laura Halbert.
Merissa Lennon, client partner at Eleven, added: “This campaign encourages young Aussies to stay in sport and has the potential to inspire the next generation of elite or more social athletes.”
See also: Allianz and Howatson+Co launch ‘Go Australiaahhh’ Olympics campaign
Credits:
Eleven \ TBWA Sydney
BOLT & Midfield Films
Formula 1 star Daniel Ricciardo is fronting a takeover in a new integrated campaign via creative agency Emotive to celebrate the launch of St Hugo winery’s DR3 wines into Dan Murphy’s stores nationwide.
The campaign premise involves Ricciardo taking over Dan Murphy’s stores and renaming it ‘Dan Ricciardo’s’. The tongue-in-cheek campaign will be deployed across social and digital channels as well as through PR.
DR3 wines is a partnership between St Hugo winery (owned by Pernod Ricard Winemakers) and the F1 fan favourite.
The partnership was first established in 2020, with Ricciardo working closely with St Hugo’s chief winemaker, Peter Munro, on many aspects of the wine’s production.
“I don’t know what was cooler, seeing the wine on the shelf or seeing my face all over the store front! In all seriousness having DR3 on the shelf is special, there is so much work that goesinto each vintage, you just want to share that with as many people as you can,” said Ricciardo.
“Knowing that DR3 is now available in Dan Murphy’s, it’s a big milestone for myself and the DR3 Wines team.”
This weekend, the campaign will also activate in real life with a Dan Ricciardo’s store in Alexandria, including Ricciardo’s face replacing the original Dan Murphy motif from the 1950s.
“As we move into the next phase of our DR3 x St Hugo collaboration, we saw an opportunity to utilise the launch into retail as a way to drive excitement and recruitment in the fine wine category,” added global marketing director at Pernod Ricard, Eric Thomson.
Emotive was also the driving force last Christmas when Pernod Ricard positioned itself to dominate the at-home entertainment space, tapping into the trending spirit of the season: tequila. Its campaign for Olmeca AltosTequila starred Internet personality Jimmy Rees and Real Housewives of Sydney cast favourites Krissy Marsh and Nicole O’Neil.
Emotive CEO, Simon Joyce, said: “Like us, Pernod Ricard share a belief that creativity has the power to drive commercial outcomes.
“This campaign heroes some of our favourite Australian icons and celebrates the truth that the best advertising doesn’t always look like advertising – with long-form storytelling playing out across social, earned and a live brand experience, all working together to generate more attention and talkability than a pure paid media approach could achieve.”
Dan Murphy’s managing director, Agnieszka Pfeiffer-Smith, added: “Dan Ricciardo’s energy, commitment to wine quality and of course being a crowd favourite is something that our own Dan Murphy really prided himself on. Both Dan’s really share a passion for wine – it’s clearly in their DNA! I know our own Daniel Francis Murphy would have given a personal seal of approval to have such an eponymous takeover with this Australian star, and we can’t wait to share it.”
Dan Murphy is part of the portfolio of brands owned by drinks and hospitality company Endeavour Group, which earlier this month appointed BMF as its lead creative agency. Thinkerbell has held the Dan Murphy’s account since 2019, which will be handed to BMF from October 2024.
The work also follows Emotive’s launch last week for Google, enlisting Kath & Kim fan-favourite Sharon Strzelecki (played by comedian and actress Magda Szubanski) to showcase a new range of Google’s AI-powered tools.
