News Corp Australia’s annual sales upfront event visits Sydney and Melbourne this week. Like most events in the past few years, it was hosted by News Australia’s managing director of client partnerships, Lou Barrett.

Barrett’s skill in a progressively more complicated digital advertising world is focussing on keeping things simple for clients. After close to two hours of at times intricate detail about data and its benefits, Barrett finished the event with an offer to slash the ad rate for clients willing to take advantage of News Australia’s data capabilities.

Barrett shared the stage with colleagues and special guests. Other speakers at this year’s D_Coded event:

Managing director client product Pippa Leary
Director commercial data, video, and product Paul Blackburn
General manager digital revenue Mark Brownie
National head of digital Jess Gilby
LiveRamp senior vice president Daniella Harkins
Omnicom Media Group Australia chief investment officer Kristiaan Kroon
AdFixus head of sales Roland Irwin
Journey Beyond group manager digital and loyalty Wade Stokes

Mediaweek spoke to Lou Barrett about D_Coded 2024. She also spoke about the ad strategy and the state of the market.

State of the market: ‘Unreadable’

Barrett: “In my close to 40 years in this business this is the most volatile I have ever seen the market.” When asked about a potential recovery, Barrett replied: “The visibility we used to have we are not having anymore. I am seeing a stronger end to the financial year with June being positive. It is too tough to call it. It can change on a whim, which makes it totally unreadable.”

Even for those who are spending, Barrett noted they are being very cautious.

Any prediction about H2 2024?

When asked if any advertisers are saving some budget for the second half of the calendar year, Barrett replied: “I hope so. Interest rates being put on hold last week are a positive. Auction clearance rates have been strong too.

“There is positivity in the market for June. What worries me about that is when you see a strong June, you often see a poor July. But there does in general seem more positivity about July to December 2024.

“Normally a sales director could be able to track and monitor what is happening in the market, but it’s really hard to do that now.”

Lou Barrett and Pippa Leary

Annual ad deals

News Australia customers on annual deals are not abandoning them for short-term spends. But Barrett noted: “I’m hearing that is rife in television. That doesn’t surprise me as some were even doing that back when I was working in TV [at 10].”

Would News Australia eventually sell airtime for Foxtel Group?

Unlikely, according to Barrett. “We are separate companies, with separate corporate structures and shareholdings. Foxtel is a JV with News Corp (65%) and Telstra (35%). We do collaborate and support each other when it makes sense. Have a look at what we did around Hubbl, launching that together.”

Plenty of people ask that question though. “It happens all the time,” she admitted.

Sharing News Corp learnings

Particularly during challenging markets, Barrett said there is plenty of sharing of ideas from different News Corp divisions around the globe.

“From a sales perspective, I talk to people in the US all the time. My counterpart in the UK is Dom Carter [group chief commercial officer for News UK]. He and I talk all the time. Also to our global head of strategy Norm Johnson. He used to run Unruly. I also talk regularly with Josh Stinchcomb [global chief revenue officer at Dow Jones for media and marketing], my counterpart at The Wall Street Journal.

“We all share market nuances together. Also similar things that impact us together. We try and share as much as we can. Having Norm Johnson in that global strategy role helps facilitate that.”

D_Coded 2024: Kristiaan Kroon, Daniella Harkins, Pippa Leary, Wade Stokes, Roland Irwin

D_Coded 2024

Barrett said the message this year to News Corp Australia commercial partners is all about the way News identifies, targets and measures.

“We have a very deep understanding of who our audience is and what they want. We are attempting, and doing it successfully, to create ways to connect those audiences with clients’ messages in a way that delivers them return on investment.

“Our attribution data lets them accurately measure that return on investment for their ad spend.

“The days of relying on old methods of audience targeting are behind us.

“It demands a fresh approach from everyone. What News Corp is doing is leading the charge. We are not just reacting. What we are doing at D_Coded is showing clients signal gain so they have better insights, targeting, personalisation and measurement.

“Intent Connect has been supercharged and that now offers advanced data collaboration capabilities around planning, booking and measurement.

“What we are demonstrating is the ease of using what we have at Intent Connect for customers. It’s just so easy to use and clients will love it.”

D_Coded 2024: News Australia’s Mark Brownie, Jess Gilby, and Paul Blackburn

Another tool for marketers is Shoppable ScrollX. “It’s a full-screen mobile experience that allows customers to explore and buy products, seamlessly within editorial content. It works seamlessly with Intent Connect.”

A product that has been enhanced is Targeted Time in View. “It was launched a few years ago. It elevates video and display advertising. Brands’ messages are placed in more relevant or highly trusted environments. It lets clients maximise their message impact.”

Barrett said a key message to clients is that News Australia can target better than many other options available. “We can do things better than anyone else. Everything News is launching enhances our commitment to being a technology-agnostic partner. We are working with LiveRamp and AdFixus. We were one of the first publishers in the country to integrate Google PAIR into our customer match capabilities.”

Barrett said News is going after advertisers who might be underweight with News Corp properties. “We have 5,000 customer segments now. A year ago we had 3,000. We keep building on that. We now have a level of precision that hasn’t been possible before. It makes News Corp hard to look past.”

Restructuring the team

“For the last eight years, I have kept refining the sales structure to ensure I keep up with the market. We have been continually making sure that capability and skills sit within frontline sales. We are always looking for ways to create better outcomes for our clients. I will keep on doing it and that’s where my focus is.”

See also:
News Corp D_Coded 2024: Shoppable ScrollX and Targeted Time in View
News Corp D_Coded 2024: AI technologies added to Intent Connect
News Corp D_Coded 2024: In-article News Shorts and LiveRamp’s Safe Haven agreement
News Corp D_Coded 2024: Google PAIR and LiveRamp ATS Direct

“If you’re gonna be a brand-led organisation, marketing has to be in the cockpit, flying the plane,” said Richard Oppy.

According to the Melbourne native, the key to achieving cut-through, consecutive-Cannes-Lions-winning marketing success is ensuring that “creativity is at the centre of the strategy.”

Now based in New York, Oppy is the vice president of global brands at AB InBev – a company that, through a string of mergers and acquisitions, has grown to become the largest brewer in the world, tabling brand buys including Stella Artois through the Interbrew acquisition in 2004, Budweiser through the Anheuser Busch acquisition in 2008, and Corona with the Modelo acquisition in 2012.

In 2016, AB InBev acquired its leading competitor, SAB Miller, bringing its brand portfolio to over 500. Today, the company represents one in every four beers sold worldwide.

However, at AANA RESET, Oppy argued the decision to move beyond its M&A laurels to focus on creativity and brand building has been key to its success.

See also: AANA RESET recap: LEGO, Matildas, Barbie, AB InBev

He described the company’s annual Global Marketing Leadership Team meeting in 2017: “We were having this robust debate about: what did we want  to stand for as a marketing team? What was our legacy going to be?

“After a big debate, we had a big dream, and we were all aligned that we wanted to be the best brand builders in the world.

“It was time for marketing to step up to jump in that cockpit to start flying the plane.”

Oppy

He identified the existential challenge AB InBev was facing at the time: “We talked about, as marketers, the importance of art and science. We were really good at the science; we were good at the numbers, the data, the analytics. We could have consumer insights. But we weren’t great at the art, that’s where we really lacked the voltage, the creativity to solve these problems.”

Ever since, AB InBev’s overarching brand goal to “be the best brand builders in the world” has been structurally supported by a number of innovations, including its matrix of annually reviewed agencies the company dubs ‘The Justice League.’

“We like to think of this Justice League as part of our family – an extension of our team,” he said, stressing the importance of nurturing agency relationships.

“I hate when the client takes all the credit for the work when the agency comes up with a great creative solution… At the same time, I hate when things aren’t going well, and the client throws the agency under the bus and says they’re not good enough, they can’t crack the brief.

“So for us, we like to treat our agencies as part of our family. And we like to treat it more like a marriage knowing there’s going to be ups and down. We work through that together.”

Another integral part of AB InBev’s creative architecture is the system ‘Creative X’ which features a universal language termed the “creative spectrum”, ranging from one, “reckless”, to two, “unclear”, all the way up to ten, “legendary”. 

Its marketing academy program, servicing over 50 countries, also includes a creativity chapter that outlines best practices for briefing and critiquing, as Oppy explained, “to give our agency partners the freedom of a tight brief.”

“I think sometimes we can get a bit lazy and go to our agency and get them to try and work out what the job to be done is and solve the problem as well.

“The briefing always sounds simple and easy, but I think as marketers, that’s one of our most important jobs: to be laser sharp on what is the problem we’re trying to solve? What is the job to be done?”

He said internal competition has fostered a creative culture. Its in-house ‘X Awards’ – a “mini Cannes” – has recognised some of its most publicly commended work.

The proof is in the proverbial brand pudding. Over the past two years, AB InBev has met all key performance metrics of “best brand builders” based on recognition, effectiveness, and ranking with the World Advertising Research Council (WARC).

The company has been recognised as Cannes’ Creative Marketers of the Year for two consecutive years for work including Extra Lime for Corona, McEnroe vs. McEnroe for Michelob ULTRA, and Bring Home the Bud which went viral for Bud Light during the 2022 FIFA World Cup in Qatar.

Corona Extra Lime

“This one’s about solving a real problem,” said Oppy.

“Corona is one of the most loved brands, not just in Australia, but in the world. And one of the ways we differentiate this brand is with the lime ritual. Every time you put that lime in the bottle, it gives you that feeling of being transported to paradise.”

China is the world’s largest consumer of beer and the biggest market for Corona globally. The lime ritual there had been driven by the import of high-quality Tahitian limes. However, due to COVID-19, access to these limes became difficult.

“They [didn’t] have any good limes, and no beer ad is going to solve that,” said Oppy. 

“That’s where we had to … work with our supply partners in China, then work with the local farmers, to become a lime supplier [and] become one of the biggest lime suppliers in the country.”

