The dust, or rather confetti, has begin to finally settle in the Seven offices following the network’s successful 2025 season of Australian Idol.

More than 11 million Australians tuned in across the season, while viewership on 7plus increased by 42%.

And the momentum lasted right until the very end.

Part one of the grand finale drew a substantial average audience of 1.07 million and reached 2.22 million viewers as the final three contestants, Gisella Colletti, Iilysh Retallick, and Marshall Hamburger, vied for the title.

“So we launched really well; it was our biggest launch yet, but then it just continued, and the engagement went through the roof,”  Seven’s national television sales director Katie Finney told Mediaweek.

“For us, the brands that were involved were getting really great results off the back of it. So that gave us goosebumps because everyone was excited and really proud to be a part of the show.

“And that can always be the challenge: When you go into these things, everyone has this excitement and hopes it will be a big success. But you know, delivering that week on week, every week, has just been massive for everyone at Seven and for the brands involved.”

Live TV means live brand opportunities

Finney believes that Idol’s live format opened the door to real-time executions that blur the lines between content and commerce.

“We had Cirque du Soleil do a live cross with host Scott Tweedie straight into an ad break promoting their tour,” Finney explained.

“You can’t do that with most formats, that’s the power of live TV”.

Another brand, Leapmotors, joined late in the season with integrated billboards and TVCs. “The flexibility of live helped us accommodate that with impact.”

Then there was the centrepiece of Idol’s branding integration for SharkFlex Style, an air styling and drying tool brand.

Finney explains: “This was the first time globally that we actually gave the naming rights to a brand, renaming the Sydney Coliseum Theatre in Rooty Hill (where the Idol live shows are filmed) to Shark Coliseum.”

The integration included changing the branding to the building’s exterior, on-air verbal mentions, and taking the contestants through the social channels using the product, with Finney admitting they “really stretched it as far as we could”.

She went on to credit the live audience for the widespread integration saying having them there made the team “feel brave” when making big decisions.

“It really worked well for the brand, and the integration was natural because audiences tuned in to see the contestants undergo makeover moments, where they started as diamonds in the rough and then turned into superstars. That was really exciting for us to be a part of.”

Another notable integration involved a less conventional brand pairing, as Finney detailed, “We had MYOB join. It was their app platform for sole traders. We executed really effectively, with the Idol crew in their Idol T-shirts working behind the scenes and using the app.

“The integration was talking to music audiences and people in that kind of contractor working lifestyle. You wouldn’t necessarily think a music show would go hand-in-hand with MYOB, but together, there was a strong connection. We’re really proud of that one; it was something different. We call it ‘accidental integration,’ but it’s really like breaking the fourth wall. So that was really cool.”

The power of shared viewing and brand safety

Finney also pointed to the unique “intergenerational” viewing dynamic of Australian Idol, making it an attractive proposition for advertisers seeking broad reach and family engagement.

“Like live sport, you’re there with the family together. It is a brand-safe environment you can all watch together as a family. I think that that has been a big part of the success this year,” she said.

That kind of tangible connection with audiences was further bolstered by fan events.

“We had a fan event at Westfield Parramatta and that was just crazy,” she recounts adding it “showed us how much we were connecting, not just with audiences, but in a whole new way with their families.”

A collaborative approach

Finney highlighted the collaborative spirit between the network, production teams, and brand partners.

“We’re working hand in glove together, you know, our sales teams that work with the brands, Majella Hay (Seven’s director of content, unscripted) and her team, and Eureka Productions.

“It’s literally hand-in-glove, and we all want to make great television but have the brands show up authentically in a way that’s going to connect with our audiences,” she said.

McDonald’s Australia has announced a senior marketing shake-up, with Chris Brown set to depart his role as chief marketing officer after four and a half years with the business. Brown will leave the Golden Arches in May to pursue new opportunities.

Stepping into the role is Annabel Fribence, who returns to McDonald’s Australia to lead the brand’s marketing function.

“It’s been one hell of a ride,” said Brown. “We’ve achieved significant success and launched new platforms and capabilities. The plan is strong, the future is bright, and it’s the right time for me to move on to the next challenge.”

Brown’s tenure was marked by significant brand growth, creative accolades, and cultural impact. Under his leadership, McDonald’s achieved its highest-ever brand equity scores and delivered standout campaigns including the Cannes Lions-winning Big Mac: The Original Mouthful, The Kid Laroi’s “Famous Order,” and high-profile collaborations with AFL, Peter Alexander, and Netflix’s Squid Game.

He also played a pivotal role in launching the MyMacca’s Rewards program, now one of Australia’s most-used loyalty platforms, and oversaw the re-launch of McCafé and the return of the Loose Change Menu, reinforcing McDonald’s value positioning in market.

McDonald’s Australia CEO and MD Joe Chiczewski said, “Chris has had a significant influence on our brand, and while I’m disappointed I won’t have the chance to continue partnering with him, I’m incredibly grateful for the legacy he leaves behind.”

Fribence, who previously worked at McDonald’s between 2009 and 2011 managing the Family and Happy Meal portfolio, returns with a strong track record in brand building and customer strategy. She spent nine years at KFC across Australia and Asia, where she led value-led growth strategies and oversaw the launch of the “Shut Up and Take My Money” campaign.

