Seven West Media has “noted” the issues raised by last night’s ABC’s Four Corners investigation into a Seven workplace that was described by staff as “degrading” and “soul crushing.”

Seven said it is concerned about allegations of poor behaviour and “any mistreatment of employees.” 

“A number of matters raised represent old issues that have been well aired and health with, in some cases many years ago,” the statement reads.

“A number of people who have displayed behaviour not reflective of SWM’s values have already been removed from the organisation.

“We encourage all Seven West Media team members to call out any behaviour that does not reflect our values. Whistle-blower protections are in place and are regularly re-emphasised with all staff.

“Our focus is to build a stronger culture that enables our great people to thrive, and where unacceptable behaviour is not tolerated.”

The Four Corners program spoke to more than 200 people for the story, including current staff who spoke out while on Seven’s payroll. One said there is “a desperate need for change at both Seven and in the broader commercial television industry.”

Former Seven Perth presenter Mark Gibson was featured on the program, revealing he was one of multiple Seven Perth staff who complained about the behaviour of former WA news director Shaun Menegola. 

Gibson claimed he witnessed him being “very irrational, often aggressive, verbally abusive, bullying, harassing, belittling.”

Menegola’s contract as news director was not renewed in 2011, and in a statement to Four Corners, he acknowledged there were staff complaints that were “addressed and resolved years earlier”, but said, “my departure from 7 Perth in 2011 was in no way related” to those complaints.

The program also spoke to a former Nine reporter, Mia Brankov, who worked under Menegola when he moved to Channel Nine as news director in 2013. She told Four Corners she experienced similar behaviour to that which Gibson referenced.

After leaving Nine, Menegola returned to Seven at the end of 2018, when he was hired as Seven Melbourne’s news director.

“How on earth could he be rehired? He had a litany of complaints against him. It is beyond belief,” Gibson said.

Staff from the Melbourne newsroom told Four Corners that Menegola’s behaviour reportedly “mellowed” during his time there. 

Menegola left Seven Melbourne in April, saying at the time of his departure: “It’s entirely my decision and one I’ve been thinking about for a long time. It’s not one driven by anything else other than the fact that I’m looking to take a break to recharge and reboot – and to spend some time in my home state [Western Australia] with family.”

Spotlight EP Mark Llewellyn and former director of news and current affairs Craig McPherson also left the network after Seven’s Spotlight program became embroiled in Bruce Lehrmann’s failed defamation battle against 10 and Lisa Wilkinson. 

See also: Bruce Lehrmann to pay $2 million to Network 10 following failed defamation case

The episode also looked at allegations against former Seven journalist Robert Ovadia, who this week filed a general protections claim in the Federal Court against his former employer, Seven, and the network’s newly-minted news boss, Anthony de Ceglie. 

In June, Ovadia was sacked after 23 years with the network when an internal investigation was conducted into allegations of inappropriate behaviour. He denies the allegations, previously saying he would defend himself against “malicious” allegations.

In a statement, a Seven spokesperson told Mediaweek: “Seven is not in a position to comment on Mr Ovadia commencing legal proceedings as it is now before the Federal Court, other than to say that Seven will defend its position in this matter.”

Four Corners said that, upon being sacked, Ovadia published messages of support on his Instagram account, from “three former Channel Seven women.” The program revealed that other women contacted Four Corners, alleging unprofessional conduct by Ovadia. 

Seven is not the only media company grappling with cultural and behavioural issues. At Nine, an investigation into its TV newsroom culture is still ongoing, after multiple allegations of inappropriate behaviour were made against its former national director of news and current affairs, Darren Wick. 

Wick left the network in March after 29 years at the company, 13 years in the position, and more than a month away from the office. He announced his departure in a staff email seen by Mediaweek, writing: “After many long beach walks and even longer conversations, I know in my heart that this is the right time for me to step down and leave Nine.”

See also: MEAA accuses Nine of being ‘far too slow’ to address workplace culture

UM has defended the federal government’s master media account, Mediaweek can confirm, beating out Omnicom’s PHD in the final stages of the competitive pitch.

The account, valued between $150 to $240 million, has been with the IPG Mediabrands agency for the past six years.

The tender process began with an advance notice issued in July last year, with expressions of interest closing in December. The tender was publicly announced in February this year and closed in mid-March.

The Independent Media Agencies of Australia (IMAA) had also submitted a proposal for an independent agency consortium to service the account, which was rejected. This proposal, developed with an Australian-owned third-party management consultancy, would have involved a consortium of IMAA members sharing the major account.

UM has managed the government’s media buying, planning, and strategy since 2018. The agency successfully defended the account in 2021, extending its tenure until June 2024.

The master media account oversees the placement of all advertising under the Central Advertising System, which consolidates government advertising expenditure and buying power to secure optimal media rates. The system is administered by the Department of Finance and includes campaign, non-campaign, and complex non-campaign activities.