In partnership with the DAVID Bogotá agency, the Cannes Titanium Lion-winning work drove a 209% expansion of China’s lime yield, 130% increase in lime cultivation area, and 30% rise in lime farmers’ per capita income. China experienced a surge of 2 million limes sold annually.

The work generated $11 million worth of earned media for Corona, 1 billion media impressions, a 17% boost in national brand power, and 29% increase in beer sales in 2022 compared to 2020.

Spontaneous brand awareness also spiked, all with 100% positive or neutral sentiment.

Bring Home the Bud aka ‘Project Lemonade’

In another case study, Oppy explained that given the men’s FIFA World Cup occurs every four years, the AB InBev team typically begins planning around three years in advance.

In 2023, despite Qatar promising organisers it would relax its strict prohibitions around alcohol to allow fans to drink beer at matches and inside fan zones during the World Cup, the country backflipped on the decision just two days out. The call left Budweiser with a warehouse full of unsellable beer, rendering years of marketing and experiential planning defunct.

“We had the team on the ground in Qatar two years out. Two days out, you can imagine all the fridges in the stadium are full of Budweiser,” said Oppy.

He described how “all the signage around the stadiums and outside of the stadiums had Budweiser everywhere as one of the main sponsors, the fan festivals were all set up, we’ve given assurance there’s going to be no problems at all.

“And 48 hours before the first kickoff, we got that phone call from FIFA – who we’ve been partnering with for over 30 years – saying ‘I’m sorry, Budweiser has been banned from the World Cup.’

“We only had 48 hours to respond. We couldn’t cry about it. We’d been dealt lemons. So we kicked off a project straightaway, called ‘Project Lemonade’… We had a small, cross-functional team, the brand team, supply, legal, PR, and we had Wieden+Kennedy, a couple of our key agency partners in the room with us until 4am working out what we were going to do with all that Bud.”

From Project Lemonade came the creative solution to donate all the would-be World Cup beer to whichever country won the tournament, engineering the tidal #BringHometheBud movement.

Working with Wieden+Kennedy New York and Africa São Paulo, the work garnered 25 billion impressions, over 1 million social mentions, and $400 million in earned media. It claimed the number one share of voice, dominating over 70% of all mentions of World Cup sponsors, and secured another Titanium Lion at Cannes Lions 2023.

‘Stay away from politics’

Addressing the elephant in the room, a member of the AANA RESET audience raised a question about the brand lessons surrounding the controversial Bud Light campaign featuring transgender influencer Dylan Mulavney.

“I’m surprised that question came up,” Oppy joked.

“Consumers were very clear to us with this whole case that they don’t want us playing in any politics. They’re like: stick to what you’re good at. Talk about your beer; we love the beer. Talk about sport with NFL, talk about country music, and have fun. That’s been the recipe for the success of this brand. When I’m drinking a beer, I don’t want to be talking politics, particularly in the US where it’s so polarising. So that was the biggest lesson for us, is swim lanes and stay away from politics.”

Still, Oppy maintained the secret sauce to marketing success is to “dream big.”

“It all starts with a big dream,” he said.

“So dream big, because, as you know, it’s the same amount of effort to dream big as it is to dream small.”

See also:
‘There is no cutting corners’: Nic Taylor on LEGO’s craft, care, and fandom
Bernard Salt wants marketers to stop oversimplifying older demos

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Top image: Oppy

Welcome to the industry HOT List of 2024, where Mediaweek marketing and agency editor-at-large and founder and CEO of TrinityP3 Marketing Management Consultancy, Darren Woolley, highlights and acknowledges the media and creative agencies, industry bodies and events turning up the heat.

The last days of autumn are upon us. Counting down the days to winter and the winter solstice. And while the headlines are filled with the challenges of the economic headwinds and the impact they are having on the industry, the independent agencies are fanning the flames of innovation and creativity.

Sizzling HOT

Media

The biggest media and marketing story of the past month has been Kyle and Jackie O’s storming into the Melbourne radio market. ARN has a lot riding on this investment and it’s fair to the say there was a media tsunami – both paid and earned – around the launch.

Not many brands would run full page newspaper ads with testimonials like “Melbourne deserves better”, “Kyle’s a grubby buffoon”, and “Wouldn’t listen to Kylie in a fit” and then a tagline of “Make Up Your Own Mind”, but the polarising pair have done what they do best and lent into controversy, not against it. All eyes are now on the next radio ratings survey to see if it works.

Editorial about Kyle and Jackie O in the Sunday Herald Sun

Very Hot

Creative Agency

When it comes to M&A, we usually expect big holding companies to buy up the successful independents. But Chris Howatson‘s three-year-old indie, Howatson+Co, showed it’s not done growing, acquiring Kenny Hill’s Melbourne-based creative agency Akkomplice. The move shows just how dynamic the indie agency market is at the moment.

With this expansion by acquisition, it will be interesting to see how long Chris will maintain his commitment to growing no bigger than 200 people, for 30 years, with no holding company sale, getting the best clients (not the biggest), and sticking with them?

Kenny Hill

Totally Hot

Media Agency

Afterpay has appointed Kaimera as media agency of record to oversee the full-funnel media planning and buying for Afterpay in Australia and New Zealand following a fiercely fought competitive pitch. The incumbent, Initiative, had held the account since 2021.

This is a big win for the high-profile media independent which, in the words of the client Joel Moran, “inspired us with innovative ideas that highlighted how they can take performance marketing to the next level for us.” Now that is hot!

HOT

Industry Bodies

Congratulations to the Australian Association of National Advertisers (AANA) for resetting RESET for growth with a new location and an all-star line-up of home-grown speakers who are making their mark globally and flew back into Sydney to share their observations, lessons, and advice.

Nic Taylor, Richard Oppy, and Janine Ellis shared the stage and the day with Bernard Salt, Josh Goldstein, Dianne Everett and Jackie Lee-Joe. A hot line up bought together by the hard-working AANA team.

See also: ‘We need to come together to defend our industry’: Josh Faulks opens AANA RESET

Making a difference? Going above and beyond? We would love to hear from you – send details to [email protected].

Criteria for making the Mediaweek Hot Lists:
• Making a difference to clients, staff, the industry, and society at large
• Breakthrough campaign or idea that is a category game changer
• Challenging the status quo to drive innovation.

Treasurer Jim Chalmers delivered his 2024 federal budget last night, predicting a $9.3 billion surplus for the 2023/24 financial year.

Largely, the budget remained steady for Australia’s media sector.

National broadcasters ABC and SBS are set to receive a combined $1.7 billion for the 2024/25 financial year, with $1.196 billion going to the ABC – up from $1.137 billion last financial year – and $348 million going to SBS, up from $334 million. The remaining gap will be used on transmission and distribution technology. 

The ABC’s staffing levels will stay at 4,313 staff – remaining steady. SBS staff numbers will lift slightly from 1,352 people to 1,369.

The ABC is budgeting for an “operating deficit” of $1.9 million in 2024/25. SBS’ operating result for the same period is projected to be a $1.1 million surplus. 

With the global success of Bluey, the budget includes $14.5 million to support the production of Australian children’s screen content, with the government saying it recognises “the importance of Australian children seeing themselves reflected in the stories they watch, no matter which platform they watch it on.”

Despite a lift in staff from 608 to 654, the Australian Communications and Media Authority (ACMA) has been allotted $181 million, down from $194 million last financial year. Of that, $12.4 million over four years will be used to improve existing scam call and SMS codes for telcos, and boost enforcement action to detect and prevent scams. 

$22.6 million over five years from 2024–25 has been allotted to support the modernisation of media regulation in Australia, including the implementation of a prominence framework for internet-connected television devices and an expanded anti-siphoning scheme.

$12 million has been allocated to support the financial sustainability of the Australian Associated Press (AAP).

The government has also put aside $9.3 million to “expand and enhance” the National Film and Sound Archive’s capacity to store highly flammable nitrate-based cultural heritage material belonging to national collecting institutions. These historically significant films and photographic negatives are currently at risk of being lost. 

Innocean, the creative agency behind the gender parity initiative F*ck the Cupcakes, and Independent B-Corp purpose-led agency Paper Moose have launched a voluntary industry charter called Love Our Work to foster more positive conversations within creative communities.

It asks agencies, production companies, trade press, and individuals to bring the industry together in an uplifting way by helping to inject pride back into conversations about the industry’s creative output.

The charter was created in response to findings from the Drop the Shade study conducted by the pair of agencies last year, which investigated how the industry is interacting with other people’s creative work, and how that in turn is impacting creatives.

The study found three quarters of respondents felt negative feedback was impacting talent retention and discouraging new talent from entering the industry. An overwhelming majority (77%) want to remove anonymous commentary from industry publications.

Innocean CEO, Jasmin Bedir, said that “as an industry, we grapple with attracting and retaining talent, mental health issues and a lack of inclusivity and diversity, but we’re also fighting for relevance and against ever decreasing profit margins. Toxicity amongst ourselves makes this multi-billion dollar industry smaller.

“I feel like this charter is the perfect  public statement from all of us that sets the bar for how we should conduct ourselves. I don’t see how anyone that runs a business in this industry wouldn’t want to support it.”

The voluntary industry charter idea emerged after the findings from the study suggested he industry needs to to instil more pride in the work it creates, wth respondents expressing a desire for more constructive industry discourse.

Following consultation with production companies, agencies, and like-minded individuals in the industry, the charter is now live.

Jeremy Willmott

Paper Moose’s creative director, Jeremy Willmott, said that “having seen, first hand, the impact thoughtless comments about work can have on someone’s career, let alone how it affects me personally, I’m proud to be helping do something about it.”

He described the charter as “an ongoing commitment for better behaviour and allow[ing] like-minded people to stand in support of this issue.

“Our mission is to drive meaningful, constructive conversations that help make our work better and we’d love the industry to join us.”

Innocean’s executive creative director, Wez Hawes, added that in Australia, “anonymous negativity, trolling and vitriol are still readily tolerated in our industry, when we all know the harmful effects and mental health issues associated with this type of ‘feedback’.