Most recently, Fribence served as CMO at Westpac Group, where she was responsible for brands including Westpac, St George, Bank of Melbourne, and BankSA. There, she integrated Westpac into Australian culture through major sporting partnerships and sharpened the brand’s performance through a focus on data, analytics, and team delivery.

“Annabel’s creative capability and customer-first mindset will serve us well,” said Chiczewski. “I’m excited to welcome her back to the McDonald’s family.”

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The Out of Home (OOH) industry has had a 16.13 per cent rise in net media revenue for Q1 2025, reporting 334.1 million, up 287.7 million for the same period in 2024, according to the Outdoor Media Association (OMA)

Digital OOH (DOOH) revenue now accounts for 75.6% of total net media revenue year-to-date, up from 74.2% per cent this time last year.

Elizabeth McIntyre, OMA CEO said: “This result is another clear signal that Out of Home has emerged as a medium that gives brands the high visibility and impact they need.

“With consumer mobility continuing to rise, ongoing innovation across the sector, and MOVE, we’re in a strong position for sustained growth this year and beyond.

“Our members have already demonstrated their unified strength in the first quarter of this year, supporting the Fresh Veg, Deliciously Healthy campaign, which has now reached $41 million in advertising value since its inception in 2021, and launching the inaugural Creative Awards to celebrate the very best in Out of Home creative across Australia.”

Ready to MOVE

The positive results comes as the OOH industry is preparing for MOVE, an industry-led audience measurement system to provide data richness for campaign planning and reporting. Covering metro and regional audiences, all formats, and incorporating seasonality, MOVE will deliver granular audience measurement for Out of Home advertising.

The OMA also recently celebrated the first-ever OMA Creative Awards, celebrating the best in outdoor advertising creativity across Australia.

The Grand Prix was won by Welcome to Melbourne campaign for Specsavers ANZ, created by TBWA\Melbourne.

Lead creatives Tom Badge and Alana Wood have been awarded a trip to the 2025 Cannes Lions International Festival of Creativity in June, including return airfares, accommodation in central Cannes and full festival passes.

The Executive Jury also awarded an Honourable Mention to the Black Friday Sale campaign for Kitchen Warehouse, created by Special Group’s Matt Aitken and Mark Schöller.

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ARN has appointed seasoned digital executive Ben Campbell as director – of digital strategy, data and digital ventures as the company sharpens its focus on commercial transformation and accelerates its digital audio ambitions. Campbell officially joins ARN on 2 June.

Campbell brings more than two decades of experience across Australia and the UK, with a proven track record in building market-leading digital advertising products, driving data strategy, and leading ad tech innovation. His remit at ARN will span digital strategy, data partnerships, ad product development, technology stack leadership, and the establishment of a Digital Centre of Excellence.

He will also lead Digital Ventures, a newly formed team charged with accelerating growth in emerging markets and scaling the iHeartRadio commercial strategy.

Most recently, Campbell served as director of data, product and technology at oOh!media, where he spearheaded the company’s retail media platform. Prior to that, at Nine Entertainment Co., he was instrumental in developing and executing Nine’s commercial data strategy, building its integrated ad tech stack, launching the 9Ad Manager self-serve platform, and establishing a digital centre of excellence that helped deliver record digital revenues.

Michael Stephenson, chief operating officer of ARN, said, “Ben is in a league of his own. His deep understanding of the digital landscape and his experience driving transformation in large media organisations is without peer,” said Stephenson. “The digital audio market is growing at almost 40%, we reach 10 million people every month, and our partnership with iHeart creates enormous opportunity. Ben is the best in the business, and we have big plans.”

Campbell added: “Digital audio is the fastest-growing segment in media and ARN is the market leader. With a large first-party database, a long-term iHeart partnership, and the top podcast network in the country, there’s growth everywhere you look. I’m excited to get started.”

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• This weekend, the Australian box office grossed $16,885,922, up -6% from last weekend’s $17,938,844.

1. A Minecraft Movie

A Minecraft Movie has proven to be a global hit, after Variety recently report the film grossed US$500 million worldwide. Closer to home, it continued its reign at the top spot for a second weekend at the Australian box office, making $10,411,233. across 731 screens.

Synopsis: A portal pulls four misfits into the Overworld, a land made of cubes shaped by imagination. To return home, they must learn the terrain and complete a quest with a crafter named Steve. The film stars Jason Momoa, Jack Black, Danielle Brooks and Emma Myers and is based on the 2011 video game Minecraft by Mojang Studios.

Total Australian Box Office gross to date: $29,950,276

2. The Amateur

Making its debut at the Australian Box office is vigilante action spy, raking in a modest $1,258,700 after screening across 328 cinemas. The vigilante action spy film stars Rami Malek, Rachel Brosnahan, Caitríona Balfe and Laurence Fishburne and is based on the 1981 novel of the same name by Robert Littell.

Synopsis: Charlie Heller, a CIA decoder, faces a turning point when his wife dies in a terrorist attack in London. When his supervisors choose not to act, he uses his skills and begins a mission across the globe to find those behind the attack.

