Seven West Media needed some good news this week after a tough start to the month. The company’s FY24 full-year results revealed by new chief executive Jeff Howard didn’t offer any.

Group revenue of $1,415m was down 5% ($73m) on FY23. Statutory net profit after tax of $45m was down 69% on FY23, while underlying net profit after tax was $78m, down 46%. Group EBITDA before significant items of $187 million was down 33% ($93 million) on FY23.

Without the Olympic Games for the first time since 2012, Seven was beaten up badly in the TV ratings for the first two weeks of this month.

Then on the day of the Paris 2024 closing ceremony, the bad news continued – ABC’s Four Corners dropped its investigation into what was called a “toxic culture” at Seven.

In a statement issued with the earnings results, Howard said: “FY24 is a tough result for SWM in a challenging market. While growth in audience and revenue share partially offset the impact of the weak market, cost growth of 2% contributed to our EBITDA decline of 33%, reflecting the operating leverage in our business.

“Following delivery of $25m of cost-out initiatives in 2H, we have taken decisive action to materially increase the program into FY25 to give SWM a platform to drive improved performance.”

Seven ad share edges higher, cost cutting to continue

Howard continued: “The continued weak economic environment contributed to an 8.2% decline in the total TV advertising market in FY23. SWM was able to partially offset this decline by increasing our revenue share of the total TV market to 40.2%. This share growth was built on the targeted content investments made.

“The group was able to partially offset these investments through the implementation of $25 million of cost reductions in the 2H under the program announced at the FY23 AGM.”

The company noted the cost-out program will see costs decline in FY25 to a range of $1.2 million to $1.21 million. The targeted cost-out program of $108 million includes the already announced $35 million remaining under the previous program.

Seven West Media’s Jeff Howard

“SWM continues to deliver market-leading content across our linear and digital platforms that engaged and grew audiences during FY24,” Howard said.

“We achieved solid growth in our BVOD audience during the year, but we are still to fully capture the revenue opportunity.

“We are committed to driving improved profit and cash flow irrespective of market conditions. Despite the advertising environment, we are focusing on capturing a greater proportion of available dollars in each market including a step change in our digital revenue performance. FY25 revenue will include the benefit of digital rights under the new cricket and AFL sport contracts. We have also implemented an enhanced cost-out program that will deliver a year-on-year decline in costs in FY25.”

Reconfirms new operating model

Seven West Media reconfirmed the June 2024 announcement of a new operating model for FY25.

That new model comprises three divisions: television, digital, and The West. Each division will operate as an accountable and transparent profit centre.

Howard explained: “Our new operating model establishes clear accountability for driving our own financial destiny. We will build a better and more resilient media business that captures the clear opportunity in digital and maximises the financial returns in our traditional businesses. The change in structure and leadership allows us to leverage skills across the business and to embed a performance culture.”

Outlook notes Olympic impact, cricket improvement

A brief trading update noted the TV market grew in July and August off the back of interest in Paris 2024. Seven implied its share suffered though with that new money going elsewhere.

September and October forward bookings are trending down up to 5% YOY.

One bright spot is increased interest in this summer of cricket which features India playing Australia. Cricket bookings are tracking +11% vs the same time in 2023.

See also: Seven West Media: New divisions and leadership roles in wake of redundancies

According to Natalie Harvey, CEO of Mamamia, the work that the government is doing on the joint slate committee into social media “scares the shit out of me.”

Speaking at the Women in Media Conference, Harvey said that in Canada, when Meta turned news content off “they wanted to have the content and monetise it, but they didn’t want to pay for it, so the news content got replaced with political content created by general people.”

Earlier this year, a University of Canberra digital news report showed that Australians’ reliance on social media of a source as a source of news is growing, and two thirds of Gen Z report relying on social media as their main source of news. In addition, 75% of people said they’re concerned about misinformation. 

“If you think about the division that’s happened in the US and in other countries around the world, that is so dangerous. If Meta takes news content off their platform and replaces it with unsafe content, what happens to that social town square is very scary because it has an impact way outside of the platforms,” Harvey added.

Speaking on the Business of Media panel, Harvey joined Beverley McGarvey, President of Network 10, head of streaming and regional lead ANZ at Paramount, and Belinda Rowe, board director at ARN, in a session moderated by Bridget Fair, CEO of Free TV and Women in Media director.

McGarvey added that newsrooms are expensive to run and maintain, pointing to New Zealand as an example of a market dealing with newsroom closures due to financial pressures. 