UM first won the account in 2002 and held it until 2014 when Dentsu Mitchell (now dentsu X) wrestled it away. After four years, UM reclaimed the business. 

The new contract will run from 1 July 2024 to 30 June 2028, with options to extend up to four years.

This year, a wave of government accounts have come up for pitch.

In February, the Department of Defence began a pitch process for its creative and digital account, currently held by VML.

In July, Tourism Tasmania opened its lead creative agency contract for pitch, with BMF the incumbent.

That same month, Tourism Australia appointed a panel of Accenture agencies – Accenture Song, The Monkeys, and Droga5 – to handle its integrated global creative and digital services under a five-year contract, with options for two one-year extensions. The creative account had been held by M&C Saatchi, and the digital account by Digitas since 2018.

As for where other government media accounts sit, UM Canberra is currently the media agency of record for the ACT Government, appointed in March 2023.

OMD won the $100 million Victorian government master media account in 2021, followed by the $70 million NSW government account in 2022.

EssenceMediacom has held the $60 million Queensland government media account since 2004.

The South Australia government media account, valued between $40 to $50 million, is shared by Wavemaker Adelaide and Carat Adelaide, which have held the account since 2010.

Last year, independent media agency Atomic 212° was reappointed to the Northern Territory Government and Tourism Northern Territory media services accounts, valued at $10 million.

Chattr Pty Ltd, the parent company of Mediaweek, has entered into a binding Heads of Agreement to sell the trade media publication.

The Mediaweek brand was acquired by Chattr Pty Ltd in April 2022 through a deal with GMG Information Pty Ltd.

Vinyl Group will acquire the assets of Mediaweek in exchange for $500,000 in cash and $500,000 in shares valued at the fifteen (15) day Volume Weighted Average Price (VWAP) of Vinyl Group shares on the ASX for the period immediately preceding the Completion Date. Completion is expected to take place by 30 September 2024.

Vinyl Group describes itself as the heartbeat of an equitable music world, providing tech solutions that connect and give credit to the creator economy.

Its diverse portfolio includes:
• Vinyl.com which offers an e-commerce experience including over 50,000 titles for fans to support their favourite artists.
• Vampr is a dedicated social-professional networking platform and talent marketplace, allowing 1.4m creators to discover collaborators and monetise their work in over 180 countries.
• Jaxsta is the world’s largest and only database of official music credits with over 380m verified credits to streamline revenue opportunities for businesses in the music industry.

This deal follows the acquisition of The Brag Media earlier this year, which marked Vinyl Group’s entry into media. The Brag Media is Australia’s largest creator of premium youth content and events and publishes iconic titles including Rolling Stone AU/NZ, Variety Australia, TheBrag.com, The Music Network, Tone Deaf, and more.

The Brag Media also exclusively represents local digital audiences for over a dozen other titles including HypeBeast, Billboard, The Hollywood Reporter, Music Feeds, ComingSoon, Rotten Tomatoes, Game Revolution and IndieWire. The Brag Media brand portfolio reaches 10m users per month in the region with over 40m monthly page views.

Vinyl Group CEO, Josh Simons, said: “Vinyl Group CEO, Josh Simons, said: “Mediaweek will join Vinyl Group with a mission to accelerate our trade media and events business in Australia and improve margins across these pillars. This acquisition follows a review of our media arm earlier in the year, which identified several opportunities to enhance the efficiency and reach of these operations.

“Further synergies are expected to be unlocked and we look forward to announcing a managing editor of Mediaweek following completion. This strategic asset purchase demonstrates our commitment to growing our global music and media tech portfolio.”

Mediaweek’s general manager, Sarah Chapman, commented: “The MW team is excited to be a part of the Vinyl Group family. Joining such a large portfolio of popular titles and having access to the vast resources provided by Vinyl will help us continue to grow and adapt our product to better serve our readers and clients.

“Mediaweek has evolved and grown rapidly over the last few years, and that will only continue as we invest in and grow our product to further cement our market position.”

Cosima Marriner has been named editor of the Australian Financial Review, the latest in a series of editorial shuffles at the title.

The departure of Michael Stutchbury as editor-in-chief saw James Chessell return to the company to succeed Stutchbury – the Financial Review’s longest-serving editor or editor-in-chief in the masthead’s seven-decade history.

Marriner takes over the editor role from Fiona Buffini, who will stay with the Financial Review to “oversee digital transition.”

“I’m honoured to have the opportunity to edit Australia’s best masthead and to lead the nation’s most talented newsroom. I look forward to building on the incredible legacy and hard work of Stutch and Fiona, working closely with James to make the Financial Review an even greater success,” Marriner said of her new role.