Total Australian Box Office gross to date: $1,258,700

3. Dog Man

The American animated film, based on children’s graphic novel series of the same title, grossed $1,109,093 at the Australian box office over the weekend, after screening across 352 screens. Despite dropping down to third at the Box Office, the film grossed +12% more than in its debut week, likely as a result of school holidays.

Synopsis: A police officer and his police dog are injured in the line of duty, a surgery combines them into one being, creating Dog Man. As Dog Man adapts to this new form, he must stop Petey the Cat from creating a clone and committing crimes. Dog Man features the voices of Pete Davidson, Lil Rel Howery, Isla Fisher, and Ricky Gervais.

Total Australian Box Office gross to date: $3,883,810

4. The Chosen: Last Supper (S5 Part 1)

The Chosen makes its debut at the box office, grossing $741,529 after showing across 130 cinemas. The limited screening of two episodes of the Christian series in Australian cinemas coincides with the Easter weekend.

Synopsis: Jesus enters the city as king and finds His Father’s house turned from a place of prayer into a market. As the High Priest plans against Him, Jesus acts—overturning tables and confronting religious practices.

Total Australian Box Office gross to date: $744,283

5. André Rieu’s 75th Birthday Celebration: The Dream Continues

Renowned violinist and conductor André Rieu returns to the big screen with a special 75th birthday celebration concert experience. The movie concert made its debut over the weekend, making $571,345 across 182 Australian cinemas.

Synopsis: The Dutch Violinist and conductor marks his 75th birthday with a boat party with him and the Johann Strauss Orchestra, sailing through his hometown of Maastricht.

Total Australian Box Office gross to date: $571,345

Top six to ten

6. Disney’s Snow White
7. Death of a Unicorn
8. A Working Man
9. Good Bad Ugly
10. Akaal: The Unconquered

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The Australian radio and media landscape is reeling from the sudden passing of respected marketing executive Paola Cracknell, at the age of 39.

The Sydney-based marketer left an indelible mark on every corner of the industry she touched, from booking talent at The Kyle and Jackie O Show to leading cultural partnerships for global brands.

News of her death emerged last week, shared by her family via a message on Instagram.

In their announcement, Cracknell’s family conveyed the profound impact she had on those around her: “Though this is hard to share, we know the impact P had. We are incredibly sad to share that our beautiful girl has passed,” they wrote.

“Anyone who knew Paola knows how special she was, an extraordinary person with a heart beyond words. We are heartbroken and are finding our ways through the grief, we ask for time while we process.”

The family confirmed that a celebration of Cracknell’s life would be held, stating, “We will honour the life of P, shared with anyone who knew and loved her. Details will be shared in due time.”

A life forged in creativity and connection

Cracknell’s career spanned both Australia and Europe.

Most recently, according to her LinkedIn account, Cracknell held senior leadership roles at INVNT Group, serving as senior director of marketing at INVNT.ATOM and director of strategic partnerships – APAC.

Before that, she led cultural initiatives for Red Bull in Austria and worked as head of client service at initiative.

However, it was her early radio career that cemented her as a cherished colleague and connector within the broadcast and entertainment space.

A legacy built on generosity and support

Between 2006 and 2010, Cracknell worked as a senior producer and lead talent booker at KIIS FM’s The Kyle and Jackie O Show. It was during this time that she built lasting relationships within the radio industry and beyond. Many colleagues have since paid tribute under the family’s Instagram post.

One particularly heartfelt post came from Kyle and Jackie O’s national talent manager Pete Deppler (Intern Pete), who shared a memory from the 2007 Logie Awards red carpet on his own Instagram page.

Back then, Cracknell was working behind the scenes and Deppler was still cutting his teeth in regional radio.

“She helped me squeeze up to a prime red carpet position in order to land interviews with big-name stars,” he recalled.

“That carpet was amazing. I couldn’t believe it, Paola and Sonia would score big interviews and then say, ‘You have to talk to Pete now.’ Guess what? I got all the stars that night.

“Paola gave a little regional kid trying to have a crack a real shot. She was just amazing. I can’t thank her enough. That night meant something special,” he wrote.

A celebration of Cracknell’s life will be held at the Wisteria Room, Centennial Homestead. Friends and colleagues are invited to bring printed photos and memories to contribute to a commemorative memory book.

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Last year, before welcoming Emma Chow to The Jimmy & Nath Show with Emma Nathan Roye and Jimmy Smith walked away with the coveted Best Audio Talent Award at Mediaweek’s Next of the Best Awards.

With this year’s event just around the corner, we sat down with the past winners, to find out how winning this award boosted their entire career.

You can listen to the whole chat on our Next of the Best podcast here.

Oh, what a night!

When it comes to the 2024 event, Roye and Smith didn’t just accept an award, they took over the night.

What began as a win for Best Audio Talent quickly snowballed into the pair becoming the unofficial MCs, filling in for absent winners, joining random groups and even delivering rogue speeches.

“We had no idea how the night was supposed to run,” Smith laughed. “We won the first award and just went up, did a bit, gave a speech. The other awards were also won by SCA employees who couldn’t be there, so Nath and I got up and started accepting other awards and giving speeches on people’s behalf”.

Enter now: You can enter Next of the Best Awards here

“We are fantastic awards acceptors,” Roye joked. “Having been to so many awards nights where we haven’t won anything, we are so good at accepting other people’s awards”.