“Discussing and debating work will always be justified, and there’s absolutely nothing wrong with that. The Love Our Work Charter is merely setting standards for us all to do this in a healthy, constructive way.”

Paper Moose founder and CEO, Nick Hunter, noted that “putting work through the rock tumbler of constructive criticism is critical for us to continuously improve and drive the very best results for our clients, but the way in which that feedback is delivered is equally important.

“This is a journey for all of us  and we need to collectively as an industry get better. Celebrating the work  and giving people the tools on how to deliver feedback is that first step.”

Earlier this year F*ck The Cupcakes also launched all-year-round program called Yeah the Pies to start conversations between men on the topic of gender equality.

See also: F*ck The Cupcakes launches Yeah the Pies to engage men post-IWD

Melbourne managing director Joseph Pardillo says Ryvalmedia is in a “unique position to grow and optimise our clients’ revenue”.

Affiliate marketing presents an opportunity for brands to expand their online presence, reach new customers, and drive sales with a cost-effective strategy to maximise return on investment (ROI), according to Ryvalmedia Melbourne managing director, Joseph Pardillo.

”This is only going to expand as more Australians are turning to shopping online,” Pardillo said.

Ryvalmedia is a digital-first marketing and media specialist with a particular focus on performance, data, and analytics. Founded and led by former dentsu boss Simon Ryan, the business has offices across Sydney, Melbourne, and Brisbane.

Last September, Pardillo announced the agency’s media partnerships and affiliates team alongside the appointment of Pooja Aggarwal as the lead for client partnerships and affiliates. 

See also: Ryvalmedia launches media partnerships and affiliates specialisation as it welcomes Pooja Aggarwal

The decision to establish the partnerships and affiliates unit stemmed from identifying strategic growth potential in affiliate marketing during major e-commerce events and promotional periods. Aggarwal leads the team in analysing data around product sales, customer purchase patterns, basket value, and other related inputs that will help deliver business optimisation and insights for clients.

The first client to sign on was the Australian-based online marketplace MyDeal, which experienced boosted revenue streams when it  implemented a new affiliates management platform.

According to Aggarwal, partnering with Ryvalmendia led to the addition of more than 30 revenue-driving partners in the program for MyDeal, representing over $2 million in revenue via new partnerships since the partnership began in August 2023. 

This represented an average growth of 12% per month year on year, despite what Aggarwal referred to as “tougher market conditions.”

One of these tough conditions, and a challenge facing Ryvalmedia, is an  “underlying saturation in the market.”

“A  few new performing players are joining this space, with some renowned companies shut down last year – this makes it difficult to register year on year growth. Additionally, consumers are looking for more value for their money with little to no affinity towards a single brand,” Aggarwal explained.

“Diversification of the partner mix, focusing on quality companies, improving campaign mechanics, optimising partnerships, and truly aligning our message to what consumer needs is a solution to this challenge.”

In response to these hurdles, Ryvalmedia collaborates closely with clients to optimise exposure, commission structures, rates, and co-funding opportunities across the Australia and New Zealand markets. 

This is in addition to  managing the relationships with affiliate networks and partners such as Impact.com and Commission Factory, as the team works to boost engagement and maximise return on ad spend.

Pardillo reflected on this, adding that Ryvalmedia has, “a track record of proven success with our existing clients, strategic partnerships, a continuous learning approach, and long-term relationships with affiliate partners and networks.

“This places us in a unique position to grow and optimise our clients’ revenue and presence in market.”

—

Top image L-R: Pooja Aggarwal and Joseph Pardillo

Samsung Australia, in partnership with CHEP Network and Livewire, has launched Clash of Commuters, a gaming marketing campaign merging the virtual world with the everyday experiences of Australian commuters on Fortnite Creative. 

The integrated experience is designed to celebrate the rise of on-the-go gaming and market the capabilities of the Galaxy S24 Ultra. 

From 2 May to 30 May, players can embark on an adventure created by Gamefam in Fortnite Creative. Players protect a public transport bus as it meanders through a dystopian Australian commuter landscape. Under the eye of bin chickens, players must clear roadblocks and fight off coffee-starved commuters for their chance to win. 

Samsung Galaxy S24 Ultras are hidden throughout the map, with players able to unlock special bonuses in real life if they find them.

Paul Meates, executive creative director at CHEP Network, said: “As more and more people turn to gaming on their commute, we saw an opportunity to create a campaign that better represents them. To find a true legend in the mobile gaming realm, the game needs to exist in the realm where mobile gaming is played. It needs potholes, it needs distractions and cramped spaces, and perhaps even an element of motion sickness.”

In the game mode, the player who completes all five rounds of the Clash of Commuters campaign in the shortest amount of time will be eligible to win a Samsung gaming pack worth over $8,000. There will also be additional prize packs available for the fastest player to complete the campaign on a mobile device, the most side quest phones acquired, plus four winners drawn at random from all completed time submissions.

Eric Chou, head of mobile experience, Samsung Electronics Australia, emphasised the campaign’s goal of connecting with gamers.

“At Samsung, we’re committed to improving customer experience through product innovation with industry-leading devices like the Galaxy S24 Ultra with Galaxy AI, and our approach to marketing is no different. We’re proud to collaborate with industry leaders to create Clash of Commuters, an interactive mobile experience for Australians that goes beyond the traditional home gaming setup.”

Samsung and CHEP Network will utilise out-of-home advertising targeting commuters during their daily commute. Bus wraps, train platform ads, and tram wraps will encourage commuters to engage in the campaign.

The campaign will also feature some of Australia’s biggest gaming creators such as Lachlan, Loserfruit, Crayator and Cynical Sakura as well as sporting personas such as Rob Whittaker and Mitch Robinson.

The launch of the campaign comes as a report from Livewire, released in March, revealed that gaming is the entertainment channel of choice across Gen Alpha, Gen Z, and millennials.

The report found that while gaming is the biggest form of entertainment across the groups, the younger Gen Alpha and Gen Z have different expectations, and are more welcoming of brands in gaming.

See also: Gen Alpha, Gen Z, and millennials choose gaming above other entertainment: Livewire report

Priya Addams Williams has joined the Dylan Alcott Foundation as Shift 20 Initiative lead.

Previously, she was business director at Special Group, which worked with the Dylan Alcott Foundation (DAF) to launch the Shift 20 Initiative last year.

Shift 20 aims to help brands create marketing communications with diverse audiences in mind, encouraging them to look for opportunities to make a shift.

Addams Williams told Mediaweek that moving to the DAG to work on Shift 20 full-time is an honour. “I am so excited to focus on increasing representation of disabled people in advertising and bring more brands on board to help us achieve this mission,” she said.

As the Shift 20 Initiative lead, she will develop the Initiative’s offering and be the point of contact for brands interested in getting involved.

“In terms of what we hope to achieve – nearly 20% of Australians live with a disability, yet representation in mainstream media sits at less than 1%. We hope to shift that number significantly in the coming years.

“Last year’s launch saw 13 of Australia’s biggest brands come together and include people with disabilities in their ads. One of the biggest comments we heard along the way is that brands have wanted to include people with disabilities in their campaigns, but were nervous about getting it wrong. We want to work together and equip brands with the confidence to include people with disabilities in their future comms.”

Looking to the year ahead, Addams Williams shared that Shift 20’s goal is to get more brands on board and continue building out the offering to educate brands and act as a catalyst for change.

“We can’t make this change alone – it’s only with the commitment of brands, agencies, casting agencies, and production houses that we can make an impact. So please reach out if you want to learn more about being involved.”

Lindsey Evans, founding partner and CEO of Special Group, told Mediaweek: “We are delighted that Priya is joining the Dylan Alcott Foundation.

“Priya was instrumental in the success of the Shift 20 Initiative; mobilising the team at Special and PHD as well as an entire industry of brand owners, media owners and production to make it happen.

“We could think of no one better suited to help the Dylan Alcott Foundation charter the next chapter of Shift20 from within and are excited to see the momentum and industry involvement reach a whole new level.”

Williams first shared the news in a LinkedIn post on Tuesday: “When I joined the advertising industry, it was with one goal in mind – to increase representation of marginalised groups, and make who we see in our ads more reflective of the society we live in.

“Today I am so honoured to take the next step in realising this mission by joining the Dylan Alcott Foundation as the Shift 20 Initiative Lead.

“Extremely excited to continue building on what we created with Dylan Alcott OAM, Georgie Saggers, Special Australia and our incredible partners, so that disability representation in advertising becomes more reflective of the nearly 20% of Australians living with a disability.”

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Top image: Priya Addams Williams

Ellie Rogers has resigned from Snap Inc. as the platform restructures, a year after she started as sales director of Australia and New Zealand.

In a statement to Mediaweek, Rogers said that she has left the social media platform to focus on building her consulting business from Byron Bay, where she lives with her family.

“I’ve had the most amazing experience building and leading incredible sales teams over the last 20 years, including at Meta for nine years and Snapchat over the last 12 months.

“With such diverse experience, across planning and the full media mix, I’m looking forward to consulting to a range of businesses to drive growth and transformation.”

She also noted that she will continue her supporting UnLtd in her role on the board. “So if you are ever in Byron and fancy a cuppa – Mood Tea of course – hit me up.”

Tony Keusgen, Snap Inc’s managing director of Australia and New Zealand, thanked Rogers for her commitment and contribution to the role.

“In order to better support the needs of our agency partners, we’ve restructured our local agency team and Ellie Rogers, who was our agency director, will be leaving Snap,” he said.

“We plan to further grow our mid-level team across both agency and sales, to best service demand from this critically important sector. I would like to extend our gratitude to Ellie for the contribution she has made to our business during her time with us.”

Rogers joined Snap Inc last year after spending the previous nine years at Meta as industry director ANZ. She has also held positions at Carat, Profero, and Ikon Communications.