“I’m particularly excited about the vital role the Financial Review plays in ensuring Australia continues to be competitive, cohesive and prosperous and working with everyone to bring that vision to life.”

Marriner has been working as the title’s managing editor, having joined the Financial Review in 2022.

With an editing and reporting career spanning 20 years, she joined The AFR from The Sydney Morning Herald, where she had been working as deputy editor and a former acting editor. 

Prior to her role with the Herald, Marriner worked as former editor of The Sun-Herald, as well as in roles at The Telegraph and The Guardian in London.

Departing the editor role, Buffini said it had “been a privilege to lead a fantastic newsroom over the past two years and to drive the Financial Review’s digital transformation over the past decade.”

“We’ve done some excellent journalism, including last year’s Gold Walkley win. I’ve loved every minute. I look forward to continuing to contribute to a great masthead,” she added.

See also: Nine overhauls The AFR: Michael Stutchbury steps down, James Chessell taking over

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Top image: Cosima Marriner

The Olympics presented a chance for brands to advertise during one of the world’s biggest international sporting events, with rights holder Nine boasting $140 million in ad revenue across the Games.

The biggest local campaigns included Woolworths’ Fresh Fuels the Best in All of Us and Go Australiaahhh from Allianz, an update to its Ahhh…lllianz platform. 

Mediaweek asked Emotive strategy director Gerad Petherbridge, DDB Sydney creative partner Jenny Mak, and BMF creative director Casey Schweikert for their thoughts on the ads that stood out, and what left them wanting more.

The consensus favourite: AAMI’s Athletes in the Making

AAMI’s Athletes in the Making campaign, from creative network Ogilvy, was nominated by each creative professional as being one of their favourite ads this Olympics.

Previously speaking with Mediaweek, AAMI’s head of brand and content, Rapthi Thanapalasingam, said of the campaign: “At a time when most of Australia will be unified around supporting our athletes, we want to reinforce how Australia’s leading national insurer is there to support our little athletes in the making when things don’t quite go to plan.”

Emotive’s Petherbridge said: “The AAMI Athletes in the Making spot does a really nice job.

“It is obviously Olympics-adjacent but isn’t lazy by just putting athletes in there, and it’s actually about the product, and it’s fun.”

Schweikert added: “The AAMI spot was fun and celebrated the Olympic spirit in an Aussie, post-Raygun kinda way.”

‘Raygun’ of course refers to Rachael Gunn, Australia’s female breakdancing participant who went viral for her Olympic performance.

Data from Nexxen’s International Summer Sports Playbook found AAMI had the largest increase (298%) in brand presence amongst sports TV programs in the second quarter of 2024.

Ads that showcased the Olympic spirit 

When asked which ads used the Olympic spirit best, DDB’s Mak nominated AAMI’s spot, and Qantas’ Already Proud.

The spot showcases the emotional send-offs of eight Australian Olympic and Paralympic athletes as they embark overseas. 

“So many brands delivered on the Olympic spirit brilliantly,” Man said. “The Qantas spot and the AAMI spot were a couple of local standouts.”

Moving away from local brands, Petherbridge also nominated Powerade’s The Vault, featuring American gymnast Simone Biles, part of the brand’s Pause is Power platform.

“In terms of using the Olympic spirit, it is a better use of storytelling that gets to the heart of what it must feel like to compete at that level, at least an actual role for the brand in that story,” he said.

“I think it doesn’t shy away from the reality and the difficulties of her story rather than just paint this overly earnest portrait of the happy athlete that these ads are doing at the moment. That’s probably my pick in terms of Olympic spirit.”

What could have been done better

Each expert also noted what they didn’t like, or would like to see brands do with the Olympics going forward.

Mak believes Nike’s Winning isn’t for everyone missed the mark in embracing the Olympic spirit.

“It seems Nike is catering to a culture obsessed with power and victory as the sole measure of success.

“Winning should be an outcome, not the ultimate goal at any cost, just look at Simone Biles withdrawing from the Tokyo Olympics to prioritise her mental health.

“Nike once inspired bravery and exploration beyond sports, but this campaign feels like a nod to a toxic, power-driven culture, lacking empathy.”

Nike’s campaign included a string of 15-second advertisements, using renowned international athletes like LeBron James and Kevin Durant. 

Petherbridge commented that the conservative and competitive Olympics ad environment limited the type of ads.

“I wonder if that conservatism that surrounds the Olympics has an impact on a brand’s ability to see it as an opportunity to do something really fun and creative,” Petherbridge said.

“It should be this huge opportunity for great creativity and fun and all those sorts of things. Instead, it gets wrapped up in we have to be earnest and serious about the Olympics.”

Petherbridge referenced a Goulburn Valley Olympic ad from the ’90s that included Australia’s Oarsome Foursome as an example of a “fun and goofy” ad that should provide inspiration going forwards. 