See also:
Emotive launches campaign for Google starring Aussie icon Sharon Strzelecki
BMF wins Endeavour Group creative pitch
Credits:
Client: Pernod Ricard Winemakers
Creative & Production: Emotive
CEO: Simon Joyce
Head of Strategy: Michael Hogg
Strategy Director: Gerad Petherbridge
Senior Account Director: Zoe Hartas
Group Creative Director: Darren Wright
Senior Creative Director: Ben Sampson
Senior Copywriter: Peirce Thompson
Social Copywriter: Rory Pearson
Head of Design: Daniel Mortensen
Graphic Designers: Ery Higa & Eunice Nie
Social, Talent & Partnerships Director: Elly Scales
Head of Production: Hayley-Ritz Pelling
Director: Zane Pearson
Senior Producer: Michael Hollis
Producer (Post): Rebecca Love-Williams
Senior Editor: Sam Gadsden
Photographer: Jack Berg
PR: Liquid Ideas
Social: Darkhorse
Media: Initiative
–
Top Image: Daniel Ricciardo
Ubank has launched its Cheap Ad, for a Great Rate campaign through its in-house studio, aiming to resonate with young Australians seeking better financial solutions.
The brand’s positioning is a tongue-in-cheek play on saving its dollars to offer better rates, employing ‘cheap’ marketing tactics over big-budget ads.
Leveraging the quirky brand tone across content and social media, the campaign targets the digital bank‘s audience of 18 to 35 year olds. It follows research conducted by ubank that revealed competitive interest rates (51%) and lower fees (49%) are top priorities for young Australians considering a switching banks.
“Ubank is fast becoming the bank of choice for customers who are digitally savvy, and want to make their money work harder for them,” said Ubank’s chief product and growth officer, Andrew Morrison.
“We’re listening to their preferences and we’re actively responding to what young Aussie customers want most from their banks, which is a competitive savings interest rate, zero account fees, and a simple and easy-to-use app. This customer value proposition has been pivotal in shaping the Cheap Ad, for a Great Rate campaign.”
The campaign roll out will span social, OOH guerrilla marketing, digital, performance, and audio ads on Spotify that feature a lo-fi ‘voice note’ style to fit the campaign’s budget-conscious theme.
“Whilst we would have loved to make a multimillion-dollar short film with an A-list celebrity spokesperson, CGI robots and massive action set pieces, a few crayons and a highlighter was more within our budget,” said Ubank’s creative director, Callam Hanks.
“Honestly though, the decidedly silly and ‘unbanky’ approach to the creative is part of ubank’s overarching strategy to reach and engage with our audience. The contrast of a market leading rate in poorly scribbled crayon really works to focus on what matters most to our customers.
“We’ve really leant into the platform’s style and attitude to continue the campaign narrative across our social media channels. The Cheap Ad, for a Great Rate campaign is not just about showcasing a leading interest rate; but about creatively redefining how ubank communicates our value and customer-centric philosophy.”
Earlier this year, ubank was named a finalist in the inaugural TikTok Australia Advertising Awards for its similarly unorthodox DJ Frog – 20 Bucks campaign, nominated in the Greatest Creative Campaign category.
@ubank20 bucks 🐜🦟🐜🦟🐜🐜🦟 Products issued by ubank, part of NAB. Terms at http://ubank.com.au/join-ubank . TMDs at http://ubank.com.au/tmd♬ 20 BUCKS – ubank
See also: Nike, Smiths and Netflix named as finalists for the inaugural TikTok Australia advertising awards
Credits:
ubank
Head of growth: Sebastian Paulin
Creative director: Callam Hanks
Growth director, campaigns and content: Katie Chandler
Growth director, everyday banking: Nic Lloyd
Senior designer: Matthew Harrington
Copywriters: Jacob Landa and Henry Stafford
Senior producer: Emily May Gunawan
Social media lead: Sophia Berry
Broadsheet Media and Intrepid Travel have teamed up to launch Broadsheet Local Time – a hub within the travel content vertical dedicated to international and domestic exploration.
The partnership marks the publication’s biggest foray into international travel content to date and expands on the 2023 partnership, which saw Broadsheet travel to Vietnam and Sri Lanka.
This year, Broadsheet Australia editor Nick Connellan, creative solutions manager James Williams, and other members of the Broadsheet team will travel on Intrepid trips to India, Japan, Italy, Morocco, Peru and Tasmania.
Each destination will feature supporting articles and social videos that capture its offerings through a local lens.