“It’s expensive to run quality news, and you have to have it everywhere. We’re not a huge market. We’re not as big as the UK and the US, and I think having a variety of different news voices is incredibly important.

“If you can’t support journalism, then what people think is news is actually just opinion.”

For Rowe, “news is absolutely everywhere and always on, but particularly in regions there’s a huge reliance on news and information if you’re in a local community area.”

“They’ve got far less news available to them than they used to, because a lot of the publishers – newspapers, particularly – just don’t exist anymore,” she said. “We have a really valuable role to play with that regional community.”

‘You take less risk, which can mean that you get less hits’

Joking that anyone who works in content had been asked “why don’t you just commission shows that rate?”, McGarvey told the audience that her biggest tip when creating or commissioning was “don’t be cynical, try and know the audience, and always respect the audience.”

Despite this, she admitted, “there’s more financial pressure now in terms of taking a risk.”

“People used to make 50 pilots and they’d end up with two hit shows. Nobody’s making 50 pilots anymore because the economics of the business have changed,” McGarvey said.

“So I think you are under more pressure, which means that you take less risk, which can mean that you get less hits. 

“It’s just about really knowing what audience you want for a particular time slot, and being really careful with your decisions.”

In the audio sphere, Rowe added that companies have access to so much data now that “we can really understand our viewers, our listeners as customers in a very sophisticated way.”

“Back in the day, when we first started, we’d create compelling content and think that the audiences would come, but now we’re actually thinking about how we attracting those audiences, how we’re retaining those audiences, how we’re doing that over time, who we need to partner with, and who we need to distribute with.”

See also: ‘Highly concerned’: Avoiding potential talent drain of women in media

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Top image: Women in Media conference 

As Australia’s most successful Olympic Games campaign comes to a close, Nine has reported its coverage had a national total television reach of 19.5 million across Channel 9, 9Gem, and 9Now.

The Australian Olympics team had its all-time best performance, hauling 18 gold medals to break the previous record of 17 set in Athens in 2004), and Tokyo in 2021.

Week 1 of Nine’s coverage delivered a national total television reach of 17.5 million – the highest weekly reach in VOZ history. Week 2 delivered a national total television reach of 16.6 million, making it the second-highest weekly reach in VOZ history.

Since the Opening Ceremony on 27 July, the Olympics contributed to a daily average national total TV reach of 9.9 million viewers across Channel 9, 9Gem, and 9Now.

Michael Healy, director of television for Nine, said he is “so immensely proud of the outstanding coverage our broadcast team delivered.”

“The Olympics is more than just a sporting event. It’s a cultural phenomenon that resonates deeply with Australians from all walks of life. It unites the nation in a way that few other events can, bringing together millions of viewers across the country.

“The widespread and enduring engagement across all our platforms is a testament to the unique and powerful connection Australians have with the Games.”

In the first week, Nine also attracted the highest daily share in VOZ history in the 16-39s demo, and a weekly national total TV reach for this demographic of more than 4.8 million. Across the entire duration of the Games, 5.6 million viewers aged 16-39 tuned into the broadcast.

9Now achieved a 16% incremental reach, with 2.7 million viewers tuning in exclusively to the Olympics through 9Now out of an overall national reach of 7.5 million. 

In the 25-54s demo, more than 8.1 million viewers tuned into the coverage.

The highest rating session of the Games occurred on Day 2, when the Night Session featuring Mollie O’Callaghan and Ariarne Titmus qualifying for the semi-finals of the women’s 200m freestyle drew a national total TV reach of 5.741 million and a national average audience of 2.332 million. 

Nine’s coverage also led to 9News recording its 10 highest rating bulletins of the year over the past two weeks.

The Paralympic Games Paris 2024 will be broadcast on the 9Network and 9Now from Thursday 29 August.

“Bring on the Paralympics in two weeks’ time,” Healy added.

The TV industry recorded $3.3 billion in combined revenue in FY24, down 8.1% compared to the same period ending June 2023. 

The total TV advertising market includes metropolitan free-to-air, regional free-to-air, and broadcaster video on demand (BVOD), but excludes SBS. 

In the June half, free-to-air advertising revenue was $1.5 billion, down 7% when compared to the same period ending June 2023.

Advertising investment in BVOD platforms 7plus, 9Now, and 10 Play increased, with BVOD revenue up 12.9% to $212 million for the six months to 30 June 2024.

BVOD revenue for the total financial year was $441 million, up 12.7% year-on year.

ThinkTV CEO Kim Portrate said despite the challenging conditions, the Australian TV industry has “shown remarkable resilience.”