Schweikert said Telstra’s Better On A Better Network was her favourite campaign over the period, even though it wasn’t an Olympics ad at all.

“They didn’t try to compete with the overwhelming amount of inspiring Olympics ads that they knew would be flooding our screens.

“Secondly, they made 26 versions. So, I only saw the same ad a couple of times.”

Coverage of the upcoming Paralympic Games begins on 28 August on Channel Nine and 9Now. 

News Corp Australia has revealed its client partnerships leadership team, which will work to deliver integrated, end-to-end campaign solutions across the entire News network. The team brings eight key sales functions together.  

Client partnerships managing director, Lou Barrett, said: “We now have one team who are the absolute best in the business and are committed to evolving our growth strategy. 

“Having all of the key sales functions together allows us to better service our clients unique needs and craft tailored and integrated campaign solutions. Our clients are at the heart of everything we do and this new structure is critical as we look to the future and continue to expand our best-in-market offering.”   

Cameron Curtis joins News Corp Australia in the newly-created role of general manager, performance, planning and strategy from his previous job leading the ANZ operation of Beatgrid.

He will develop, implement and prioritise sales initiatives across the national group. Curtis will also take the lead on network planning, market analysis, and overseeing sales performance. His role will commence in September.

Executive general manager, Newsamp, Renee Sycamore, moves into the newly-created role of general manager, client growth, and experience. She will develop and implement strategies that optimise the client journey and boost business growth. 

As recently announced, Ian Paterson will join News Corp Australia as general manager, advertising sales NSW. He will lead the NSW strategy and work to drive business results for clients. His role commences in October. 

Paterson will work alongside former head of agency VIC, Natalie Grabbe, who has been promoted to general manager, advertising sales VIC and Kelly Healy, who continues in her role as general manager, advertising sales QLD, SA, WA. 

Executive general manager, client growth, Belinda MacPherson, takes on the newly created role of general manager, SMB growth and marketplace. She will lead business development and identify SMB growth opportunities.

Rounding out the national leadership team is general manager, commercial operations, Nathalie Delpierre, who takes on the newly created role of general manager, client delivery, ad tech and programmatic, plus strategic programs and transformation director, Victoria Obee, who has been promoted to general manager, client enablement and operations. 

The reshuffle follows News Corp’s recent publishing restructure, which divided the business into three verticals, led by Nicholas Gray, Mark Reinke, and Pippa Leary.

–

Top image: Lou Barrett

DuluxGroup has appointed Howatson+Company as the creative agency of record for adhesives and sealants business, Selleys. The appointment, which follows a competitive pitch process, is effective immediately.

“We thoroughly enjoyed the process with Howatson+Company, who demonstrated strong capability to deliver on our ambitious vision for Selleys,” said DuluxGroup group capability director brand and digital, Antoinette Tyrrell.

“This is a very exciting time for the business, and I’m  thrilled to have the Howatson+Company team work alongside our Selleys team as we continue to evolve the brand in Australia.”

Howatson+Company group managing director, Renee Hyde, added: “This is a proud moment for H+Co. We were not only inspired by the Selleys team’s vision, but the kindness and ambition of their people. To join their team is a true privilege and we look forward to supporting them in their next phase of growth.”

DDB Melbourne currently holds the strategy and creative accounts for Dulux’s portfolio of decorative paints and coatings brands, including Dulux, British Paints, and Berger. 

In March, it was first reported that DuluxGroup’s master media account was going up for pitch, spanning its portfolio: Dulux, Selleys, Yates, Cabot’s, B&D, and British Paints. OMD was the incumbent at the time, having managed the portfolio’s strategy, planning and buying across all channels for over thirty years. It was last reappointed in 2020.

DuluxGroup chose Mediabrands to handle the $20 million account just days before Initiative’s key leadership defected to Accenture Song, including CEO Melissa Fein, managing director Sam Geer, and chief strategy and product officer Chris Colter. It is still unclear where the account has landed.

Earlier this month, Howatson+Company unveiled its new creative leadership structure, promoting executive creative directors Gavin Chimes and Richard Shaw to chief creative officer and deputy chief creative officer, respectively.

See also: Howatson+Co promotes Gavin Chimes to CCO, Richard Shaw to deputy

Five by Five Global has appointed Mark Anderson as its new managing director, replacing incumbent MD and founder, Matt Lawton, who is moving into a globally-led position within the parent company – Lawton Communications Group. 

“I knew the moment I met Matt and visited the office that this was a real unicorn of a position,” Anderson said. “There is such a strong sense of passion amongst the team, and you could tell the business truly puts people at the heart of every decision.
 
“People before profit and creativity over corporate agenda. Taking the reins from Matt and having the autonomy to shape and grow a boutique agency in the Australian market is both an exciting opportunity and absolute privilege.”