See also: Ellie Rogers joins Snapchat as ANZ Sales Director after leaving Meta

–

Top image: Ellie Rogers

Commercial Radio and Audio (CRA) and Triton Digital have released the April instalment of the Australian Podcast Ranker. 

Taking the top spot again was LiSTNR’s Hamish and Andy, who recorded 918,977 monthly listeners and 1,775,200 monthly downloads.

Staying in second was iHeart’s Casefile True Crime, with 814,928 monthly listeners and 1,959,550 monthly downloads. 

Making its debut into the third spot was daily news podcast, ABC News Top Stories. With 668,722 monthly listeners and 1,869,485 monthly downloads, ABC News Top Stories has bumped last month’s third-positioned podcast, Mamamia Out Loud, down to fourth. 

Another big podcast ranker debut came from The Mushroom Cook – News Corp Australia’s true crime podcast that tried to piece together the puzzle of how three people died after sitting down to share a meal in the small Australian town of Leongatha, Victoria. With 286,947 monthly listeners and 536,230 monthly downloads, The Mushroom Cook marked its first ranker in 16th position. 

The biggest lifter was LiSTNR’s Footy Talk – Rugby League Podcast, up 77 places to land at #97.

ARN’s iHeart kept its position as the top podcast publisher in the country. ARN’s head of digital audio, Corey Layton, said: “The iHeart team and our partners continue reaching Australian podcast listeners at scale. Across entertainment, education and escapism, brands continue leaning into our content at record highs.”

LiSTNR continued its run as the top sales representation podcast network nationally.

“LiSTNR has shown audience growth across its owned and operated podcast slate as well as its partner titles. Hamish & Andy has again taken the number one position and LiSTNR remains the number one sales representation network,” SCA executive head, LiSTNR podcasts, Grant Tothill, said.

“To see audience growth of our radio and original podcasts that has materialised into a record revenue month for LiSTNR is an outstanding achievement by everyone, and along with our new LiSTNR AdTech Hub, our sales team continues to offer advertisers more and more reasons to reach different audiences at scale.”

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Jacqui Abbott is set to join Qantas Group in a new senior communications role, Mediaweek can reveal.

From Monday 20 May, the former Foxtel exec will take on the title of executive manager, corporate affairs and internal communications.

“I’m thrilled to be back in the aviation industry and to be joining the team at Qantas, in particular, to be working again with Danielle Keighery after our time at Virgin together,” Abbott told Mediaweek.

Abbott worked with Keighery at Virgin from 2012 to 2015 as senior public affairs manager. Kieghery joined Qantas as chief corporate affairs and communications officer in January, making the move right before she was due to start a role at Optus. Her resume includes running corporate affairs for Crown Resorts and a 17-year stint at Virgin Australia.

Abbott left her previous role as executive director – group communications, Foxtel Group, in March after announcing her intention to move on form the company in December. Her tenure with the company ended after overseeing the launch of Hubbl. 

In December, Foxtel Group chief executive Patrick Delany sent a memo to staff thanking Abbott for her “three incredible years with the business.”

“Jacqui has decided it is time to spend some more time with her two young kids, go travelling, and then pursue new career opportunities.”

Adrian Christie replaced Abbott, joining Foxtel in March from Aldi, where he was communications director.

See Also: Musical chairs in PR world: Foxtel team changes with new exec director communications

Earlier this month, Qantas agreed to a $100 million penalty for misleading consumers by advertising and selling tens of thousands of flights it had already decided to cancel.

The ACCC commenced court proceedings against the airline last year, which Qantas originally defended, but last week, the parties agreed to ask the federal court to impose the $100 million penalty. Qantas also agreed to pay $20 million to affected consumers.

–

Top Image: Jacqui Abbott

News Corp Australia has advanced its advertising solutions with the launch of Shoppable ScrollX and enhancements to Targeted Time in View (TTIV). 

Both Shoppable ScrollX and an enhanced Targeted Time in View were unveiled at D_Coded, the company’s annual digital marketing event.

The Shoppable ScrollX ad format converts content into a dynamic virtual storefront. Through a full-screen mobile experience, customers can purchase products within editorial content. Early testing of the format saw a 37% higher click-through rate than existing ScrollX ads, according to Google Ad Manager records from July to November 2023. 

Managing director of client partnerships Lou Barrett said Shoppable ScrollX and the enhanced TTIV “are changing the game.”

“The real benefit is that your customers are able to shop right from the point of inspiration.”

Shoppable ScrollX is powered by technology from Vudoo and Bonzai, and works with Intent Connect’s new BuyNow segments. 

These segments are designed to capture real-time shoppers by identifying digital traffic which is actively researching related products, making sure brands reach the right audience at the right time.

Managing director of client product Pippa Leary said the move “isn’t just about technology – it’s about understanding consumer behaviour and creating advertising experiences that are both valuable and enjoyable.”

News Corp Australia has also made enhancements to its TTIV solution, working to allow advertisers to deliver high-impact video and display experiences that are tailored to user interests.

The updated solution elevates video and display advertising with contextual targeting, placing brand messages in relevant, trusted environments. Adaptive video streaming within TTIV delivers quick load times and smooths out playback, increasing the impact of an advertiser’s message.

“Our commitment to data-driven insights and innovation fuels these solutions,” director of commercial data, video and product Paul Blackburn said. “We’re helping advertisers navigate a privacy-compliant cookieless future with confidence.”

–

Top image L-R: Barrett and Leary

News Corp Australia is integrating Google PAIR and LiveRamp ATS Direct into its Customer Match advertising targeting tool.

The publishing business said that by creating a consistent identity through the integration, brands can understand customer behaviour across digital properties. This data allows the creation of specific audience segments for activation within News Corp’s network of more than 17 million Australians, and is used in a privacy-compliant way, it said.

Managing director of client product Pippa Leary said News Corp Australia “is leading the industry in unlocking the value of first-party data.”

“Our interoperability strategy ensures that brands have the tools they need to reach their customers better than ever, driving superior campaign outcomes.”

With Google PAIR, News Corp Australia will become one of the first publishers in the country to integrate the first-party data solution into its Customer Match capabilities. The move will allow marketers, advertisers, and agencies to activate their own customer data to News’ audience.

“By seamlessly integrating our clients’ customer data with News’ vast audience insights, we can create a complete picture of the customer journey,” managing director of client partnerships Lou Barrett added.

“This allows us to personalise advertising experiences in a way that’s both impactful and privacy-compliant.”

The company’s partnership with LiveRamp opens up the opportunity for ATS Direct, allowing for more precise targeting and measurement. It will help create a comprehensive view of customer interactions across digital channels and allow brands to both build targeted audiences, and reach them within the News Corp network.

Google PAIR and LiveRamp ATS Direct were unveiled at D_Coded, News Corp’s annual digital marketing event.

Director of commercial data, video and product Paul Blackburn said News Corp’s approach to collaboration with leading technology partners “fuels innovation.” 

“This allows us to develop cutting-edge solutions that leverage the power of data while prioritising user privacy. Ultimately, it’s about giving clients the tools they need to reach and engage their target audiences in a compliant and effective way.”

—

Top image: Leary

In an expansion of the company’s Total Video suite, News Corp Australia has launched in-article News Shorts and inked a new agreement with LiveRamp’s Safe Haven.

The combination means advertisers can reach more of their target audience via video formats, News Corp said, unveiling the advancements at D_Coded, the company’s annual digital marketing event.

News Shorts offers mobile-first vertical videos, and the expansion of Shorts into in-article placements means vertical video ads will find engaged audiences within the articles they’re reading.

Managing director of client partnerships Lou Barrett said the “innovative snackable video ecosystem” would provide marketers “more opportunities to engage customers through premium video within the News network.”

“We’re committed to video solutions that balance innovation with privacy-conscious targeting. This expansion of our Total Video suite is a testament to that commitment.”

News Corp has also joined forces with data collaboration platform, LiveRamp, to extend News Shorts advertising and native video content onto social media platforms. LiveRamp Safe Haven ensures a privacy-centric approach to video addressability across platforms, creating a high-impact audience experience for advertisers.

Liveramp’s managing director, APAC, Melanie Hoptman, said creating a personalised omnichannel experience for consumers “is key in today’s complex market.”

“LiveRamp helps to power better data collaboration so that News’ advertisers can better leverage their data while engaging customers with personalised touch points across News’ properties.”

Managing director of client product Pippa Leary added: “News Corp Australia’s trusted audiences and first-party data, combined with LiveRamp’s reach, create a unique advantage for brands looking to maximise their video investment.

“News Shorts and our LiveRamp partnership empower advertisers to achieve signal gain and reach the right audiences with the right content at the right time.”

See also:
Mediaweek’s A to Z of 2023: V is for Video Advertising
Media metrics becoming impractical: News Corp

– 

Top image: Lou Barrett 

News Corp Australia is adding AI technologies to its audience intelligence platform, Intent Content.

The business announced the enhancements to Intent Connect today at D_Coded, the company’s annual digital marketing event. The update will assist clients with advanced data collaboration capabilities through planning, booking, and measurement, it said.

Managing director of client partnerships Lou Barrett said since launching Intent Connect at D_Coded last year, it has undergone a major transformation.

“The real benefit to clients is that it is so easy to use – it makes planning and executing with News simple. They can now steer their digital marketing campaigns with a level of precision and confidence that hasn’t been possible before.”

The single platform solution was created in direct response to evolving consumer expectations. News Corp said that the enhanced Intent Connect offers comprehensive data solutions to identify high-intent customers ready to make a purchase.

Managing director of client product Pippa Leary said Intent Connect is now an all-in-one audience intelligence platform, saving time and resources for clients.

“Advertisers shouldn’t have to settle for fragmented solutions and wasted resources. Our Intent Connect platform makes efficiency the new normal, delivering measurable outcomes for every campaign.

“We understand that every marketer’s goal is to connect meaningfully with their audience. Now, Intent Connect gives them the power to identify and act on customer intent like never before.”