“These results reflect a sustained period of adaptation and innovation as broadcasters continue to evolve to meet the needs of advertisers and viewers, ensuring brands remain front and centre within the content Australians watch,” she said.

“The sustained growth of BVOD revenue underscores the value advertisers place on premium, brand-appropriate content – particularly when it is supported by the ability to target audiences with privacy-compliant first-party data solutions.

“The television industry is confident this will drive ongoing investment and innovation as more brands move to a Total TV strategy to maximise their business results.”

Last week, Nine CEO Mike Sneesby told staff that advertising revenue secured for the business’ Paris Olympic and Paralympic coverage has lifted from $135 million to “more than $140 million as our sponsors and advertising partners have embraced Nine’s platforms and coverage.”

Last month, Sneesby promised that the company’s eight-year bet on the Olympic and Paralympic Games was paying off, with the company’s “torch” and “flame” sponsorship packages – valued at $12.5 million and $10.5 million respectively – at capacity.

See also: Sneesby: Nine’s Olympic ad revenue lifts above $140m

In this Q&A, Mediaweek speaks with Simon Ryan, founder and CEO of digital-first advertising and marcom company RyanCap, delving into his leadership style, the evolution of his approach, and the lessons he’s learned throughout his career.

Ryan has over 25 years of experience in the media industry, including CEO roles at Carat and Dentsu Aegis Network, before he established RyanCap in June 2020. Here, he offers insights on how leadership must adapt to evolving trends and demands, reflects on key milestones in his career and the impact of RyanCap’s acquisition by Labelium Group, and shares his vision for the future of media in Australia.

MW: How would you describe your leadership style?

SR: My leadership style is outcome-focused, emphasising ensuring the right people are delivering the job at hand. I’m a compassionate leader who allows people to grow independently in all aspects of learning and applying their skill set; I wouldn’t say I like to over-manage but instead, provide the support and knowledge needed for the team to be brilliant at what they do.  

In what ways has your leadership approach evolved? Has it adapted to trends or demands within the Australian media sector?

The approach to effective leadership needs to evolve and change with the times. People’s needs are changing, both personally and in their business careers, meaning you need to be more empathetic to what they see as valuable. 

Media trends and demands have changed considerably over the past five years compared to the previous 10, meaning accountability is here to stay and is a significant benchmark in any leadership role. The changes in the Australian media sector have also created a need for a leadership style focused on delivery and transparency, moreso than in the past.  

What has been your most significant learning experience as a leader?

Carry yourself as the business leader, and don’t fluctuate from your business plan. Once we set a plan and share it with the key stakeholders, we focus on the single-minded and steadfast delivery of our goals. If you bring people on the journey with a plan, you will have a successful leadership approach that matches what needs to be delivered. 

What career highlight are you most proud of? What contributed to that success?

The highlight was launching my own company after running other global businesses. Working with international businesses taught me many things, both good and bad; this made me focus on the good and positively evolve my career without political interference on what a great business looks like. 

Career highlights come every few years, and there certainly have been some highlights, yet as you progress and evolve your thinking, you realise that career highlights, whilst important, really only mean something when you gather all your experience to evolve your thinking further.  

Top 5 career highlights: 

1. Given the opportunity to work in a full-service creative/media agency, McCann Erickson, in the 1990s.
2. Working at Zenith Media for eight years in the early 2000s with simply a great team and peers led by Anne Parsons.
3. Joining Carat in 2010, building a great business and winning clients with a solid team for six years.
4. Running a parent company from 2016 to 2019 and being openly exposed to a high-growth global network.
5. Starting RyanCap with a great team, dealing with all the aspects of a high-functioning national team and brands, and aligning with Labelium in 2023.   

Since the acquisition of RyanCap by Labelium Group, how has your role changed?

Since aligning with Labelium, my role leading RyanCap hasn’t changed. Our mutual ambition to drive growth is aligned with a focus on driving new business and better client outcomes, which is my main focus. The role encompasses growing the business, including nurturing, retaining, and employing high-performing talent. This is unchanged and always remains a core business pillar of the combined company.  

What opportunities have arisen for you and RyanCap since the acquisition?

The opportunity is to be part of a global network with high growth ambition focusing on digital capability. The combined opportunity for the team and myself is to align on the global plan and execute a strategy unparalleled to any other legacy network in the digital space. The talent opportunity is to create shared learning across the region and globe, allowing key talent to access information and move freely in the global network. This is an excellent opportunity for the team and one that can align on a path to global roles for talent. I see this as an essential positive legacy for the RyanCap business.