Anderson is the former managing director of Cheil Australia, which he grew from a headcount of 18 to almost 90 people, increasing its revenue and industry recognition, and solidifying its position in the landscape.

“We are thrilled to welcome Mark to the Five by Five Global team,” Lawton said. “His extensive experience and successful track record make him the perfect fit to lead our Australian operations. We are confident that his vision and expertise will help us continue to deliver exceptional results for our clients and drive our growth in the region.”

Anderson’s appointment comes at a pivotal time for Five by Five – which also has offices in London and LA – as it seeks to further enhance its service offerings in the Australian market, following recent business wins.
 
“I am absolutely thrilled to join Five by Five and to work with such a talented team,” said Anderson. “I look forward to building on the agency’s strong people-focused foundation and helping to drive innovation and growth for our existing, new and future clients.
 
“This is an exciting opportunity to shape the future of the agency and to contribute to its continued success.” 
–
 
Top image: Matt Lawton and Mark Anderson

Innocean Australia has made a series of hires across its creative, strategic, content production, and media departments. 

Nick Cole and Pat Allenby have joined the full-service agency as creative directors to lead the Kia business. Both were previously at DDB Australia, where they were creative leads on sports sponsorship for McDonald’s. Prior to that, the pair carried out stints at The Royals and Special Group, where they created the Uber Eats Australian Open ambush campaign. 

“After an extensive search I’m so  excited to welcome Nick and Pat to Innocean Australia,” said Wesley Hawes, executive creative director.

“We’ve promised them the chance to grow, a plethora of creative opportunities, and the chance to lead one of the most iconic brands in Australia. We’re all  expecting big things, but I know Nick and Pat will more than live up to the hype and continue where the Kia Tasman Ute campaign left off.” 

Cole and Allenby added: “From the design of the cars to their rebrand and advertising, Kia has had our attention  for a while – so when given the opportunity to lead the creative part of the account, our decision was easy. We’re very excited to join the team at Innocean and build upon the wonderful work that’s been done to date.” 

Additionally, Mirjam Grari has joined the strategy team as director of insights and brand experience, previously working at insights consultancy Verve. Her previous experience includes research, consulting and strategy for clients including ABSOLUT Vodka, Volvo Cars, Colgate-Palmolive, RM Williams, Mirvac, Afterpay, NewsCorp, Virgin-Velocity, and Super Retail Group.

Audrey Fitte-Umark has been appointed to the role of media client director, moving from his post as client director at Carat. Josh Bisset also joins Innocean as digital content creator. Bisset has previously worked for TBWA Group’s Eleven PR as a content creator. He has worked across global and local brands including Sheridan, Heinz, Philips, and Australian Bananas. 

“As the lines between media and creative continue to blur, it’s more important than ever for agencies like ours to embrace a truly collaborative approach to client challenges,” said Innocean chief strategy officer, Giorgia Butler.

“Now, with the right mix of skills in house, we’re bringing strategy, channel planning and creative  development into one cohesive process that underpins Innocean’s commitment to delivering bold, impactful and effective solutions; in other words, work that works.” 

The appointments follow Innocean winning the brand strategy, creative, and media account for fleet management solutions and connected transportation company Geotab in July. 

Lowercase, the group’s consultative company, was also been selected to lead Geotab’s research to measure and bridge the gap between the ANZ and Southeast Asia B2B strategies.

See also: Innocean wins creative, media, and strategic consulting for Geotab

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Top image: Pat Allenby, Josh Bisset, Nick Cole, Audrey Fitte-Umark and Mirjam Grari

JOLT has appointed Randall Taylor as senior data, strategy and insights manager, as the network prepares to scale its data and audience intelligence offering.

Taylor will support JOLT’s business, using his experience to leverage JOLT’s first-party customer data and third-party data partners to create audience-led insights for brands.

He brings more than a decade of experience in insights and data partnerships to the role. Taylor joins the sustainable DOOH network after four years at JCDecaux Australia, where he was most recently senior manager – data partnerships and innovation.

Prior to this, he held research and insights roles at Domain.com.au and Val Morgan.

Doug McNamee, JOLT chief executive officer, said: “Randall brings a wealth of data and audience intelligence expertise to JOLT, particularly in the out-of-home space, along with a passion for innovation. His appointment demonstrates JOLT’s commitment to rapidly expand our data offering, ensuring it continues to deliver rich audience insights for our partners.”

Taylor said of his new role: “I’m excited to be joining JOLT during this exponential growth phase. JOLT’s audience opportunities are unique in market, and the ability to connect advertisers with roadside and engaged EV-charging audiences will continue to grow as adoption of electric vehicles ramps up.

“The hybrid opportunity to reach audiences across JOLT’s digital out-of-home and in-app proposition unlocks rich storytelling opportunities for brands, with JOLT’s growing, and valuable, audience.”