Director of commercial data, video and product, Paul Blackburn added that the team is “committed to building a platform and capability that anticipates challenges and offers solutions.”

“With Intent Connect marketers gain the ability to access high fidelity audience signals that deliver them better outcomes – we call this signal gain,” he said.

The new features of Intent Connect include a redesigned home screen with a new look and feel; audience builder – an AI-powered search that allows users to build and create the perfect audience for campaigns; an AI chatbot called CAI to assist with audience insights and campaign optimisation; Customer Match and its new partnerships with Google PAIR and LiveRamp ATS Direct; Intent Connect Local, which enables precision targeting; programmatic homepage buying, a new programmatic booking feature which lets clients on Google’s Display and Video Platform request, book, and activate directly; booking flow and campaign analytics, which gives clients real-time campaign measurement through a dashboard; and independent measurement solutions.

See also: Growth Distillery, Ogilvy, and Kantar partner for influence research

–

Top Image: Barrett, Michael Miller, and Leary

Fetch TV will be making free-to-air (FTA) channels available as IP feeds via the Fetch Electronic Program Guide (EPG) from next month.

Fetch households with no or poor FTA reception will have easier access to FTA program information and single-click channel access from the EPG.

The FTA IP channel feeds are currently available for viewing on the Fetch platform via the individual FTA BVOD Apps. Fetch will now provide the convenience of integration into the EPG.

Scott Lorson

Fetch TV: ‘EPG remains at the centre of content discovery’

Scott Lorson, CEO of Fetch TV, said: “Households with no or poor FTA reception represent a large and growing segment, and include homes in digital terrestrial black spots, multi-dwelling units with no FTA access, new estates where antennas are not permitted, homes with no or broken aerials, and even rooms where no aerial socket is present. Australian families without FTA reception are looking for solutions.

“Fetch recognises the importance of access to FTA channels and apps, with FTA viewing continuing to represent the majority of all TV viewing. We also know that the EPG remains at the centre of content discovery and channel navigation, and we are keen to extend this convenience to all customers.”

The FTA IP feeds do not currently represent a “like for like” replacement of the terrestrial feeds, as they are subject to some sport and programming blackouts as well as other programming differences, particularly with respect to regional vs metro news.

Lorson added: “We continue to advocate for the anti-siphoning legislation to include the FTA IP feeds or ‘digital twin’, given the critical role that FTA IP feeds will play in preserving access to FTA channels and sport into the future. We also welcome efforts to extend access to regional news, and preserve logical channel numbering (1-99) for the FTA channels.”

See also: Fetch TV markets itself as an easy option in a world where TV viewing is complicated

Fortress Games has appointed Organic, One Green Bean, and the wider Havas Network to handle PR, social, and content for the brand.

Primarily, Organic and One Green Bean will set a strategic communications vision for Fortress Games in Australia and globally. Fortress Games has two venues located in Sydney and Melbourne and offers hundreds of playable devices and interactive experiences.

“As we look to expand both in Australia and our online global brand, it was obvious that the team at Organic led by Annabelle [Gigliotti] was the perfect fit for us,” said Beth Appleton, CMO at Fortress Games.

“Their understanding of our business, the diverse gaming community, and proven expertise across PR, social and strategy to continue to build momentum that Fortress is the home of games culture and IRL social experiences make them the ideal partner for Fortress Australia.”

Appleton joined Fortress as CMO in January 2024. The ex-Jaxsta CEO and former Warner Music general manager believes Fortress is an “exciting turning point” for Australia’s gaming industry.

Organic and One Green Bean will handle ongoing consumer and trade publicity, including events, corporate profiling, and general consumer awareness, as well as social media content creation and strategy. 

Annabelle Gigliotti, managing partner at Organic Publicity, said: “Having worked with the incredible team at Fortress for some epic client events and activations, team Organic fell in love with the awesome venues. As we delved deeper into the lore, the experience, and the vision we wanted to be a part of the Fortress journey.”

Together with gaming, entertainment, and lifestyle partners, Fortress hosts open-experiential activations, community-focused social events, professional e-sports tournaments, and broadcast productions. 

The first location of its kind in Australia, Fortress Melbourne opened in 2020 and was followed by the opening of Fortress Sydney in 2023. Both are multilevel complexes which include dining and drinking venues such as 2315, a sci-fi-themed cocktail bar.

As of 2022, the industry was worth $4.21 billion, up from $2.67 billion the previous year, experiencing meteoric year-on-year growth since 2017.

See also: Fortress Australia appoints CMO to capitalise on meteoric growth in gaming market

Bowel Cancer Australia has launched a new awareness campaign developed by Ogilvy Health, Australia’s Deadliest. The campaign spotlights the dangerous nature of bowel cancer, which affects over 1,700 Australians aged under 50 each year.

Brought to life by production house AIRBAG, and directed by Eddy Bell, the campaign employs the imagery and style of tabloid journalism as a framing device, portraying bowel cancer as a deadly creature through sensational headlines, but telling true and confronting stories about its nature.

The campaign is being rolled out from this week across TV, online films, OOH, digital media, social media, print, and radio.

‘Australia’s Deadliest’ OOH ad

Nina East, group creative director of Ogilvy Health, the healthcare arm of WPP-owned comms specialists Ogilvy, said the agency worked closely with five early-onset bowel cancer patients, whose experiences became integral to the development of the campaign.

She explained the challenge for Ogilvy was that “people perceive bowel cancer as an ‘old man’s disease’. We needed to jolt them into reality, dispel this misconception, and help people understand bowel cancer can affect people at any age.

“Through authentic real experiences, we portrayed bowel cancer as a deadly creature striking Australians aged 25-44. We set out to make a confronting campaign that would make a difference. We needed something that would motivate people to be vigilant and look for symptoms. Thanks to the bravery of five phenomenal patients and an amazing client partnership, I think we’ve achieved that.”

Stephanie Bansemer-Brown, marketing and publicity manager at Bowel Cancer Australia, added that “younger people are dying from a disease that is 99% treatable when caught early, yet bowel cancer awareness remains low. This campaign aims to change that. To cut through the noise and give early-onset bowel cancer a face that truly resonates with Australians.  

“The incredible teams at Ogilvy Health and AIRBAG Productions were thoughtful, considered, and collaborative to ensure the authentic voice and reality of people living with early-onset bowel cancer was at the heart of the campaign.

“As a bowel cancer survivor, I am so proud of this campaign and the bravery of Nina, Jake, Rachel, Kin, and Anthony who feature in it, to highlight the impact of this disease on younger Australians.” 

Director Bell said he was “incredibly grateful to have been part of this campaign, not only for the opportunity to tell the journeys of the amazing patients involved, but it also gave me a chance to start a dialogue around this disease with my own loved ones.”

The work follows a string of recent appointments by Ogilvy. DDB Sydney’s chief strategy officer Fran Clayton left the agency after almost 10 years to become AUNZ CSO at Ogilvy, as Mediaweek revealed in April. Ogilvy Melbourne also announced it had tapped Chris Andrews as group creative director, moving from his role as creative director at Special.

See also:
Fran Clayton leaves DDB Sydney for Ogilvy AUNZ CSO role
Ogilvy Melbourne snags Special’s Chris Andrews as group CD

Credits:

Client: Bowel Cancer Australia
Julien Wiggins: CEO
Stephanie Bansemer-Brown: Marketing and publicity manager

Creative and strategy: Ogilvy Health Australia 

Media: Assembled Media
Zac Chapman: Managing director
Samantha Murphy: Client manager

Production: AIRBAG
Eddy Bell: Director
Adrian Bosich: Managing partner
Martin Box: Executive producer
Renae Begent: Executive producer
Megan Ayers: Senior producer
Jason White: Cinematographer

VFX – AIRBAG
Nick Venn: Post producer
Rob Ride: VFX supervisor 
Will Lovett: Lead VFX artist

Heidi Wentworth-Ping: Compositor
James Ashbolt (ARC Edit): offline Editor 
Gabriel Tick (Studio Union): Motion graphics
‘Let Go’ by Cash Savage and the Last Drinks
Music publication c/o Gaga Music 
Brendan Woithe and Declan Diacono (Klang Studios): Music editing and sound design
Analese Cahill (Klang Studios): Sound post producer

Red Rooster has teamed up with Four’N Twenty pies – the ‘official pie’ of the AFL – for a limited edition chicken and gravy pie ahead of the Australian footy final season, launching with a fully integrated creative campaign via Leo Burnett Australia.

The campaign rollout, including its hero 15 second TVC announcing the collaboration, is being supported across online, social, digital, radio, and OOH, targeting the 18-34-year-old demo looking for an on-the-go, one-hand-eat lunch solution.

Marijke Spain, creative director at Leo Burnett said the creative agency was “excited to see a brief about the coming together of two iconic Australian brands.”

“In the spirit of our Reds platform, which celebrates the crazy things people do to satisfy their chicken cravings, we brought this partnership to life in an iconic Aussie scenario – a pie at the footy,” she said. 

The campaign also sees the launch of special edition wearables available through the Red Rooster merch website. 

CMO of Patties Food Group, owner of Four’N Twenty, Anand Surujpal, said: “It is always exciting when two Aussie icons come together to bring customers a brand-new product.”

Red Rooster’s director of marketing, Ashley Hughes, said he was looking forward to demonstrating Red Rooster’s roast chicken and gravy flavours “to a new and wider audience and embed the brand further in Aussie pop culture by collaborating with another highly recognisable iconic Australian food brand.”

“Four’N Twenty is famous for its pies, and we are famous for our chicken, and in my book, that makes this the perfect partnership,” Hughes said. “And we all know how much Australians love their pies, so we are very confident this limited edition menu item will be a hit with our customers, especially those heading to the footy and needing a delicious on-the-go winter lunch option to satisfy their cravings.”

Over the past few years, Red Rooster has been on on a mission to double in size as it seeks to shed its “bland and boring” brand perception by connecting to a younger, more diverse customer base. 