From a client perspective, I see joint learnings, tools, systems, and varying approaches as strong growth, retention, and new business opportunities for our clients and the RyanCap companies. We have always kept our clients at the heart of everything we do, so to access new thinking benefits the way we service clients, which is only a positive.     

With RyanCap managing three properties, how do you balance your focus among them? What unique challenges does this present, and how do you address them?

From my experiences in the business, managing three companies across the three eastern seaboard markets is a good sweet spot for me. Having previously managed over 23 entities across five markets and having a line of sight into Asia, the RyanCap portfolio of companies and geographic split is not complicated. Balance is achieved by having great management across the portfolio and forward-thinking clients. This enables me to focus on the overall growth of the business and brand extensions to ensure relevance and opportunities for our brands. 

The challenges are always there. The changing landscape and economic fluctuations always mean that a strong plan and an unrelenting approach to growth are the focus. The unique challenge is that with our alignment with Labelium, we are now competing with global competitors while also manoeuvring like an independent business, a great challenge to have.    

What are the most significant changes you’ve observed in the Australian communications and media landscape over your career? 

The most significant change is the domination of global digital players and the erosion of Australian media companies. Change is good, and progress is even better; the changes in the commercial media landscape in Australian media companies that haven’t evolved as quickly as they should have will be the slow demise of revenue lines and market caps alike. These significant changes will only continue, making immediate ROI more critical. 

We need to be careful of reliance and ensure that a diverse way of audience distribution creates and maintains opportunity for all in the media sector. The other area of concern and something we need to protect is the integrity of our new channels, with an effective distribution of investment into journalism and quality content to protect freedom of speech.

What major changes do you anticipate in the coming years, and what do these changes mean for leaders like yourself?

The major changes that will continue are the globalisation of media and client manufacturing, centralised hubs of expertise to minimise business costs, greater dependency on digital platforms, and increased user-generated content both by consumers and businesses. It’s no longer an evolution; it’s a revolution, a change period.  

What advice would you offer to aspiring media leaders in Australia?

1. Have a 3-5 year plan and modify
2. Stick to a speciality that has a long game
3. Don’t fret the small stuff and let people get you down
4. Perfect your craft and execute it brilliantly
5. Be ambitious but sympathetic to those around you

What is the next career milestone you hope to achieve?

Accelerate with Labelium on a global level and help those around me.

See also: Mediaweek with Simon Ryan: Labelium sale, M&As, brand building, competition

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Top image: Simon Ryan

Today the Brave has launched an inaugural pop-up Taboo Tattoo Bar, hosted at the independent full-service agency‘s Haymarket office. 

The bar is set to run several times a year, with each pop up celebrating different artists from across the industry, offering curated ink which is designed in partnership with the Jaimes Leggett-founded agency’s creative department.

Today the Brave will also curate a coffee-table style book that captures the faces, artists, and designs from the various pop ups. 

The bar launched last week with an event hosting clients, staff, production partners, and friends of the agency, who were inked by Zach Spiros of Bondi Ink. 

“The greatest part of the creative industry is the permission to play in the unfamiliar. Experimenting with projects such as Taboo Tattoo Bar is a great reminder of this,” said Today the Brave creative partner, Jade Manning.

The pop-up follows a string of work from Today the Brave. Last month, True North unveiled a new brand platform, Life’s Different After, in partnership with the agency. The luxury cruise line’s brand positioning was designed to differentiate its product in the competitive cruise market. The agency reimagined the CX experience while maintaining its existing heritage as an adventure cruising expert.

In June, it partnered with The Australian to launch a new brand platform for the masthead, Welcome to the Contest of Ideas, as part of its 60th anniversary celebrations.

In May, Westmead Fertility Centre appointed Today the Brave as its agency of record. As a result of the win, the agency will provide the clinic with integrated support across strategy, creative, design, media, social, and PR.

See also:
True North unveils ‘Life’s Different After’ platform via Today the Brave
The Australian and Today the Brave unveil brand platform, ‘Welcome to the Contest of Ideas’
Today the Brave wins Westmead Fertility Centre

Affinity has signed on ActewAGL to its full-service marketing remit and will operate the utility company’s full marketing function, working as an extension of its Canberra team.
 
The broad scope covers brand, product strategy, creative and campaign development, customer experience, MarTech and digital.
 
The account widens the agency’s positioning as a brand growth accelerator, diagnosing the right opportunities for business growth with a fully integrated and fully accountable model.