Their antics might have been cheeky, but the underlying message was serious: these two know how to work a room, and an industry.

Awards as a networking tool … and a career accelerator

While the comedy duo are quick to make light of their win, they’re just as quick to highlight the value of industry recognition.

“To win something like that, it gives us a bit more credibility,” Smith said. “I know it’s a cliche to be like: ‘it’s great to be nominated’, but in this industry it really is because when you’re in the room, it’s all about relationships in this business”.

The broadcasters went on to reveal that some of the best connections they made happened before the ceremony even started and after proceedings wrapped up.

Smith added: “It was not just great to win, it was also great to be there”.

Navigating awkward conversations

Award shows can feel intimidating, especially when you’re surrounded by suits, stilettos and media executives you only know from LinkedIn. But for both Roye and Smith the night doesn’t need to be a white knuckle ride in conversation starters. The pair revealing to Mediaweek their trick to surviving (and thriving) on awards night: remember everyone else feels the same way.

“When we were in the Street Team, Nath and I would have to set up for events like this,” Smith began. “We realised, even in the early days, that it didn’t matter if you’re chatting to CEO of a company or someone who’s been there for their first week, they’re still nervous, they’re still apprehensive, but also they want to talk”.

Their advice? Keep it simple.

“People want to talk about what they do,” Smith added. “They want to talk about their work, their job or their project because they’re proud of it. Go up and ask them about it, because Nathan and I have never found anyone that did not want to have a conversation”.

For those still daunted by the prospect of carrying out a cold call in real life, the duo had this advice:

“I’m big on name tags,” Roye began. “The other thing is, if you know there’s someone you want to talk to, there’s a cheat sheet to help you. There’s a brochure at the awards that tells you who’s nominated and what they do. So, all you have to do is watch them when their picture comes up on the screen then you know where to find them,” he said.

Next of the Best 2025 is now open for entries. You can apply here. You can also buy tickets for the Next of the Best Awards night on Friday 13 June at W Sydney.

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Tim O’Connor has been promoted Vevo head of sales for the Asia-Pacific region.

He shared the news in a LinkedIn post which garnered plenty of positive reaction from the industry.

O’Connor has been with the music video network for the past five years as head of Australia and New Zealand. Prior to joining Vevo, he was with advertising services provider dataux, which has since been acquired by Roku, as senior sales manager ANZ. He was also at Shazam and News Corp Australia.

O’Connor’s promotion comes after he took home the win for Salesperson at Mediaweek‘s 2024 Next of the Best Awards.

At the time, he told Mediaweek that the philosophy of sales at Vevo is “all about being partner-focused.”

“Our team takes a consultative approach to sales, and we strive to foster a culture of strong communication that is built on impeccable service. Sales can easily turn into a perpetual cycle of what’s next, so I think it’s important for our team to celebrate our wins and reflect on what we have achieved.”

He also shared advice to those coming up in sales: Be inquisitive – I would encourage people to learn skills outside of their day-to-day roles to broaden their understanding of the industry.

“Salespeople can easily develop tunnel vision towards their product, so when speaking with prospective clients, take the time to learn how other channels play a role in their business. I would also encourage everyone to seek out a mentor and commit to meeting with them regularly.

“Lastly, hone your listening skills. Salespeople naturally do a lot of talking, but I have come to learn that there is so much value in listening to other people’s challenges before I try to demonstrate how my product could help solve their challenges.”

Top image: Tim O’Connor

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Emotive has appointed Jessica Cluff into the newly created role of head of earned creative, commencing 28 April.

Cluff, who joins from independent creative agency POEM, will collaborate closely with the leads of Emotive’s fame-driving specialisms, spanning social, talent, PR, partnerships, and brand experience.

These are the channels proven to punch above their weight in earned media, and Cluff’s expertise will ensure they’re used to full effect to maximise ideas.

Cluff’s past work includes the Uber campaign featuring Formula One driver Valtteri Bottas, which delivered 30+ million organic views with zero media spend.

She will work alongside group creative director Darren Wright and the strategy and creative teams, embedding earned thinking at every stage of the process.

Bringing great ideas to life

Wright said: “Having great ideas is one thing, knowing how they come to life in the world and engage people beyond advertising is another. Jess can do it all. Having her knowledge and experience join a creative department full of different shaped thinkers is going to make for an exciting time here at Emotive.”

Cluff of her new role: “I’ve always loved Emotive’s purpose – to create ideas that change how people feel. But to do that, you have to get their attention first.

“People actively ignore most of what we do. You need more than a beautifully executed film or a clever line to reach them. Emotive has ambitious clients and a proven track record of getting people talking – I can’t wait to join them.”

Cluff’s appointment into the newly created role comes after the creative independent agency recently welcomed executive strategy partner Sebastian Revell recently commencing and more announcements to follow in the coming months.

Top image: Jessica Cluff

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Common State unveiled a suite of new client wins across the arts, music, major events and digital gaming sectors, alongside senior appointments.

The cultural communications agency, based in Melbourne with offices in Sydney and soon Brisbane, has been appointed publicity partner for two of Australia’s most significant cultural organisations: Brisbane Festival—Australia’s largest annual arts event—and Fed Square, Melbourne’s iconic civic and creative precinct, as well as Palace Foreshore, the seaside live music venue that hosted sold-out summer shows from Fontaines D.C., Magdalena Bay and Denzel Curry.