The 50-year-old chicken brand underwent a significant brand overhaul and is continuing to transform through menu changes, store design, and brand positioning, which has already resulted in the brand growing by 40% in same-store growth. 

See also: Flying the coop: How Red Rooster shook off outdated perceptions to drive 40% growth

Credits:

Client: Red Rooster
Director of marketing: Ashley Hughes
Marketing manager: Jane Hillsdon
Brand manager: Julia Lo Presti
PR and communications manager: Stella Katsaros

Creative agency: Leo Burnett Australia
Creative director: Marijke Spain
Creative director: Michelle Walsh
Art director: Cristina Muffatti
Copywriter: Kevin Ma
Senior business director: Nicole Denning
Business director: Dani Garabedian

PXP: Producer: Lauren Woods

Media: Atomic212

Production company: Photoplay
Director: Scott Otto Anderson
Executive producer: Emma Thompson
DOP: Daniel Ardilley
Food stylist: Jacqui Hing
Offline editor: Mark Bennett
Online: Chris Grocott (White Chocolate)
Sound post: Renee Park (Rumble Studios)
Casting: Danny Long

TRESemmé, Emotive, and Ovolo Hotels have launched the first-ever hair service menu, a complimentary menu that allows hotel guests to order bespoke, professional haircare to their room. 

The service will exclusively roll out across the designer hotel collection including Ovolo hotels in Sydney, Melbourne, Canberra, and Brisbane from Friday 10 May. 

Stephen Howard, group director of marketing, Ovolo Hotels said: “Partnering with TRESemmé to offer our guests an unparalleled and world-first hair service menu experience during their stay, is a masterstroke. At Ovolo Hotels, we’re constantly exploring new experiences for our guests to enhance their stay and we believe they’ll absolutely love this addition.”

Kat Topp, creative director at Emotive, added: “This is the kind of work we love doing at Emotive. At its heart there’s a beautifully simple idea that makes you think, ‘Why the hell hasn’t anyone done this before?’ To achieve brand fame for this collaboration, we creatively brought it to life by leveraging our expertise across social, talent, partnerships, PR and brand experience.”

TikTok Creator of the Year Indy Clinton, along with other VIPs, put the hair service menu to the test during a launch event at the Ovolo Woolloomooloo Sydney last week. During the launch weekend in Sydney, guests were also able to request a complimentary blow dry session in their rooms from a top stylist.

“Having tailored hair care products delivered to your room is a game changer, so I jumped at the chance to give the TRESemmé and Ovolo Hair Service Menu a test run,” Clinton said.

Kate Westgate, marketing manager at TRESemmé, added: “Ovolo Hotels have been the perfect partner to help us bring this idea to life. They offer the boutique hotel experience, one that values quality and personalisation as much as we do.”

By Nina Christian, marketing futurist and global marketing mentor

The misconception that personal branding is synonymous with self-promotion is pervasive, often stopping people from sharing their expertise and stepping into their full potential. You might have heard, “I don’t want to come across as too sales-y” or “Personal branding feels like bragging.” But let’s debunk this limiting belief and shift the narrative toward a more empowering mindset.

Shifting the Paradigm: From Self-Promotion to Value Creation

The traditional approach to personal branding has been heavily focused on validation, measured by likes, shares, and followers. This fixation can lead to anxiety, burnout, and a disconnect from the real value you bring. Here’s the mindset shift:

Old Belief: Personal branding is all about talking about myself.  

New Belief: Personal branding is about sharing my unique value.

Paradigm Shift: Your value is not measured by external validation but by the impact you create through your work.

Reimagining Content Creation: Simplicity and Impact

A common misconception about personal branding is that it requires endless streams of fresh content across multiple channels. This often results in overwhelm and paralysis. Here’s how to think differently about the content creation process:

Simplify Inputs
Instead of constantly reinventing the wheel, simplify your content creation by brainstorming a few core themes that align with your values and expertise. Leverage synchronicity by tapping into those “aha” moments where your life intersects with your work.

Amplify Outputs
Repurposing is key. One piece of content can be shared in various forms: a blog post, video snippet, social media graphic, or podcast episode. As I always say, “Refine, rinse, and repeat.”

Leverage Your Network
Your network is a goldmine of inspiration and support. Engage in meaningful conversations, listen to feedback, and brainstorm ways to collaborate or cross-promote with like-minded individuals. By fostering these connections, you’ll strengthen your brand’s reach and impact.

Amplifying Your Authority: Omnipresence Matters

Establishing yourself as an expert in your field is about amplifying your authority, not boasting. When you position yourself effectively, you create a sense of omnipresence.

Document Your Wins
Capture case studies, testimonials, and behind-the-scenes moments where you’ve made a difference. This reinforces your expertise and builds trust with your audience.

Share Impact Content 
Think about the ripple effect of your message. How does your expertise improve the lives of your audience, their families, and their communities? Share those stories.

Build Thought Leadership
Write thought-provoking articles, speak at events, or create valuable resources that showcase your unique insights. Your thought leadership should inspire others and differentiate you as a credible authority.

Taking Action: Your Personal Branding Blueprint

With this new mindset, here’s how you can shift your approach to personal branding:

Identify Your Core Values and Purpose
What do you stand for, and what impact do you want to create? Your brand should reflect these fundamental aspects of your identity.

Develop a Consistent Content Strategy
Plan your content around your core themes and ensure consistency in messaging and visuals across platforms. Don’t try to do too much or you’ll end up doing none of it. I talk in my book latest book Marketing Me about the need to have a one-hour-a-week marketing strategy. When you’re a personal brand, anything regular you commit to beyond that isn’t sustainable for 99% of humans.

Build Your Network and Engage
Connect with industry peers, clients, and followers genuinely. Foster meaningful relationships that contribute to your growth.

Measure Impact, Not Vanity Metrics
Focus on how your content resonates and the value it provides rather than getting caught up in likes and shares.

Embrace a Growth Mindset
Understand that your personal brand is a journey. Learn, adapt, and grow as you navigate the changing landscape.

Personal branding isn’t about self-promotion; it’s about creating meaningful value for your audience. By shifting your mindset and embracing a value-first approach, you can build an authentic brand that resonates, inspires, and leaves a lasting impact.

So, what’s holding you back from amplifying your personal brand?

See Also: Nina Christian: Marketing in the information overload age

–

Nina Christian is a Marketing Futurist, & Global Marketing Mentor who helps people do their marketing in a more human way. 

She is a Certified Practicing Marketer (CPM), Life Member and Fellow of the Australian Marketing Institute & AMI State Chair (Vic) and for 20 years was director of marketing agency Braveda (Winner, Best Marketing Agency, Australian Marketing Excellence Awards).

Several years ago Nina saw the world of marketing shifting – this time as people became their own brands.  With this, she created a new business as a thought leader, combining her expertise in brand building with personal positioning, resulting in a breakthrough praxis known as Marketing Me® which she delivers globally to business leaders, professionals and entrepreneurs.

She is the author of the book Marketing Me: Take Charge of Your Personal Brand and Make Your Mark on the World which helps professionals who want to market themselves authentically, but don’t understand what makes them truly unique and significant or have the confidence to express their value in a way that feels good.

Being a hands-on mum of five children, Nina Christian has developed a knack for simplifying complexity. As a result, her systems and processes are practical, accessible and impactful.

By Oryana Angel, founding director of In The Media PR

The Albanese government is handing down its third federal budget tonight. With the national media agenda firmly focused on the outcome, it’s a good opportunity for pro-active profile-raising commentary.

It’s not just ministers and reporters who will be directing the news agenda over the next few days either; there are plenty of opportunities for heads of organisations, business leaders, founders, and CEOs to share their industry views.

Prepare your message

To get heard in all the noise surrounding the budget, journalists will be looking for high profile, new, or unusual opinions. Coming in with ‘me too’ or ‘I agree’ probably won’t be enough to cut through.

Instead, you might want to consider how the key topics covered in the budget relate to your organisation or industry. If certain groups have been left out, it’s a great time to be critical and share another point of view.

Opportunities abound

Labor has said the primary focus of the budget will be on fighting inflation and the rising cost of living, but that doesn’t mean commentary on other topics won’t be covered.

From health care and disability support to housing, energy and education, journalists will be looking for different opinions across dozens of other impacted industries.

Not all opinions are destined to run in the big papers, but most media outlets will be covering the budget in some way or another. Radio programs, podcasts, online outlets as well as trade media may reach a smaller audience, but they can often be a very relevant one.

Nuts and bolts

It’s helpful to understand the way journalists tackle budget coverage. With the budget hand down happening this evening, the big-ticket items will be covered immediately throughout the evening (on the TV news, radio, and online media).

Tomorrow’s paper will have more detailed analysis of the main budget winners, with even more unpacking of key points coming out over the coming days.

By the end of the week, the budget won’t be leading the news bulletins anymore, so it’s important to move quickly.

Strategic impact

One organisation we work with was last year successfully incorporated in the $14.9 million injection to equip businesses with the skills and capabilities to boost and diversify international trade ties. Another had launched a major health review, with their campaign culminating in federal budget support.

As part of a multi-billion-dollar housing and homelessness package, the Albanese government has promised an extra $1bn towards crisis accommodation for women and children leaving domestic violence. An addiction treatment centre we are working with is questioning what money has been set aside for drug and alcohol rehabilitation programs, which can often be a trigger for DV.

$500m has been slated for drought relief funding for farmers. Our client, a meat delivery service direct from farmers, is talking about the impact on the ground for helping farmers’ land become more drought resilient.

Just remember

For those that may not have landed their funding, it’s okay to criticise the government. Just be mindful of long-term organisational goals, as well as possible repercussions.

Once you land your interviews, think about who your audience is – who you’re speaking to. This will help determine how much detail you should go into or how much industry knowledge they will already have.

See also: Kate O’Loughlin: What the Met teaches us about celebrity mega-brands and consumer expectations

Nine has adopted Magnite’s SpringServe solution to manage the delivery and mediation of programmatic demand on 9Now. 