“We have ambitious targets in a sector with many opportunities and complex challenges to navigate, especially as we transition towards net zero emissions,” Rachael Turner, ActewAGL’s retail general manager, said. “It’s great to be working with Affinity who are, even at this early stage, delivering impact. We’re excited about what we’ll achieve together.”

“From the start of the pitch, Affinity provided a compelling and competitive proposition,” Turner added. “The team showed they understood the opportunities to directly influence our commercials.

“They are combining data in interesting ways to get to new insights, and are working on new tools to inform media planning and buying. The team has given us a range of new ideas and insights to ensure the best possible outcomes through our marketing.”

Through the integration of ActewAGL’s operations, the agency holistic approach promises not just impactful marketing but a transformative growth strategy.

This collaboration marks a pivotal moment as both businesses align to spearhead innovative solutions that will shape ActewAGL’s future success, redefine standards, drive substantial business growth, and set a benchmark for industry excellence and innovation.

Luke Brown, CEO at AFFINITY, said: “Traditional agency structures or models can often struggle to accelerate business growth because either the agency doesn’t have influence over the entire customer experience, or the creative, media, digital, data, technology and CX are fragmented and disorganised.”
 
“That’s why we’re so passionate about being more than just ActewAGL’s ad agency. We will be deeply embedded in the business and can use our breadth and depth of knowledge across MarTech, data, CX and brand creation to measurably impact ActewAGL’s growth.
 
“Throughout the pitch process it was clear that the ActewAGL team was driven to achieve measurable change and open to new ideas. We can’t wait to get started unlocking what the future looks like for them,” Brown added.

LiSTNR’s Hamish & Andy has again taken the top spot in Commercial Radio and Audio (CRA) and Triton Digital‘s July Australian Podcast Ranker.

Last month, Hamish & Andy recorded 862,794 monthly listeners and 1,788,786 monthly downloads.

Following Hamish & Andy are ABC News Top Stories, Casefile True Crime, Mamamia Out Loud, and News Corp’s Bronwyn.

Bronwyn follows the story of Bronwyn Winfield, a mother of two, who disappeared in 1993 in the midst of separating from her husband Jon. Bronwyn’s family and friends never heard from her again. She was just 31 when she went missing.

Similarly, LiSTNR continued its run as the top sales representation podcast network nationally for the 23rd time and recorded 6,774,782 monthly listeners.

“As Australia’s number one sales representative network and with thriving sales revenue growth, LiSTNR has delivered an exceptional start to the new financial year and is paving the way for the digital audio industry,” executive head of LiSTNR podcasts, Grant Tothill, said.

“It was great to have many of our international partner titles, together with our owned and operated titles, move up in terms of ranking in July, which is fantastic recognition of all the hard work from the entire LiSTNR team.”

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7-Eleven, in partnership with Mobil, has launched a new fuel range with an integrated campaign via creative agency CHEP, go further.

The campaign centres on a hero film directed by Revolver’s Jeff Low, featuring a never-ending car chase where the hero and villain have been driving for so long, they’re only certain of one thing (maybe).

“The ability to drive further on one tank was such a simple place to start. We looked for a way to tell Australia about it in the most entertaining way we could,” said CHEP Network executive creative director, Tian Murphy.

In addition to the hero film, the campaign rollout includes a partnership with media agency, PHD Media, extending across OOH, audio, digital, and in-store. 

“With Mobil’s best ever fuel formulation, 7-Eleven customers can fill up with the confidence we are helping their engines go further,” said Adam Jacka, head of brand, marketing, and loyalty at 7-Eleven Australia.  

“In a world of parity products with little differentiation, this is a genuinely unique, powerful benefit for customers, and we challenged ourselves from a marketing perspective to push the boundaries in how we bring this to life.” 

This week, CHEP Network also launched work for Samsung Electronics starring Matilda’s star Mary Fowler, following her recent appointment as the latest member of Team Galaxy.

The campaign features on a ‘day-in-a-life’ hero film directed by Ollie Richie, aiming to showcase how Galaxy AI can enhance smartphone users’ experiences through personalisation, communication, and creativity.