The Local Time hub will be evergreen, allowing for opportunities to collaborate with Intrepid and other tourism bodies in discovering new countries and experiences.
Matthew Phillips, Broadsheet group sales and partnerships manager, said: “Our audience consistently requests more international travel content, making it a top priority. Partnering with global leader, Intrepid to establish an entirely new destination on Broadsheet, focusing on international exploration, is incredibly exciting.
“Expanding our partnership with Intrepid allows us to highlight the impact that travel has on the global economy and uncover the best local experiences that can only be accessed through Intrepid.”
Louise Laing, Intrepid general marketing manager ANZ said: “We are excited to be the first and only brand to work with Broadsheet on their brand new International Travel Hub.
“We know Broadsheet readers love exploring spots only locals know about, and this is exactly what Intrepid does, in more than 100 countries around the world. Thank you to Broadsheet for exploring the globe with us, and sharing the joy of small group travel with all of your readers.”
Credits:
Broadsheet
Matthew Phillips – Group Sales & Partnerships Manager
Erin Butler – Senior Campaign Manager
James Williams – Creative Solutions Manager
Nick Connellan – Australia Editor
Contributors
Kate Shanasy – Photographer
Daniela Frangos – Writer
Brook James – Photographer
Yusuke Oba – Photographer
Callum McDermott – Writer
Intrepid
Louise Laing – General Manager Marketing ANZ
Hye-Joo Woo – Marketing Specialist ANZ
Eden Cook – Marketing Coordinator ANZ
Samantha McQueen – Marketing Manager Consumer ANZ
Five by Five Global has been appointed to Hydralyte and will launch an integrated campaign. This is Flow will continue to manage the account’s media planning and buying.
Joan Isaac, marketing manager at Care Pharmaceuticals, said: “Five by Five showed us they understood the audience brilliantly and gave us a brand vision that plays perfectly on a compelling tension point.”
Matt Alchin, client director at Five by Five Global, said: “For me, it’s the most recognisable name in the hydration space and we are absolutely over the moon to get the opportunity to work with such an iconic brand.”
Matt Alchin
Earlier this year, This is Flow and Five by Five Global launched an integrated campaign for BPAY payment service, Australian Payments Plus (AP+).
AP+ brings together eftpos, BPAY, and NPP Australia into one organisation to shape the future of payments in Australia. The organisation is also responsible for initiatives such as PayID, PayTo, ConnectID, Osko and Beem.
The campaign renders the ease of the BPAY product, especially when it comes to managing bills, by drawing on relatable, everyday scenarios with a touch of magic. It was rolled out across out-of-home (OOH), cinema, radio, broadcaster video on demand (BVOD), social media, and digital audio.
Christian Royds, senior marketing specialist at Australian Payments Plus, said: “We are thrilled to launch our latest campaign, demonstrating how BPAY can help Australians schedule and pay their bills in the security of their online banking.”
Matt Batten, executive creative director at Five by Five Global, explained: “We all have a little bit of magic in our pockets. Our ubiquitous and essential phones enable us to do so much and solve those niggling life problems with just a tap or two.
“The campaign extends the magic of BPAY from paying your bills to sorting out whatever else you’ve got going on with a dash of wishful thinking.”
See also: Five by Five and This is Flow launch ‘magical’ campaign for Australian Payments Plus
–
Top image: Matt Alchin
Nine’s Tipping Point Australia recorded a total TV national reach of 1,599,000, a total TV national audience of 679,000, and a BVOD audience of 50,000.
Nine’s A Current Affair recorded a total TV national reach of 1,586,000, a total TV national audience of 1,077,000, and a BVOD audience of 78,000.
Seven’s Dream Home recorded a total TV national reach of 1,454,000, a total TV national audience of 807,000, and a BVOD audience of 60,000.
Also on Seven, Home & Away recorded a total TV national reach of 1,351,000, a total TV national audience of 899,000, and a BVOD audience of 118,000.