JOLT continues to grow its multi-channel advertising offering, recently adding video and media ads to its suite of mobile advertising products, to further capture attention and drive engagement among audiences.
 
JOLT is working to expand both its network and advertising partners globally. It recently announced plans to roll out 130 additional new digital advertising screens across Sydney, backed by funding from the NSW Government, expanding its reach across metro Sydney in high-traffic areas.
 
It follows major agreements to roll out thousands of EV chargers across Canada, and the growth of JOLT’s UK and New Zealand EV-integrated, digital out-of-home networks.
 
Taylor’s appointment is effective immediately and follows the recent appointment of Donna Tauro as group sales manager.
 
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Top image: Randall Taylor

ESPN has secured its position as the primary NBA rights holder in the region following a ‘landmark’ 11-year extension with the National Basketball Association and Women’s National Basketball Association.

Beginning from the 2025-26 season through to the 2035-36 season, the long-term deal sees the NBA and WNBA continue as mainstay programming on ESPN in Australia and New Zealand.

ESPN is the exclusive broadcast partner for around 240 regular season NBA games, an enhanced game package for the First and Second Round of the NBA Playoffs, all NBA Conference Finals, and NBA Finals games. 

The WNBA coverage will extend across the WNBA regular season and WNBA Playoffs, including WNBA Semi Final and WNBA Finals series.

ESPN will continue to provide full coverage of the NBA and WNBA All-Star Weekends as well as the NBA Draft and WNBA Draft.

ESPN has also strengthened rights to expand its NBA studio coverage via new whip-around programming on nights that ESPN is televising games, including the ability to establish enhanced game access, player arrivals, and interviews.

Additionally, rights include highlighting live action from around the league with real-time highlights, live cut-ins, produced features, and breakdowns from leading ESPN analysts.

“ESPN remains the Home for Hoops in Australia and New Zealand and our continued strength in basketball is a big win for fans,” said Kylie Watson-Wheeler, senior vice president and managing director, The Walt Disney Company Australia and New Zealand and head of ESPN, APAC.

“ESPN is committed to bringing all the NBA and WNBA action to our highly engaged audiences through our new rights agreement over the long term, coupled with even more hoops programing including NBL, WNBL, NCAA and Australian Boomers, and Opals.”

ESPN’s Australian and New Zealand new NBA agreement comes off the back of a Prime Video, NBA, and WNBA deal that will see the streamer present exclusive global coverage of 66 regular-season NBA games, including an opening week doubleheader, a new Black Friday NBA game, and all games from the Knockout Rounds of the Emirates NBA Cup, including the in-season tournament’s Semifinals and Finals.

The Prime Video media agreement is in place for 11 years, beginning with the 2025-26 NBA season.

Advertising Industry Careers (AIC) has appointed David Reid to its Advisory Board, which also includes Greg Graham, Sue Squillace, and Julie Anne Longano.

Reid is a respected advertising lecturer at Swinburne University of Technology in Melbourne. He is also completing his doctoral studies, which focus on enhancing employability and work-integrated learning in advertising and marketing.

His industry-focused approach to education is exemplified by initiatives such as the Advertising Capstone Challenge (which he co-founded in 2016), which seeks to bridge the gap between education and industry practice by connecting real clients and industry partners.

Reid’s involvement with AIC will further strengthen the organisation’s mission to empower aspiring professionals and ensure they are equipped with the skills and experiences they need.

“I am excited to join the Advisory Board of Advertising Industry Careers, an organisation that shares my commitment to fostering employability and practical learning,” Reid said.

“Through initiatives like the Advertising Capstone Challenge, I’ve seen firsthand the transformative impact that real-world experience can have on students,” he added. “I look forward to contributing to the ongoing efforts to bridge the gap between academia and industry, ensuring that the next generation of advertising professionals is well-prepared for the challenges and opportunities that lie ahead.”

Owen Joyce, COO of AIC, added: “We are delighted to welcome David to our advisory board. David’s innovative approach to education, combined with his deep understanding of the advertising industry, makes him an invaluable asset to our team.

“His work with the Advertising Capstone Challenge exemplifies the kind of forward-thinking initiatives that we are passionate about at Advertising Industry Careers.

“We are confident that David’s insights and expertise will play a key role in shaping the future of our programs and supporting the careers of countless young professionals.”

TOP 5

1. Deadpool & Wolverine – $7,483,424 (1)

Walt Disney’s Deadpool & Wolverine continues to perform exceedingly well, hitting over $1 billion in box office gross globally. This is the Merc with the Mouth’s first appearance in the MCU, which is now possible due to Disney buying Twentieth Century Fox in 2019. Aussie Hugh Jackman also returns as Wolverine. The film now has the eighth-biggest opening weekend of all time globally. Coming in first place this week, Deadpool & Wolverine took $7,483,424 in its third week, averaging $11,321 over 661 screens.