See also: Mary Fowler fronts latest work for Samsung via CHEP

Credits:
Client: 7-Eleven Australia
Head of Marketing, Brand & Loyalty: Adam Jacka
Fuel Strategy & Communications Lead: Stacey Mason
Chapter Lead, Customer Communications: Cam Lindley
Marketing, Brand: Lara Stephens

Client: Mobil
Marketing Communications Manager: Rosanne Ooi

Creative Agency:  CHEP Network

Media Agency: PHD

Production Company: Revolver x Biscuit Filmworks
Director: Jeff Low
Managing Director/Co-Owner: Michael Ritchie
Executive Producer/ Partner: Pip Smart
Executive Producer/Comms: Anna Mannix
Producer Alexandra: Taussig
Director of Photography: Stefan Duscio
Production Designer: Jen Waters
Wardrobe: Mich Morrin
Casting: Peta Einberg

Editorial: The Editors
Editor: Jack Hutchings
Grade, Online, VFX: Heckler
ECD: Jamie Watson
Head of Production: Amy Jarman
Colourist: Ben Eagleton
Head of VFX: Tom Corbett
Online: Julian Ford, Drew Downes
3D Artists: Rachel Tedesco, Philip Wang, Dusan Marjanovic
Compositors: Ran Xie, Troy Darben

GroupM has launched a global integrated commerce management solution with commerce technology provider, Pacvue.

The solution aims to eliminate technology silos by unifying bespoke insights, media management, and retail operations exclusively for GroupM’s clients, the agency said.

Retail media remains the fastest-growing segment in digital advertising and is expected to represent 15.1% of total global ad revenue in 2024, up from less than 2% a decade ago, as reported in GroupM’s This Year Next Year Mid-Year forecast.

The growth has fueled opportunity and complexity for brands, WPP’s media arm said, and led to an increased number of data and technology providers lacking connectivity and the ability to capture the nuance of retail effectively.

In response, it has created this co-engineered solution with Pacvue.

“APAC’s dynamic ecommerce landscape presents unique opportunities and complexities for brands,” Nathalie Pellegrini, head of client growth at GroupM APAC, said.
 
“Our collaboration with Pacvue blends their cutting-edge technology with our (GroupM) deep regional expertise, delivering a solution tailored to APAC and our clients’ specific needs. This empowers our clients to navigate market nuances, capitalise on emerging opportunities, and drive meaningful results.”
 
The joint solution has three features for all GroupM clients: insights through access to unified Amazon Marketing Cloud analytics, data integrations and early access to newly-integrated retailers and channels, and retail operations. The latter merges both functions in one interface and dashboard.

The business said streamlining these features with its integrated commerce management solution would increase its speed to market.

Samantha Bukowski, GroupM’s global head of commerce, said: “Our focus is on how we use technology to answer our clients’ business problems, drive incrementality, and simplify operational complexity.

“Our work with Pacvue makes that possible across markets, giving our clients the leading edge in a space where innovation has to be a constant.”

Melissa Burdick, co-founder and president at Pacvue, added the partnership is a testament to Pacvue’s “ability to work with partners like GroupM to build innovative and scalable solutions tailored to provide superior, differentiated benefits for clients.”
 
“The platform is designed to unify media management and retail operations, offering a seamless experience that empowers brand partners to stay ahead in a dynamic market,” she said.
 
“By leveraging our combined expertise, we are enabling brands to gain deeper insights, optimise strategies and unlock new opportunities for growth and success.”

National industry body the Australia Association of National Advertisers (AANA) has appointed four new board members: independent directors Gillian Franklin and Jeff Krug; ABC’s departing director of audiences, Leisa Bacon; and Google country marketing manager ANZ, Suzana Ristevski.

The four will join the existing group of senior marketers and industry leaders that make up the board, which works alongside the AANA team to oversee its goals of promoting a trusted and sustainable industry in Australia, including governing its regulatory body, Ad Standards.

“Their impressive skills and expertise will seamlessly complement the high calibre of directors already on the board as we strive to continuously grow and improve as Australia’s leading marketing industry body,” said chair of the AANA board, Martin Brown.

“Together, they bring a wealth of experience across marketing, advertising, customer and governance. Leisa and Suzana are some of the most respected marketing chiefs in Australia, while Gillian and Jeff’s stellar careers at executive and board level will enhance our non-executive director strength.”

Franklin joins the board with over 30 years of experience across various industries as a commercial executive, CEO and non-executive director at companies including Revlon, Creative Brands, and as founder of The Heat Group.

Krug is an established chief financial officer and director with over 40 years experience. He also has expertise in mergers and acquisitions, budgetary controls, and risk management. Beyond Australia, he has worked across Japan, Africa, and New Zealand.

Bacon has worked with well-known brands including P&G and the Coca-Cola Company, leading some of Australia’s largest new product launches and marketing campaigns. She stepped down from the ABC last week.

Ristevski has grown businesses and brands in categories such as financial services, telecommunications, private health insurance, and industrials. Throughout her career, she has tenured at organisations including NAB, GE, Optus Telecommunications, Medical Benefits Fund, and 20th Century Fox in London.