The Magnite Streaming SSP will provide the tools to manage and optimise 9Now inventory across multiple demand sources. SpringServe will also power 9Now’s mediation layer.

Nick Young, Nine’s digital commercial director, said: “Nine continues to invest in developing new market-leading digital and data capabilities to empower brands with more effective ways to reach and influence our vast audiences.

“It’s critical we partner with the best in class technology to meet the unique needs of advertisers in this market. Magnite is such a business and we are pleased to be extending our partnership with the team.”

Magnite said SpringServe will enhance the 9Now experience for viewers and advertisers by shifting the way programmatic demand sources across inventory. With SpringServe, supply is offered simultaneously and in parallel, as opposed to in a linear and sequential order, allowing advertisers more complete access to audiences.

Advertisers will also have the ability to test ClearLine, Magnite’s self-service buying solution which provides direct access to premium video inventory on Magnite’s platforms.

Yael Milbank, managing director, ANZ at Magnite, said: “Utilising advanced technology designed specifically for programmatic environments helps publishers like Nine maximise revenue potential and tap into new advertising opportunities.

“Our holistic approach to account service, encompassing tech operations, demand, and deal management helps our clients navigate the intricate programmatic landscape and empowers them to fully leverage programmatic advertising’s potential. We look forward to delivering positive outcomes for Nine through this unique combination of technology and service.”

The strengthening of Nine and Magnite’s partnership comes as 9Now unveiled a new look and interface upgrade in April to mark 100 days until the Paris Olympic Games. Director of programming and 9Now Hamish Turner called its impending coverage the “biggest undertaking in the history of Nine” to create the “greatest Games of all time.”

9Now will feature more than 40 individual live sports channels, curated on a new interface that will allow viewers to watch coverage whilst browsing the app. 

See also: ‘Biggest undertaking in the history of Nine’: Nine’s Paris Olympics plans, 100 days out

XPO: The Mars Agency has rebranded to Mars United Commerce, claiming that the name change reflects its transformation into a full-service commerce marketing partner.

The new name has been adopted by all of The Mars Agency’s operations around the world.

Sally Tobin, managing director for ANZ, who launched XPO Brands in 2013, said: “We’re so very proud of the equity we’ve built around the XPO name and the reputation we established for excellence in shopper and experiential marketing.

“Since joining The Mars Agency, we’ve moved beyond those roots to grow capabilities and gain equity in other key areas of commerce marketing. It’s only natural, then, for us to now join the rest of Mars in adopting a new name that better represents everything we can do for clients in the region.”

Rob Rivenburgh, global CEO, added: “The Mars Agency has long been known for relentless reinvention, for staying ahead of industry trends to build expertise in the emerging skill sets our clients need to drive sustainable business growth.

“We have best-in-class capabilities across the full spectrum of commerce marketing, and an unmatched ability to unite them to drive even greater success for our clients. That’s what Mars United Commerce says to the marketplace.”

The business said its strategy and analytics, retail media and e-commerce, content and experiences, and retail consultancy offerings form a ‘united commerce ecosystem’.

Strategic acquisitions like XPO Brands in 2022 have expanded the company’s reach and geographical footprint.

Mars United Commerce now encompasses a workforce of 800 professionals across North America, Europe, Australia, New Zealand, and Asia.

The rebrand, the business said, represents a “past, present and future commitment to operating as an enterprise commerce partner that delivers all the solutions brand and retailer clients need to grow their businesses.”

Tobin added: “With The Mars Agency’s support, we’ve become a more complete commerce partner for our clients. As part of Mars United Commerce, we’ll be bringing even more opportunities to the region.”

Restructured for 2024, the WARC Awards build on the legacy of WARC’s previous shows to honour the best marketing campaigns from across the globe that deliver strategic brilliance and effective impact.

Judged by 120+ international jury members representing their respective regions, a total of 171 campaigns have been shortlisted from 35 markets across the five awarding regions. 

Asia-Pacific leads the pack with the most shortlisted entries (64), followed by North America (46), Europe (38), Middle East and Africa (15) and Latin America (8). The Monkeys, part of Accenture Song, leads the local agencies.

Shortlisted Australian and New Zealand campaigns include:

Business-to-Business

Think anything. Make everything.
Brand: Lenovo
Agency: Merkle, Sydney
Advertiser: Lenovo
Market: Australia

Channel Pioneer

Samsung iTest – Comparing apples with androids
Brand: Samsung Galaxy
Agency: DDB Auckland, Tribal Aotearoa
Advertiser: Samsung
Market: New Zealand

Cultural Impact

How 2degrees gave New Zealanders an extra five years with their loved ones in 2022
Brand: 2degrees Mobile
Agency: TBWA/New Zealand Auckland
Advertiser: 2degrees Mobile
Market: New Zealand

Correct the internet
Brand: Team Heroine
Agency: DDB Auckland
Advertiser: Team Heroine
Market: New Zealand

Customer Experience

Rebuilding a more wonderful airline experience
Brand: Virgin Australia
Agency: Special Sydney, PHD Sydney
Advertiser: Virgin Australia
Market: Australia

Instant Impact

Making the best call in home loans – How ANZ mobilised a thousand staff, redefined value and reversed a year of share decline in one month
Brand: ANZ
Agency: TBWA/New Zealand Auckland
Advertiser: ANZ Bank
Market: New Zealand

How un-Australia delivered new records for Australian lamb
Brand: Australian Lamb
Agency: The Monkeys, part of Accenture song, Sydney, One Green Bean Sydney
Advertiser: Meat and Livestock Commission
Market: Australia

Over beer? How Australia’s ultimate challenger brand overcame its biggest challenge to date
Brand: Canadian Club
Agency: The Monkeys Sydney
Advertiser: Beam Suntory
Market: Australia

Long-term Growth

Making air conditioning a laughing matter
Brand: Mitsubishi Heavy Industries Air-Conditioners Australia
Agency: Connecting Plots Beaconsfield
Advertiser: Mitsubishi Heavy Industries
Market: Australia

Industry SuperFunds
Brand: Industry SuperFunds
Agency: Shannon Company Melbourne
Advertiser: Industry SuperFunds
Market: Australia

How little moments made big bickies for Arnott’s
Brand: Arnott’s Biscuits
Agency: Saatchi & Saatchi, Australia
Advertiser: Arnott’s Biscuits
Market: Australia

Game on!
Brand: Maybelline
Agency: Wavemaker, Hero, McCann Melbourne
Advertiser: L’Oréal
Market: Australia

Path to Purchase

Instant shoppable ads – A Moët & Chandon x News Corp Australia commerce partnership powered by Vudoo
Brand: Moët & Chandon
Agency: VUDOO, Australia
Advertiser: LVMH
Market: Australia

Strategic Thinking

How can a country exist without land?
Brand: Government of Tuvalu 
Agency: The Monkeys, part of Accenture Song, Australia
Advertiser: Government of Tuvalu
Market: Global

You’re Cooked
Brand: Fire and Emergency New Zealand
Agency: Motion Sickness Auckland
Advertiser: Fire and Emergency New Zealand
Market: New Zealand

The winners of the bronze, silver, and gold WARC awards across all five regions will be revealed on 22 May.

Ne-Lo Business Design founders Kieran Antill and Ross Hastings have launched TheAnatomyofMarketing.org, a platform set up to service brands, marketing agencies, and businesses directly.

The Anatomy of Marketing (AoM), first developed internally by the consultancy to help clients take a company-wide approach to marketing, uses the analogy of the human anatomy to articulate how the fundamentals of modern marketing connect across an entire organisation.
 
It aims to provide the common language necessary for everyone to see their role in marketing and build a meaningful connection to the brand.

Antill and Hastings began sharing Ne-Lo’s AoM model and methodology and received requests from agencies and companies eager to use it to build their internal alignment and capability, which led to the launch of TheAnatomyofMarketing.org.

Educational institutions also expressed interest. The team delivered a session with the University of Sydney Business School’s Executive MBA and is working on a program with the Berlin School of Creative Leadership.

“We have lofty ambitions for The Anatomy of Marketing; we see it transforming the marketing industry in the same way that Gray’s Anatomy revolutionised the medical industry. Providing a single reference point to drive innovation, focus education, and vastly improve client outcomes across multiple disciplines,” Hastings said.

“To achieve this, we actively encourage discussion, debate, challenges, and open dialogue – after all, Gray’s Anatomy is on its 42nd edition and counting.”

As digital technologies, especially AI, become increasingly integral to marketing, Antill says the need for The Anatomy of Marketing has become even more pronounced.

“AI technologies are revolutionising all areas of business, none more so than marketing. However, this revolution brings complexity, as marketers must now understand both traditional marketing principles and the intricacies of AI and other digital technologies.

“AI will accelerate us towards rapid executions but until we release all control, we need the common language of the anatomy as a critical reference for effective, data-driven marketing decisions that leverage AI’s capabilities while remaining grounded in proven marketing fundamentals.

“This anatomy is not only to align humans, but also to train AI. Without it, brands will dilute themselves by choosing disparate executions versus a cohesive strategy that builds and the potential for existing misalignment and inconsistencies to be increased exponentially is high.”

See also: Ross Hastings: Marketing should be a culture, not a department

–

Top image: Ross Hastings and Kieran Antill

Wellcom Sydney has brought Stanley Water Bottles to Australian Fashion Week 2024. 

The creative production agency was appointed as the brand’s agency of record in October last year and developed a brand campaign for AFW.

Marnie Darren, Wellcom general manager, said: “The clothes we wear tell our stories and Stanley is an icon brand that has been embraced as a fashion accessory. The campaign is a demonstration of the effortless way the Stanley brand fits in fashion.”

Peter Citroni, Wellcom creative lead, said: “Stanley’s partnership with AFW gave us the opportunity to play with the product in a different context – bringing Stanley and fashion together. Everyone gets thirsty, it’s a bit of fun.”