The Brisbane Festival appointment cements Common State’s leadership in major cultural events, with the agency now overseeing PR for Victoria and Sydney ’s flagship international arts festivals, RISING and Sydney Festival, as well as Melbourne International Film Festival, ALWAYS LIVE, the Festival of Dangerous Ideas, Melbourne International Jazz Festival, and Melbourne Writers Festival.

Additionally, Superstate—the agency’s recently launched gaming spin-off — has been appointed by Australia’s national museum of screen culture, ACMI, to lead a wide-reaching creator and influencer engagement strategy for Game Worlds, the museum’s upcoming major exhibition exploring the evolution and impact of video games. The appointment follows Superstate’s recent success delivering PR for The Sims 25th birthday celebrations at the museum in partnership with EA.

“Common State was founded on the belief that culture drives everything—and that the most exciting stories emerge where art, entertainment and technology intersect,” said Common State managing director, Luke McKinnon.

“These senior appointments and partnerships reflect the scale of that ambition. We’re proud to be working with some of the most innovative organisations and artists in the country, and building a national team that doesn’t just follow culture, but helps define where it’s going.”

The wins mark a new phase of national expansion for the agency, which has become synonymous with high-impact, culturally attuned communications across the visual and performing arts, film and television, digital games, music, major events, and the consumer brands looking to tap into that cultural insight and engagement. They build on a growing client roster that includes

Bacardi-Martini Australia, Melbourne International Film Festival, Palace Foreshore, Rialto Distribution, Xavier Wine, RISING, Sydney Festival, Rone, YouTube, VicScreen, MWFF, Nick Thomm, Malthouse Theatre, Wall to Wall, Melbourne Writers Festival, The Wheeler Centre, and more.

To support its growing national remit, Common State has restructured its senior publicity leadership. Long-time team member Charly Binney has been promoted from senior account manager to the newly created role of head of entertainment, where she will focus on expanding the agency’s screen, film, and television portfolio. Binney brings experience from previous roles at Universal Pictures and the globally renowned film and entertainment communications agency, DDA.

Tierney Kelman and Jadan Carroll have stepped into newly defined roles as head of lifestyle and head of arts and culture respectively, with Carroll continuing in his role as co-managing Partner of Superstate, whilst Alice Lewinsky remains as Communications Director overseeing the strategic management and direction of the entire team.

Alongside this, the publicity team has expanded with the appointment of Georgia Fox as senior account manager, bringing more than 15 years’ experience across theatre, festivals, film and live performance. Her previous roles include senior publicist at Sydney Theatre Company and Melbourne Theatre Company, and she has led publicity for productions including Moulin Rouge! The Musical, Hamilton, Harry Potter and the Cursed Child and The Picture of Dorian Gray.

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DoubleVerify has introduced pre-bid video exclusion lists for TikTok, which allow global brands to avoid content deemed objectionable before their ads are served, maximising media quality, campaign performance, and advertising ROI.

The launch of this AI-powered brand safety and suitability offering by the digital media measurement and analytics software platform expands its footprint of trusted, independent brand suitability and media performance tools on the platform.

“We’re excited to launch DoubleVerify’s pre-bid video controls on TikTok, empowering advertisers to enhance both the impact and quality of their campaigns,” said Mark Zagorski, CEO of DoubleVerify.

“Powered by DoubleVerify’s industry-leading, AI-driven classification technology, this solution helps advertisers ensure that ads appear in environments that align with their brand settings—driving stronger engagement, maximising ad performance, and instilling greater confidence in their digital investments.”

Brands and advertisers will benefit from comprehensive coverage with the platform’s pre-bid controls with post-bid reporting to ensure end-to-end campaign measurement and optimisation, and operational efficiency which benefit from pre-bid activation that requires no manual upkeep and auto-refreshes in near real-time, ensuring seamless, always-on protection.

Brands and advertisers will also have enhanced performance as ads will not appear next to objectionable content, reducing media waste and maximising advertising ROI.

DoubleVerify’s solution is powered by its proprietary, AI-powered Universal Content Intelligence classification engine. DoubleVerify analyses video, image, audio, and text elements to deliver superior content classifications at scale. Its innovative key frame extraction method is a smarter and faster way to analyse video content.

Instead of examining each video frame, which can be repetitive and time-consuming, key frame extraction focuses only on the most important moments where changes happen.

This streamlined approach uses less computing power and reduces environmental impact––ensuring an efficient, quicker, and more accurate analysis of campaigns, without sacrificing quality or precision.

DoubleVerify’s automated pre-bid video controls and reporting insights are activated through DV Pinnacle, the company’s unified service and analytics reporting platform, enabling advertisers to monitor and optimise their TikTok ad campaigns.

Additionally, DoubleVerify is enhancing its TikTok dashboard in DV Pinnacle, equipping brands with greater transparency into ad delivery and deeper insights for campaign optimisation.

Launching in the coming months, these updates will introduce top-level pre-bid filtering, enabling brands to analyse reporting specifically for campaigns with pre-bid controls, along with content previews for flagged incidents—empowering advertisers with more actionable intelligence.