10’s airing of MasterChef Australia recorded a total TV national reach of 1,197,000, a total TV national audience of 689,000, and a BVOD audience of 68,000.
10’s airing of The Cheap Seats recorded a total TV national reach of 1,000,000, a total TV national audience of 448,000, and a BVOD audience of 22,000.
See also: TV Report 9 July 2024: Rhys and Liam claim the 2024 Dream Home crown
Nine’s Tipping Point Australia:
• Total TV nation reach: 501,000
• National Audience: 209,000
• BVOD Audience: 26,000
Nine’s A Current Affair:
• Total TV nation reach: 458,000
• National Audience: 286,000
• BVOD Audience: 41,000
10’s MasterChef:
• Total TV nation reach: 405,000
• National Audience: 225,000
• BVOD Audience: 38,000
Seven’s Dream Home:
• Total TV nation reach: 490,000
• National Audience: 258,000
• BVOD Audience: 34,000
Seven’s Home & Away:
• Total TV nation reach: 434,000
• National Audience: 294,000
• BVOD Audience: 67,000
10’s The Cheap Seats:
• Total TV nation reach: 392,000
• National Audience: 202,000
• BVOD Audience: 13,000
Nine’s Tipping Point Australia:
• Total TV nation reach: 192,000
• National Audience: 78,000
• BVOD Audience: 14,000
Nine’s A Current Affair:
• Total TV nation reach: 167,000
• National Audience: 98,000
• BVOD Audience: 21,000
10’s MasterChef:
• Total TV nation reach: 157,000
• National Audience: 91,000
• BVOD Audience: 21,000
Seven’s Dream Home:
• Total TV nation reach: 211,000
• National Audience: 106,000
• BVOD Audience: 18,000
Seven’s Home & Away:
• Total TV nation reach: 195,000
• National Audience: 142,000
• BVOD Audience: 41,000
10’s The Cheap Seats:
• Total TV nation reach: 120,000
• National Audience: 66,000
• BVOD Audience: 7,000
Nine’s Tipping Point Australia:
• Total TV nation reach: 1,249,000
• National Audience: 530,000
• BVOD Audience: 40,000
Nine’s A Current Affair:
• Total TV nation reach: 1,228,000
• National Audience: 845,000
• BVOD Audience: 62,000
10’s MasterChef:
• Total TV nation reach: 932,000
• National Audience: 544,000
• BVOD Audience: 56,000
Seven’s Dream Home:
• Total TV nation reach: 1,133,000
• National Audience: 644,000
• BVOD Audience: 48,000
Seven’s Home & Away:
• Total TV nation reach: 1,081,000
• National Audience: 718,000
• BVOD Audience: 94,000
10’s The Cheap Seats:
• Total TV nation reach: 779,000
• National Audience: 349,000
• BVOD Audience: 18,000
Data © OzTAM and Regional TAM 2024. Not to be reproduced, published or communicated (electronically or in hard copy) in whole or in part, without prior written consent of OzTAM and Regional TAM.
TV Report 10 July 2024:
Wimbledon – Day 10
Nine aired Wimbledon – Day 10 and matches included: Jelena Ostapenko (LAT) v Barbora Krejcikova (CZE), Elena Rybakina (KAZ) v Elina Svitolina (UKR), Alex de Minaur (AUS) v Novak Djokovic (SRB), Taylor Fritz (USA) v Lorenzo Musetti (ITA).
A Current Affair
The program investigated changes made to a Brisbane courtroom to accommodate an unprecedented murder trial and also looked into the rental concept offering bill free, affordable units.
The Front Bar
The Front Bar welcomed Anthony Stevens and Glenn Archer as they shared a laugh about the world of AFL and caught up with stars of yesteryear and today, ahead of the seventeenth round of the AFL 2024 season.
Home & Away
Earlier in the night was Home & Away as Mackenzie worried she pushed her housemates away, Bree and Remi plotted payback and Tane’s youth program had a rough start.