In June, the AANA added 15 new members to its community, including the ABC, BHP, BlackBay Lawyers, Carsales, DoubleVerify, Hismile, MECCA, Mutinex, Murmur, OPTUS, Paramount, Revolution360, Volvo, v2food, and 7Eleven.

See also: Mutinex, Paramount, ABC among newest AANA members

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Top image: Gillian Franklin, Jeff Krug, Leisa Bacon, and Suzana Ristevski

Integrated Melbourne agency Spinach has been appointed by Haymes Paint as its lead communications partner following a competitive pitch.

Haymes Paint, established in 1935, is Australia’s largest home-grown and owned paint business, with more than 350 stockists across the country, including 57 Haymes Paint Shops and 34 PaintRight stores.

“Spinach stood out for its breadth of experience across a range of capabilities and demonstrated admirable depth of thinking,” Andrew Senyard, Haymes Paint head of marketing, said.

“The agency’s integrated approach and ability to deliver across multiple disciplines were key factors in our decision. With Spinach’s support, we’re confident we can further enhance the brand’s presence and reach.”

Spinach will leverage its suite of capabilities, including creative, strategy, design, as well as media planning and buying to support the long-running paint business.

Spinach executive creative director Dom Megna added: “Haymes Paint is one of the great Aussie success stories. This partnership is a wonderful fit for us and a perfect opportunity to really stick it to ‘big paint’. We love a challenger brand and we’re champing at the bit to bring our whole-of-agency expertise to the table.”

The first work from the partnership will hit the market in the coming months.

Spinach’s new partnership follows its recent work in transitioning Coles Express to Reddy Express. In June, Spinach produced two campaigns to help build a new brand personality for Reddy Express. 

ARN’s KIIS 1065 has signed on as a partner of the Penrith Panthers for the remainder of the 2024 NRL season.

KIIS 1065 branding will be prominently displayed during the Panthers’ home games at BlueBet Stadium, featuring dynamic KIIS LED signage that will light up the field.

“Partnering with the Penrith Panthers is an incredible opportunity for the KIIS Network to bring our brand’s energy and enthusiasm to a passionate fanbase,” said Lauren Joyce, ARN’s chief strategy and connections officer.

“We’re dedicated to delivering unique and engaging experiences for our listeners, and this collaboration allows us to connect with our audience in exciting new ways.”

The KIIS brand will also be integrated across the Panthers’ social channels, as well as through activations at the games including the introduction of the infamous ‘KIIS Cam’.

On air and across socials, KIIS 1065 will offer match tickets to listeners. Additionally, The Kyle & Jackie O Show’s Cooper Johns, a former NRL player, will deliver content with behind-the-scenes access to the Panthers’ players.

Penrith Panthers CEO, Matt Cameron, said: “We are excited to welcome KIIS 1065 as a proud partner of the Penrith Panthers. Their dynamic presence and commitment to fan engagement perfectly align with our goals for this season. We look forward to a successful partnership that will bring even more excitement to our supporters and team.”

ARN chief content officer Duncan Campbell previously spoke about the radio network’s progress at the halfway point of the ratings year, in which The Kyle and Jackie O Show was Sydney’s number one breakfast show.

CTV ad solutions provider Amagi has appointed Thomas Parsons as senior director of sales and business development.

Parsons, who also joins the APAC revenue leadership team, will be responsible for driving strategic customer relationships, accelerating the company’s SaaS revenue, and driving business development in the Oceania region.

His career spans over a decade in the broadcast and entertainment technology industry. Before joining Amagi, Parson worked at Gracenote and, most recently, Samba TV, where he was head of client and data partnerships.

“Thomas’ appointment reflects our growing commitment to expanding our geographical presence in Oceania,” Jay Ganesan, SVP of sales – APAC, Amagi, said.

“His solid experience in sales and business development and his passion for delivering customer excellence in the industry align very well with Amagi’s vision. He will have a very positive influence on our team and business in the region.”

In his new role, Parsons will work with broadcasters, content owners, and video service providers in the region to improve cloud adoption and maximise efficiencies. He will specifically focus on cloud migration for broadcasters, FAST channel launch, distribution and monetisation, and live linear sports and news solutions.

“Amagi is a true leader in broadcast and connected TV technology, and I am honoured to join such a dynamic team,” Parsons said. “The Oceania market is brimming with potential, and I am quite sure Amagi’s solutions will resonate strongly with customers.”