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Slingshot has been appointed to manage media for Novo Nordisk and Dry July Foundation.

Jane Waterhouse, managing director at Slingshot, said: “Both Novo Nordisk and Dry July are tackling critical health issues that require thoughtful, well-targeted communication.

“Our Unconventional Intelligence methodology helps us uncover the best way to connect with audiences by blending creative thinking with data-led media strategy. It’s about delivering better outcomes by doing things differently – and more effectively – for brands with a genuine purpose.”

Novo Nordisk

Novo Nordisk, the Danish pharmaceutical giant behind obesity drug, Wegovy, has engaged with the independent creative media agency to develop and manage its first consumer campaign in Australia.

Novo Nordisk has previously focused on healthcare professionals (HCPs) since it launched in Australia and this project marks its first consumer push to raise awareness of obesity as a chronic disease. Slingshot secured the business following a three-way pitch and will lead media strategy, planning, buying across out of home, including programmatic OOH, digital, influencers and social.

Waterhouse said: “Obesity is a complex, long-term health issue, and this campaign is an important step in helping to shift public understanding of it as a chronic disease.”

“Our remit is to deliver a media strategy that not only builds awareness of the condition but also increases recognition of the treatments available, including Novo Nordisk’s innovative medicines.”

Cem Ozenc, corporate vice president and general manager, Novo Nordisk Oceania, added: “Obesity and being overweight affect two-thirds of Australian adults and one quarter of children, and is a significant public health challenge. This campaign will help us engage directly with the public, increase awareness of obesity as a chronic disease and change the way we talk about one of Australia’s most prevalent health concerns.”

Dry July

Slingshot has also been appointed to The Dry July Foundation, the not-for-profit charity behind the annual Dry July campaign, which has raised over $97 million dollars for people affected by cancer.

The agency will provide a comprehensive suite of media services ahead of this year’s Dry July campaign, and deliver media strategy, planning, buying, digital, social, SEO across Australia.

In addition to increasing money raised for this year’s Dry July, the Foundation wants to build a stronger understanding of its work in funding impactful cancer support services and encourage more people from just doing the month-long challenge into ongoing support for these vital cancer services.

Gillian Odbert, CEO of The Dry July Foundation, said: “Partnering with Slingshot will allow Dry July to communicate our mission more effectively and drive community engagement. Their strategic approach across multiple media channels will support our ongoing efforts to fund cancer support services.”

Waterhouse added: “Dry July is a campaign that resonates with so many Australians, and we’re delighted to support the Foundation’s important mission. The funds raised have a real and lasting impact on people affected by cancer, and our focus will be on driving participation, donations and greater awareness of the cause through a smart, integrated media approach.”

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Man of Many, Australia’s largest digital destination for men’s lifestyle content, has unveiled its latest innovation for advertisers: an in-house Brand Uplift Study designed to offer brands and agencies a more accurate and actionable way to measure campaign performance.

The company says the tool directly addresses a long-standing industry challenge: proving effectiveness beyond vanity metrics like clicks and impressions.

Using a simple on-site, one-question survey deployed at pre- and post-campaign stages, the study captures shifts in four key brand metrics: awareness, consideration, preference and actionable intent.

Results are powered by statistical regression analysis to clearly chart how a campaign influences consumer sentiment across the marketing funnel.

Early data is already showing strong uplifts, including a +42.3% rise in actionable intent, a -21.3% decrease in brand unfamiliarity, a +3.5% lift in consideration, and a +3.1% gain in brand preference.

Turning content into conversion

Further research from Man of Many underscores the platform’s influence on reader behaviour.

According to internal reader surveys, 76% of audiences view a product or brand more positively after reading about it on the site.

Additionally, 83% have considered purchasing something they discovered via the platform, pointing to a highly engaged and responsive audience base.

Elliott Barsby, commercial director at Man of Many, said: “Our goal has always been to deliver measurable outcomes alongside creative excellence. The Brand Uplift Study empowers brands to clearly see the results of their investments, making it easier than ever to optimise campaigns and prove tangible ROI.”

Award-winning momentum

The launch follows a string of accolades for Man of Many, including a nomination for Media Brand of the Year at the upcoming 2025 Mumbrella Awards, and a Gold win for Best Native Advertising at the 2024 WAN-IFRA Digital Media Awards ASIA.

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BBC News has unveiled the digital team leading its newly launched Sydney bureau.

The team is made up of experienced digital journalists who will take responsibility for the BBC News site during Australia daytime hours. This change will enhance global breaking news content for UK BBC News online audiences as they start their day, bolster 24-hour news coverage for all audiences globally, and increase BBC News’ editorial presence in Australia.

Australian audiences have access to wide-ranging engaging content from across the BBC, through the launch of the BBC app and the refreshed BBC.com site last year.

The BBC’s digital platforms are a home for ground-breaking storytelling that starts conversations, including the free BBC News channel livestream and recent addition of BBC podcasts.

Leading the new team is Jay Savage as news editor. He was previously digital editor for almost 10 years with BBC News.