The Project
The Project on 10 reported on allegations that animal abuse is rife in greyhound racing, spoke to the Aussie fighting back against dodgy builders and also spoke to Nedd Brockmann.
Bondi Rescue
On 10’s Bondi Rescue, the show returned for its 18th season as Lifeguards tried to resuscitate a lifeless man found face down in the surf. It was the busiest day in a decade for the lifeguards, with more than one hundred rescues.
7:30
On 7:30, the program investigated a teenager who was beaten repeadely with a baton in a watch house – an investigation found the use of force was “reasonable”. Plus the owners of NSW’s biggest coal mine have applied to extend the life of the site by 25 years.
Gruen
Gruen returned last night to discuss Nintendo, Brita and eHarmony. Wil Anderson was joined by Todd Sampson, Christina Aventi, Camey O’Keefe, and Russel Howcroft.
Tour de France: Live Stage – Stage 11
SBS aired coverage of Stage 11 of the Tour de France which included Evaux-Les-Bains to Le Lioran, France.
Twenty editorial staff would lose their jobs, said people with direct knowledge of the plans, speaking on condition of anonymity. Ten of the staff would be taking voluntary redundancies.
Titles affected include The Courier Mail, The Daily Telegraph, The Hobart Mercury, Adelaide Advertiser and News Corp’s free news and lifestyle division, which includes the news.com.au website. Managers emailed staff on Tuesday evening to set up meetings about the decision.
The deal will extend for 11 seasons, the report said, citing executives with direct knowledge of the deals.
The new agreement, which is more than three times the current deal, comes as sports become a powerful draw for media companies trying to expand premium viewership.
NBA has always been a star-driven sport with talents such as Michael Jordan, LeBron James and Shaquille O’Neal dominating the games and viewership.
In 2021, 30 per cent of Australians infringed copyright through the way they consumed content online, according to federal government data. By 2023, the most recent year data is available for, that figure increased to 41 per cent.
Australians pirate a range of content, including movies, TV shows, video games, music and sports broadcasts. Chair of Creative Content Australia Chris Chard says cost of living pressures are causing more people to justify downloading content on torrents or watching illegal streams.
In a memo sent to employees Wednesday, CNN chief executive Mark Thompson said the network’s television newsgathering and digital-news divisions would be merged into a single unit as the company shifts more of its focus on digital expansion.
“We recognize its potentially enormous impact on the individuals affected,” Thompson said in an interview. CNN, which has more than 3,500 employees, said the cuts would happen across the company.
The announcement of the ITV documentary comes on the eve of Prince Harry’s appearance at a glitzy ceremony in Los Angeles to accept the Pat Tillman Award for Service.
The Duke of Sussex has “no plans” to reject the ESPY award on Thursday (local time) despite shock from the mother of Pat Tillman, who was killed in Afghanistan after leaving his NFL career after the 9/11 terror attacks.
News of the new series comes as Siwa is set to release a new EP, Guilty Pleasure, on July 12. The release, featuring Siwa’s hit Karma, includes four other songs — including the title track Guilty Pleasure, which will be released with an official music video on Friday.
According to Resilient Content, the “coming-of-age premium docuseries will follow the personal and professional life and career of JoJo Siwa.
Only half a point separated Rhys and Liam from runners-up, Lara and Peter Bird, who scored 37 out of 40 for their Belrose backyard during the nail-biting finale.
Liam’s dilapidated Deception Bay Queenslander received a stunning renovation on the show, with the property now estimated to be worth a staggering $1.6 million.
Costner tried something rare this summer, releasing the first chapter of his western saga Horizon – which he directed, starred in, co-wrote and partly financed – in theatres across the country on June 28. The plan was for the second chapter in the sprawling story to be released six weeks later.
But thanks to paltry box office returns, that plan has been scuttled. On Wednesday, New Line Cinema, a subsidiary of Warner Bros., said it was canceling the theatrical release of Horizon: An American Saga — Chapter 2, which was scheduled to debut in theatres on Aug. 16.