Total Australian Box Office gross to date: $47,915,371

Synopsis: Deadpool’s peaceful existence comes crashing down when the Time Variance Authority recruits him to help safeguard the multiverse. He soon unites with his would-be pal, Wolverine, to complete the mission and save his world from an existential threat.

2. It Ends With Us – $6,101,956 (debut)

Sony’s It Ends With Us is based on the bestseller of the same name, written by Colleen Hoover. Boasting a massive debut, a sequel, is assumingly all but confirmed. It will also assumingly be based on the book ‘It Starts With Us’. Coming in second place this week, It Ends With Us took $6,101,956 in its first week, averaging $10,539 over 579 screens.

Synopsis: Lily Bloom moves to Boston to chase her lifelong dream of opening her own business. A chance meeting with charming neurosurgeon Ryle Kincaid soon sparks an intense connection, but as the two fall deeply in love, she begins to see sides of Ryle that remind her of her parents’ relationship. When Lily’s first love, Atlas Corrigan, suddenly reenters her life, her relationship with Ryle gets upended, leaving her with an impossible choice.

3. Borderlands – $505,754 (debut)

Roadshow’s Borderlands is the newest video game adaptation to hit the big screen, but unfortunately has not been as big of a hit with critics compared to video-game-adapted TV. Despite big names such as Cate Blanchett, Kevin Hart and Jamie Lee-Curtis attached, the film debuted at a shocking 0% on Rotten Tomatoes upon release, and sits now at 9% at the time of publication. Coming in third place this week, Borderlands took $505,754 in its first week, averaging $1,894 over 267 screens.

Synopsis: Returning to her home planet Pandora, an infamous bounty hunter forms an unexpected alliance with a ragtag team of misfits. Together, they battle alien monsters and dangerous bandits to uncover one of Pandora’s most explosive secrets.

4. Trap – $494,550 (2)

Warner Bros. Trap is the newest feature from M. Night Shyamalan, starring 90s heartthrob Josh Hartnett. The film, which depicts a game of cat and mouse between the FBI and a serial killer takes place at an arena concert, with the singer, Lady Raven, played by Shyamalan’s own daughter Saleka Shyamalan, who is also a singer-songwriter. Coming in fourth place this week, Trap took $494,550 in its second week, averaging $2,044 over 242 screens.

Total Australian Box Office gross to date: $1,707,098

Synopsis: A father and his teenage daughter attend a pop concert, only to find themselves at the centre of a dark and sinister event.

5. Twisters – $487,970 (3)

Warner Bros. Twisters is a spiritual successor to the 1996 film, Twister and is directed by Lee Isaac Chung. Starring Daisy Edgar-Jones and Glen Powell in the leading roles, the film currently holds a favourable 80% on Rotten Tomatoes. Coming in fifth place this week, Twisters took $487,970 in its fifth week, averaging $1,855 over 263 screens.

Total Australian Box Office gross to date: $11,545,566

Synopsis: Haunted by a devastating encounter with a tornado, Kate Cooper gets lured back to the open plains by her friend, Javi, to test a groundbreaking new tracking system. She soon crosses paths with Tyler Owens, a charming but reckless social-media superstar who thrives on posting his storm-chasing adventures. As storm season intensifies, Kate, Tyler and their competing teams find themselves in a fight for their lives as multiple systems converge over central Oklahoma.

Top 6 – 10

6. Despicable Me 4
7. Inside Out 2
8. Longlegs
9. Successor
10. 200% Wolf

TV ratings: The 9Network’s coverage of the Olympic Games Paris 2024 continued with the final day of the broadcast (up until 2.00am Sunday AEST) securing a National Total TV Reach of 8.608 million across Channel 9, 9Gem and 9Now.

Olympic Games Paris 2024 Day 16 Night Session (19:00-21:00) was Australia’s No.1 program of the night with Total People TV ratings and all key demographics. It recorded a National Total TV Reach of 4.055 million, a Total TV National Audience of 1.414 million and a BVOD audience of 160,000. It was an unmissable viewing experience as the Women’s Opals Basketball team clinched a bronze medal with a thrilling 85-81 victory over Belgium, marking their first Olympic medal since 2012.

Olympic Games Paris 2024 Day 16 Night Session 2 (21:00-22:30) dominated its timeslot across Australia as the No.2 program of the night with Total People and all key demographics. The broadcast had viewers rallying behind cyclist Georgia Baker in her pursuit of a podium finish in the track cycling omnium. It achieved a National Total TV Reach of 3.401 million, a Total TV National Audience of 1.423 million and a BVOD audience of 159,000. 