Savage’s team will consist of three senior journalists; Chris Graham who has previously worked with UK news outlets The Independent, The Times and The Daily Telegraph, Helen Sullivan who joins from her previous role as reporter and liveblogger with The Guardian, and Victoria Bourne who joins from her previous role as reporter with the ABC.

The team will be rounded out with three journalists; James Chater who joins from his previous role as correspondent with DW in Taipei, Yang Tian who joins from her previous role as news producer with The Guardian and Ottilie Mitchell who joins from the BBC News US digital team.

Recruitment will continue for further roles in the team.

“I am delighted that we have newly in place such a stellar team of editors and journalists for our Sydney bureau to enable us to deliver our world-class breaking news content online during local daytime,” Samanthi Dissanayake, executive news editor, Digital International, BBC News said.

“The team is part a much wider connected network of BBC News correspondents across the world who bring unrivalled expertise and access for our online global news stories.

“This enhancement serves all of our online audiences globally, and also the UK, where audiences will start their day with the best of our innovative and trustworthy news content.”

Top image: Jay Savage, Helen Sullivan, Chris Graham, Victoria Bourne

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InfoSum has appointed Tim Richardson as client partner, New Zealand – its first on-the-ground hire in the country as the data collaboration platform plans to expand its footprint in the country.

Richardson will lead local client engagement and strategic partnerships, helping brands, media agencies, and media owners unlock the full potential of InfoSum’s platform.

“InfoSum gives New Zealand’s brands and media owners the ability to connect data securely and unlock richer insights to drive performance and value,” Richardson said.

“With the deprecation of third-party cookies and growing scrutiny on data privacy, the need for a safer, smarter way to collaborate is more urgent than ever, and InfoSum is perfectly placed to deliver that.”

Prior to joining InfoSum, Richardson has experience across multiple global regions within the media and advertising industry. He has a strong media agency background, having worked at Havas Media Group in Canada and OMD in New Zealand.

He also brings a track record in sales, commercial leadership, and data-driven marketing strategy with roles at Captify, Foundry, and Unruly Media.

“Tim brings deep expertise in data-driven marketing and a clear understanding of the New Zealand media landscape,” said Richard Knott, SVP APAC at InfoSum.

“As our first locally based team member, he’ll play a key role in supporting our clients and partners as they adopt privacy-first data collaboration at scale.”

InfoSum has operated in New Zealand since 2022 and already works with a number of leading brands and media organisations, including McDonald’s, Stuff, NZME and Trade Me. The company has seen strong adoption of its data clean room technology across the region as the industry shifts towards privacy-first, first-party data strategies.

Top image: Tim Richardson

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The Aunties, in partnership with feedback technology company Signals, has launched Auntie Intel, an anonymous messaging tool designed to better understand how women, non-binary and gender diverse people are feeling across the advertising and creative industries.

The initiative provides a simple, monthly check-in that collects real-time sentiment from The Aunties’ 2,500+ members.

The goal is to generate a deeper understanding of how the community is feeling throughout the year, across pitch patches, school holidays, major events and the general rhythm of industry life, to uncover insights at scale and channel it for good.

Consisting of a monthly email or Whatsapp message, Auntie Intel requires a simple response – a thumbs up or down, with the option to elaborate. By design of the Signals platform, it is 100% anonymous.

The data collected from Auntie Intel will be analysed and regularly communicated to wider industry throughout the year. And importantly, these insights will also provide direction for The Aunties to act on, as a collective.

Creating a safe space

“Most industry surveys are annual and time consuming, but the pace of change in our industry, and the world more broadly, calls for something more responsive. With everything going on right now, it felt like the right time to assess,” Phoebe Sloane, founder Auntie, The Aunties, said.

“We wanted to create a tool that updates the industry in real time, highlights what we can be doing better, and help shape where we focus our programs, time and energy as volunteers.”

Danny Bos, CTO, Signals said: “At Signals, anonymity is at the core of what we do. It creates a safe space for people to share honest, unfiltered experiences without fear of judgment or consequence. Partnering with The Aunties allows us to extend this safe space to women across the industry—helping ensure their voices are heard, protected, and ultimately acted upon.”

David Keating, Signals CEO, said: “We’re incredibly proud to support The Aunties and contribute to a movement that’s creating meaningful change. By helping surface the real experiences of women in our industry, we hope to play a small but important part in improving workplace culture and building a more inclusive, respectful environment for everyone.”

The Aunties is open to women, non-binary or gender diverse people in the advertising and creative industries. The Aunties would love to hear how you’re feeling month to month. All levels of experience and work circumstances are welcome, whether you’ve just started in industry, on mat-leave, freelance or been around for decades, all intel is welcome.

Creative Credits
Art Direction – Ruby Koco
Design – Georgia Emery
Motion – Amy Smith

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Saturday 12 April:

Total People TV Ratings

Seven’s Seven News recorded a total TV national reach of 1,525,000, a total TV national audience of 942,000 and a BVOD audience of 46,000.

Nine’s 9News recorded a total TV national reach of 1,496,000, a total TV national audience of 867,000 and a BVOD audience of 61,000.

Nine’s Mrs. Doubtfire recorded a total TV national reach of 1,135,000, a total TV national audience of 272,000 and a BVOD audience of 18,000.

ABC’s ABC News recorded a total TV national reach of 1,102,000, a total TV national audience of 739,000 and a BVOD audience of 24,000.