Amagi aims to lead premium broadcast and FAST growth across Asia Pacific. It has partnered with broadcasters, pay TV operators, and content owners on cloud-based workflows to unify broadcast and streaming operations.

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Top image: Thomas Parsons

Click Media Group has become the latest member of the Australian Influencer Marketing Council (AiMCO), and the first Australian gaming marketing agency to join.

Click Media Group is a digital creator agency which has worked on campaigns and experiences for brands such as McDonald’s, Coca Cola, and UberEats.

Click Media Group head of brand partnerships, Jess Wood, said: “We’re thrilled to be leading the way for Australia’s influencer community with our partnership with AiMCO.”

The agency currently represents some of the biggest influencers locally and globally, including The Boys entertainment group, which has 6 million subscribers on YouTube; Aussie Antics, currently the second most watched Fortnite streamer globally; and EYStreem, Australia’s largest producer of family friendly gaming content.

Wood added: “We know that gaming has a powerful cultural impact that transcends the category, particularly with younger audiences – that’s why it’s important for influencers and agencies to understand and adhere to best practice standards within their content.”

According to PwC figures, Australian brands are set to spend more than $1 billion dollars on advertising in gaming environments this year, overtaking the combined advertising spend on digital and print media for the first time ever.

Gaming has long been a substantial market for national advertisers with data from NewZoo showing that 77% of Australia’s online population engaged with video games in the past six months, while almost half of the nation’s online population enjoy viewing gaming video content.

AiMCO managing director, Patrick Whitnall, said: “Gaming has a huge global audience because modern gamers are so much more than just a player or reviewer – they’re part of an active, engaged, online community, interacting with content producers across multiple sites and touchpoints.

“This shift has given rise to the gamer influencer marketing industry, connecting audiences and brands in the gaming space. While the sector is still in its infancy in Australia, it’s starting to gain real ground, with gaming influencers garnering large fan bases and brand partnerships.”

Click Media Group joins AiMCO’s 100-plus membership base.

Monday 12 August 2024: VOZ Total TV Ratings Overnight Top 30 – Programs ranked on reach

Total People TV Ratings

Nine’s Olympics 2024 D16 – Closing Ceremony recorded a total TV national reach of 2,245,000, a total TV national audience of 577,000, and a BVOD audience of 85,000.

Nine’s The Block Premiere recorded a total TV national reach of 2,540,000, a total TV national audience of 1,108,000, and a BVOD audience of 135,000.

Seven’s The Chase Australia recorded a total TV national reach of 1,390,000, a total TV national audience of 692,000, and a BVOD audience of 35,000.

Also on Seven, Home & Away recorded a total TV national reach of 1,382,000, a total TV national audience of 915,000, and a BVOD audience of 120,000.

10’s premiere of Hunted Season 3 recorded a total TV national reach of 1,214,000, a total TV national audience of 516,000, and a BVOD audience of 29,000.

People 25-54

Nine’s Olympics 2024 Closing Ceremony:
• Total TV nation reach: 824,000
• National Audience: 202,000
• BVOD Audience: 48,000

Nine’s The Block premiere:
• Total TV nation reach: 1,022,000
• National Audience: 492,000
• BVOD Audience: 85,000

Seven’s Home & Away:
• Total TV nation reach: 410,000
• National Audience: 291,000
• BVOD Audience: 68,000

10’s Hunted:
• Total TV nation reach: 552,000
• National Audience: 255,000
• BVOD Audience: 18,000

People 16-39

Nine’s Olympics 2024 Closing Ceremony:
• Total TV nation reach: 319,000
• National Audience: 75,000
• BVOD Audience: 24,000

Nine’s The Block premiere:
• Total TV nation reach: 457,000
• National Audience: 229,000
• BVOD Audience: 51,000

Seven’s Home & Away:
• Total TV nation reach: 192,000
• National Audience: 136,000
• BVOD Audience: 42,000

10’s Hunted:
• Total TV nation reach: 237,000
• National Audience: 116,000
• BVOD Audience: 10,000

Grocery Shoppers 18+ TV Ratings

Nine’s Olympics 2024 Closing Ceremony:
• Total TV nation reach: 1,694,000
• National Audience: 454,000
• BVOD Audience: 68,000

Nine’s The Block premiere:
• Total TV nation reach: 1,943,000
• National Audience: 847,000
• BVOD Audience: 108,000

Seven’s Home & Away:
• Total TV nation reach: 1,105,000
• National Audience: 734,000
• BVOD Audience: 95,000

10’s Hunted:
• Total TV nation reach: 923,000
• National Audience: 391,000
• BVOD Audience: 23,000

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.