Olympic Games Paris 2024 Day 16 Afternoon (15:30-18:00) registered a National Total TV ratings Reach of 1.334 million, a Total TV National Audience of 370,000 and a BVOD audience of 28,000. The afternoon audience was cheering on our Aussie female marathon runners—Georgia Gregson, Jessica Stenson, and Sinead Diver—as they took on one of the most challenging courses ever featured at an Olympic Games.

Olympic Games Paris 2024 Day 16 Late (22:30-24:00) won its timeslot across Australia with Total People and all key demographics. It registered a National Total TV Reach of 1.862 million, a Total TV National Audience of 557,000 and a BVOD audience of 77,000.

9News Sunday was the No.1 news bulletin in TV ratings across Australia with Total People and all key demographics. The combined national bulletins recorded a National Total TV Reach of 2.702 million, a Total TV National Audience of 1.450 million and a BVOD audience of 137,000.

9Network was the No.1 network across the 5 City Metro with Total People and all key demographics, delivering TV ratings shares of 59.7% with People 25-54, 66.8% with People 16-39, 44.7% with GS 18+ and 46.0% with Total People.

9Now was the No.1 CFTA BVOD platform across Australia with Total People and all key demographics, recording huge shares of 78.9% with People 25-54, 81.1% with People 16-39, 75.8% with GS 18+ and 76.4% with Total People.

Check daily TV ratings for each day of Paris 2024 here.

Sunday 11 August 2024: VOZ Total TV Ratings Overnight Top 30 – Programs ranked on reach

Total People TV Ratings

Nine’s Olympics 2024 Day 16 – Night recorded a total TV national reach of 4,055,000, a total TV national audience of 1,414,000, and a BVOD audience of 160,000.

Nine’s NRL – Knights v Tigers recorded a total TV national reach of 1,545,000, a total TV national audience of 482,000, and a BVOD audience of 52,000.

The Knights v Tigers game saw the Knights down the Tigers, winning the game 34-18 at McDonald Jones Stadium in Newcastle.

Seven’s Dancing with the Stars recorded a total TV national reach of 2,049,000, a total TV national audience of 882,000, and a BVOD audience of 41,000.

On Dancing With The Stars, the Semi Final saw a triple elimination which sent fan-favourites Ben Cousins, Adam Dovile and Shane Crawford home, and left Lisa McCune, Ant Middleton, James Stewart, Nikki Osborne and Samantha Jade to fight it out in tomorrow night’s Dancing With The Stars Grand Finale.

The final leaderboard for the night:

• Samantha Jade and Gustavo Viglio: 39
• Lisa McCune and Ian Waite: 39
• Ant Middleton and Alex Vladimirov: 37
• James Stewart and Jorja Freeman: 35
• Nikki Osborne and Aric Yegudkin: 34
• Shane Crawford and Ash-Leigh Hunter: 30
• Adam Dovile and Jess Raffa: 28
• Ben Cousins and Siobhan Power: 17

10’s airing of Top Gun Maverick recorded a total TV national reach of 952,000, a total TV national audience of 303,000, and a BVOD audience of 7,000.

People 25-54

Nine’s Olympics 2024 Day 16 – Night:
• Total TV nation reach: 1,642,000
• National Audience: 599,000
• BVOD Audience: 96,000

Nine’s NRL – Knights v Tigers:
• Total TV nation reach: 555,000
• National Audience: 173,000
• BVOD Audience: 30,000

10’s Top Gun Maverick:
• Total TV nation reach: 347,000
• National Audience: 117,000 
• BVOD Audience: 4,000

Seven’s Dancing with the Stars:
• Total TV nation reach: 541,000
• National Audience: 186,000
• BVOD Audience: 18,000

People 16-39

Nine’s Olympics 2024 Day 16 – Night:
• Total TV nation reach: 790,000
• National Audience: 290,000
• BVOD Audience: 53,000

Nine’s NRL – Knights v Tigers:
• Total TV nation reach: 256,000
• National Audience: 78,000
• BVOD Audience: 18,000

10’s Top Gun Maverick:
• Total TV nation reach: 123,000
• National Audience: 32,000 
• BVOD Audience: 2,000

Seven’s Dancing with the Stars:
• Total TV nation reach: 190,000
• National Audience: 66,000
• BVOD Audience: 8,000

Grocery Shoppers 18+

Nine’s Olympics 2024 Day 16 – Night:
• Total TV nation reach: 3,036,000
• National Audience: 1,062,000
• BVOD Audience: 126,000

Nine’s NRL – Knights v Tigers:
• Total TV nation reach: 1,167,000
• National Audience: 369,000
• BVOD Audience: 40,000

10’s Top Gun Maverick:
• Total TV nation reach: 729,000
• National Audience: 234,000 
• BVOD Audience: 6,000

Seven’s Dancing with the Stars:
• Total TV nation reach: 1,619,000
• National Audience: 717,000
• BVOD Audience: 33,000

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.