Seven’s The Day After Tomorrow recorded a total TV national reach of 1,087,000, a total TV national audience of 297,000 and a BVOD audience of 15,000.

People 25-54

Nine’s 9News:
• Total TV national reach: 405,000
• National Audience: 228,000
• BVOD Audience: 29,000

Nine’s Mrs. Doubtfire:
• Total TV national reach: 377,000
• National Audience: 107,000
• BVOD Audience: 10,000

Seven’s The Day After Tomorrow:
• Total TV national reach: 342,000
• National Audience: 90,000
• BVOD Audience: 8,000

Seven’s Seven News:
• Total TV national reach: 338,000
• National Audience: 192,000
• BVOD Audience: 21,000

Nine’s A Current Affair:
• Total TV national reach: 276,000
• National Audience: 168,000
• BVOD Audience: 21,000

People 16-39

Nine’s Mrs. Doubtfire:
• Total TV national reach: 163,000
• National Audience: 43,000
• BVOD Audience: 5,000

Nine’s 9News:
• Total TV national reach: 160,000
• National Audience: 87,000
• BVOD Audience: 13,000

Seven’s The Day After Tomorrow:
• Total TV national reach: 119,000
• National Audience: 32,000
• BVOD Audience: 4,000

Seven’s Seven News:
• Total TV national reach: 118,000
• National Audience: 67,000
• BVOD Audience: 10,000

Nine’s A Current Affair:
• Total TV national reach: 94,000
• National Audience: 47,000
• BVOD Audience: 10,000

Grocery Shoppers 18+ TV Ratings

Seven’s Seven News:
• Total TV national reach: 1,224,000
• National Audience: 756,000
• BVOD Audience: 37,000

Nine’s 9News:
• Total TV national reach: 1,198,000
• National Audience: 702,000
• BVOD Audience: 49,000

ABC’s ABC News:
• Total TV national reach: 928,000
• National Audience: 621,000
• BVOD Audience: 21,000

Nine’s Mrs. Doubtfire:
• Total TV national reach: 876,000
• National Audience: 213,000
• BVOD Audience: 15,000

ABC’s Death In Paradise:
• Total TV national reach: 874,000
• National Audience: 581,000
• BVOD Audience: 15,000

Sunday 13 April:

Total People TV Ratings

Nine’s 9News recorded a total TV national reach of 2,163,000, a total TV national audience of 1,322,000 and a BVOD audience of 110,000.

Seven’s Seven News recorded a total TV national reach of 2,038,000, a total TV national audience of 1,231,000 and a BVOD audience of 72,000.

Nine’s 60 Minutes recorded a total TV national reach of 1,799,000, a total TV national audience of 863,000 and a BVOD audience of 79,000.

Seven’s AFL: Sunday Night Football recorded a total TV national reach of 1,679,000, a total TV national audience of 524,000 and a BVOD audience of 33,000.

Seven’s AFL: Sunday Afternoon Football recorded a total TV national reach of 1,181,000, a total TV national audience of 375,000 and a BVOD audience of 18,000.

People 25-54

Nine’s 9News:
• Total TV national reach: 695,000
• National Audience: 403,000
• BVOD Audience: 57,000

Nine’s 60 Minutes:
• Total TV national reach: 574,000
• National Audience: 279,000
• BVOD Audience: 42,000

Seven’s AFL: Sunday Night Football:
• Total TV national reach: 551,000
• National Audience: 184,000
• BVOD Audience: 18,000

Seven’s Seven News:
• Total TV national reach: 528,000
• National Audience: 303,000
• BVOD Audience: 36,000

10’s Australian Survivor:
• Total TV national reach: 466,000
• National Audience: 316,000
• BVOD Audience: 57,000

People 16-39

Nine’s 9News:
• Total TV national reach: 292,000
• National Audience: 160,000
• BVOD Audience: 29,000

Seven’s AFL: Sunday Night Football:
• Total TV national reach: 257,000
• National Audience: 104,000
• BVOD Audience: 12,000

10’s Australian Survivor:
• Total TV national reach: 234,000
• National Audience: 152,000
• BVOD Audience: 33,000

Nine’s 60 Minutes:
• Total TV national reach: 216,000
• National Audience: 100,000
• BVOD Audience: 21,000

Seven’s Seven News:
• Total TV national reach: 194,000
• National Audience: 112,000
• BVOD Audience: 18,000

Grocery Shoppers 18+ TV Ratings

Nine’s 9News:
• Total TV national reach: 1,704,000
• National Audience: 1,051,000
• BVOD Audience: 89,000

Seven’s Seven News:
• Total TV national reach: 1,602,000
• National Audience: 978,000
• BVOD Audience: 58,000

Nine’s 60 Minutes:
• Total TV national reach: 1,433,000
• National Audience: 706,000
• BVOD Audience: 65,000

Seven’s AFL: Sunday Night Football:
• Total TV national reach: 1,289,000
• National Audience: 394,000
• BVOD Audience: 24,000

ABC’s ABC News:
• Total TV national reach: 960,000
• National Audience: 674,000
• BVOD Audience: 25,000

Data © OzTAM and Regional TAM 2025. 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.

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