The 110-year-old water bottle brand launched in Australia last September.

Stanley brand manager, James Cowling, said: “The AFW sponsorship is a natural fit with our brand. The fashion audience is a great reflection of our society’s cultural diversity. For an iconic brand like Stanley and in a multicultural nation like Australia, we want Stanley to stand alongside events and moments that represent the rich tapestry of cultures.”

The AFW Stanley campaign can be seen on socials, OOH, and on the runway at the Carriageworks event, commencing 13 May and stretching across the week.

Earlier this year, the creative production agency crafted a brand campaign for ACERO, a premium fitness and personal training gym founded by celebrity trainer Jono Castano and chief executive office Amy Castano.

The campaign, designed to convey both emotional sentiment as well as physical and mental strength, aspires to reflect the passion of ACERO’s founders.

See also: ACERO shakes celebrity fitness image in ‘Realise Your Potential’ campaign with Wellcom

Credits:
Client: Stanley
Creative Production Agency: Wellcom Sydney
Creative Director: Oli Hammerton
Creative Lead: Pete Citroni
Group Account Director: Hugh Fletcher Photographer: James Giles
Video: Leo Harunah
Stylist: Jessica dos Remedios
Producer: Christina Kouvaras

Independent Media Agencies of Australia (IMAA) is launching an event, Digi-Byte, to mark the release of its IMAA Academy Digital101 e-learning module.

The inaugural event, to be held on 21 May at Fortress Sydney for IMAA members and media partners, will include a series of digital panels and speakers followed by an immersive gaming competition.

IMAA CEO, Sam Buchanan, said: “This event serves as a unique platform to unite the industry by providing networking opportunities while delving into the digital landscape’s advancements, opportunities, and key channels.”

Pip Bingemann, co-founder of Springboards.ai, will speak about how AI is the biggest opportunity and a key competitive advantage for indies and smaller agencies if they harness it properly.

AirStack AI founder Tom Pitney will explore how independent media agencies and their teams can grasp AI’s impact, navigate its disruptions, and take actionable steps with measurable AI solutions.

Digi-Byte’s first session, Social and influencer – The Next Wave, will be moderated by Howatson+ Company head of media Sasha Smith, alongside panellists: Pinterest partner manager Meghan Stern, LinkedIn ANZ agency development lead Sarah Fuller, Snap head of mid-market ANZ Evan Tsaprounis, and Meta head of independent agencies ANZ Kristy Barclay-Allen.

The second panel, The Ultimate Programmatic Channel, will be moderated by Love Media managing director Rob Wall, along with panellists including Blis ANZ head of sales Elias Psarologos, JCDecaux national programmatic director Brad Palmer, NOVA Entertainment head of audio automation Steve Golding, and StackAdapt APAC director of sales Berina Colakovic.

The session will conclude with an immersive gaming competition, pitting members and partners against each other in a range of online games, sponsored by GCA Media Network.

The event will also mark the official launch of Digital101 – the latest e-learning module in the IMAA Academy education program. It will deep-dive into the nation’s digital sector, including social media, influencers, and AI technology, and will be supported by leading digital companies.

The course is part of the IMAA Academy’s syllabus, which includes eight channel-specific e-learning modules, rolled out every six weeks, along with videos and podcasts featuring industry leaders and channel specialists. Each of the modules is IMAA-certified, with participants receiving a course certification badge once they successfully complete an exam for each module.

Melissa Roberts, IMAA Academy project leader, said: “The Digital101 module has been eagerly awaited by the industry as the most rapidly evolving and dynamic media sector. The Academy’s digital course has been 12 months in development, because we wanted to ensure we covered off all the crucial elements to consider when creating a digital marketing campaign, along with the various digital formats available.

“Digital is such a vibrant space to explore, particularly because it is always changing, so we’re looking forward to sharing the latest innovation in the sector with course participants.”

Psarologos, Digi-Byte gold sponsor and Blis ANZ head of sales, said: “Blis is proud to partner with the IMAA for their innovative Digi-Byte series, particularly as we understand the importance of staying ahead in the digital landscape. Our collaboration with the IMAA not only underscores our commitment to innovation, but also highlights our expertise in empowering advertisers, media agencies and marketers with actionable insights.

“Together, we’re excited to contribute to the exchange of knowledge, and equip attendees with the tools they need to excel in today’s dynamic digital environment. We look forward to shaping the future of digital media, alongside IMAA – one byte at a time.”

See also: IMAA secures 44 group deals for members

TV Report 14 May 2024:

Nine TV Report

The Summit

Nine’s evening began with the third episode of The Summit.

As the prize pot dwindled, trust was tested as the mountain served up a jaw dropping challenge. A failure led one hiker to threaten to leave the competition and a secret chaser was released to hunt the group down. 

A Current Affair

Over on A Current Affair, the program looked into whether coffee should be GST-free and met with hard-working Aussies pleading for a budget reprieve. 

Seven TV Report

Farmer Wants a Wife

On Seven, Farmer Wants a Wife saw Farmer Bert drop a bombshell leaving Brooke, Caitlin and Karli packing their bags; while fellow farmers Todd, Joe and Dustin said goodbye to Ellen, Claire and Belle. 

Home & Away

Before Farmer was Home & Away as Nelson charmed Bree, Mackenzie and Levi faced the fallout of affair and Mali and Kirby established ground rules.

10 TV Report

The Project

The Project on 10 looked at what Aussies can expect in the federal budget, spoke to Aussie volunteers trapped in Vanuatu after an airline collapse and the desk spoke to Ben Knight.

MasterChef Australia

On 10’s MasterChef, Nat, Gillian, Alex and Lourdes battled it out in a Pressure Test set by Chef Liam Downes at Black Cat Truffles just outside of Ballarat.

The Cheap Seats

Taking a look at the week that was were The Cheap Seats hosts Melanie Bracewell and Tim McDonald as Mel Tracina, Lehmo and MasterChef judge Poh Ling Yeow joined in on the action.

ABC

Budget 2024: 7:30 Special

On 7:30, Sarah Ferguson was joined by Laura Tingle for a 7:30 Special covering everything viewers needed to know about the Budget. Ferguson also interviewed Treasurer Jim Chalmers and Shadow Treasurer Angus Taylor.

SBS

Who Do You Think You Are?

Actress Mirando Otto was featured in this episode as she took a DNA test that produced life-changing results.

Monday 13 May 2024: VOZ Total TV Ratings Overnight Top 30 – Programs ranked on reach

Total People TV Ratings

Nine’s The Summit recorded a total TV national reach of 1,519,000, a total TV national audience of 504,000, and a BVOD audience of 45,000.

Nine’s A Current Affair recorded a total TV national reach of 1,510,000, a total TV national audience of 1,006,000, and a BVOD audience of 63,000.

Seven’s Farmer Wants a Wife recorded a total TV national reach of 1,815,000, a total TV national audience of 1,102,000, and a BVOD audience of 104,000.

Also on Seven, Home & Away recorded a total TV national reach of 1,502,000, a total TV national audience of 896,000, and a BVOD audience of 97,000.

10’s airing of MasterChef Australia recorded a total TV national reach of 1,391,000, a total TV national audience of 710,000, and a BVOD audience of 54,000.

10’s airing of Have You Been Paying Attention? recorded a total TV national reach of 1,414,000, a total TV national audience of 845,000, and a BVOD audience of 42,000.

See Also: TV Report 13 May 2024: MasterChef contestants challenged with French-themed Mystery Box

People 25-54

Nine’s The Summit:
• Total TV nation reach: 532,000
• National Audience: 217,000
• BVOD Audience: 26,000

Nine’s A Current Affair:
• Total TV nation reach: 469,000
• National Audience: 289,000
• BVOD Audience: 35,000

10’s MasterChef:
• Total TV nation reach: 547,000
• National Audience: 274,000 
• BVOD Audience: 32,000

Seven’s Farmer Wants a Wife:
• Total TV nation reach: 562,000
• National Audience: 325,000
• BVOD Audience: 58,000

Seven’s Home & Away:
• Total TV nation reach: 486,000
• National Audience: 290,000
• BVOD Audience: 56,000

10’s Have You Been Paying Attention?
• Total TV nation reach: 601,000
• National Audience: 386,000
• BVOD Audience: 26,000

People 16-39

Nine’s The Summit:
• Total TV nation reach: 174,000
• National Audience: 64,000
• BVOD Audience: 13,000

Nine’s A Current Affair:
• Total TV nation reach: 170,000
• National Audience: 89,000
• BVOD Audience: 18,000

10’s MasterChef:
• Total TV nation reach: 210,000
• National Audience: 111,000 
• BVOD Audience: 18,000

Seven’s Farmer Wants a Wife:
• Total TV nation reach: 255,000
• National Audience: 152,000
• BVOD Audience: 31,000

Seven’s Home & Away:
• Total TV nation reach: 245,000
• National Audience: 151,000
• BVOD Audience: 33,000

10’s Have You Been Paying Attention?
• Total TV nation reach: 228,000
• National Audience: 150,000
• BVOD Audience: 14,000

Grocery Shoppers 18+

Nine’s The Summit:
• Total TV nation reach: 1,166,000
• National Audience: 374,000
• BVOD Audience: 37,000

Nine’s A Current Affair:
• Total TV nation reach: 1,184,000
• National Audience: 802,000
• BVOD Audience: 51,000

10’s MasterChef:
• Total TV nation reach: 1,065,000
• National Audience: 553,000 
• BVOD Audience: 44,000

Seven’s Farmer Wants a Wife:
• Total TV nation reach: 1,429,000
• National Audience: 878,000
• BVOD Audience: 84,000

Seven’s Home & Away:
• Total TV nation reach: 1,158,000
• National Audience: 691,000
• BVOD Audience: 77,000

10’s Have You Been Paying Attention?
• Total TV nation reach: 1,100,000
• National Audience: 665,000
• BVOD Audience: 33,000

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