Veteran broadcaster Alan Jones is set to make his first court appearance today at Sydney’s Downing Centre Local Court following his arrest and a string of historical sexual assault charges. The 83-year-old now faces a total of 34 charges involving nine alleged victims, with offences said to have occurred between 2001 and 2019 across Sydney and Melbourne.

Jones, initially arrested in November, was originally charged with 26 offences, including 11 counts of aggravated indecent assault where the alleged victim was under his authority. Additional allegations include assault with act of indecency, sexually touching a person without consent, and common assault. Since then, police have brought a further eight charges after another alleged victim came forward in the wake of Jones’ arrest.

The charges now include:

• 19 counts of assault with act of indecency
• 11 counts of aggravated indecent assault
• Two counts of sexually touching another person without consent
• Two counts of common assault

The investigation into Jones’ alleged offences began after a joint feature by The Age and The Sydney Morning Herald, which detailed claims that Jones had allegedly used his position of power to target young men. In response, NSW Police launched Strike Force Bonnefin, a specialised unit tasked with probing the allegations.

Jones was arrested at his Circular Quay luxury apartment on 18 November following a police raid. He left custody in silence, flanked by his legal team, and was later granted bail under conditions reportedly including restrictions on travel and contact with alleged victims.

NSW Police Commissioner Karen Webb encouraged other victims to come forward, stating, “There’s no such thing as a matter that’s too old to be investigated. What I’d say to victims is that there is no better time to come forward than now, and you will be listened to.”

Jones’ lawyer, Chris Murphy, maintains his client’s innocence, saying, “Allegations have been made. Nothing has been tested, nothing has been proven. He is presumed innocent. Mr Jones denies any misconduct and will defend the charges.”

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As the out-of-home (OOH) industry enters a period of growth and transformation, Mediaweek sits down with Christian Zavecz, chief strategy officer at QMS, to explore the opportunities, challenges, and innovations shaping the future of OOH advertising in Australia.

1. With the rise of 5G and connected cities, what new opportunities do you foresee for OOH campaigns in terms of creativity and audience engagement?

As OOH assets gain greater bandwidth and connectivity, we expect to see increasing use of dynamic creative campaigns that update in real time. This includes support for full-motion video on select inventory, as well as more advanced programmatic formats that leverage connected data sources.

We also foresee a future where a billboard is no longer just displaying a playlist of pre-defined images but can determine the best creative to display by leveraging data sources, AI, and IoT devices to optimise for the audience in real time.

2. How is QMS leveraging data and technology to enhance the targeting, interactivity, and effectiveness of OOH campaigns?

Digital OOH is now a complex and highly sophisticated channel that requires a multi-dimensional approach to maximise outcomes. At QMS, we employ a multi-layered strategy that combines complementary data sources and tech solutions, enabling a holistic understanding of audiences, effective campaign optimisation, and seamless delivery at scale.

A great example is our recent Paris 2024 Olympic and Paralympic Games partnership. This market-first initiative incorporated an optimised, data-informed network and was tech-enabled to deliver immediate sponsored content and creative dynamism to adjacent partner executions. In total, 81,478 dynamic pieces of content were served over the combined four-week Games period.

3. Programmatic OOH has been a growing trend. How do you see its adoption evolving in the Australian market next year, and what challenges remain?

Programmatic OOH adoption will continue to grow as greater targeting specificity becomes available via both DSPs and media owners. This audience relevance allows marketers to complement traditional OOH campaigns by building frequency within key audience segments to increase ad favourability and prompt outcomes. Programmatic also reduces investment barriers for SME clients, broadening demand across a wider brand base.

While adoption will increase, deeper measurement is required to demonstrate value and alleviate concerns around efficacy. The ability to holistically plan programmatic alongside traditional DOOH will further accelerate adoption.

4. Sustainability is a growing focus for brands. What steps is QMS taking to align OOH offerings with eco-conscious advertising?

Sustainability remains a core priority. As brands place greater emphasis on environmental responsibility, it’s up to the media industry to support these efforts.

The OOH industry recently united at the “Advancing Sustainability in OOH” event, where plans for industry-level action were shared. Key initiatives from QMS include foundational partnerships with AdNetZero ANZ, collaboration with Climate One to offer recyclable skin solutions for static OOH campaigns, and ensuring 100% of QMS-controlled assets are powered by GreenPower energy. Further initiatives to support customers’ climate-related disclosure reporting will be announced in the New Year.

5. What advancements do you foresee in measuring the effectiveness and ROI of OOH campaigns, particularly as brands demand more accountability?

Technology continues to drive advancements in ROI measurement. Clients and agencies are demanding more outcome-based planning and investment solutions. The evolution in accuracy, affordability, and speed is driving the next wave of ROI capabilities, helping to deliver effectiveness and accountability.

6. How do you anticipate changing consumer behaviours – such as shifts in mobility and urbanisation – will influence OOH placement and strategy in 2025?

While significant year-on-year shifts in consumer behaviour aren’t anticipated, one of the biggest milestones for 2025 will be the launch of MOVE 2.0. This next-generation measurement tool will deliver enhanced, granular audience insights, providing brands with greater confidence to invest in OOH. MOVE 2.0 will ensure campaigns target broadcast audiences through impactful touchpoints that influence a broad range of consumers.

7. Looking ahead, what excites you most about the OOH industry in 2025 and beyond?

It’s an exciting time for the industry. The continued growth and evolution of capabilities are expanding the role digital OOH plays in client communication strategies.

A key example is the global-first OOH study we launched in partnership with Amplified Intelligence, which investigates the link between human attention in OOH advertising and essential brand metrics. This study will continue into 2025, expanding subject matter and delivering even greater insights into attention in OOH.

The DOOH landscape will also continue to grow, with more formats, locations, and screens becoming available to advertisers. However, premium, high-impact assets and the influence they deliver will prove more important than ever.

Clients who embrace multi-dimensional approaches to their DOOH campaigns will unlock greater value from the medium, drive competitive advantage, and, most importantly, deliver favourable outcomes.

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Nine Radio’s head of content, Greg Byrnes, has wrapped up a successful year in radio ratings, celebrating a mix of generational change, increased audience loyalty, and strong time spent listening (TSL) across the network.

Reflecting on 2024’s key achievements, Byrnes highlighted Nine’s sustained dominance in major markets, particularly in Sydney and Melbourne. “To end the year the way we started—number one breakfast and number one mornings in Sydney and Melbourne—is a testament to the loyalty our brands enjoy and the exceptional work delivered daily by our content teams,” he said.

Stability in Melbourne and a competitive Sydney market

In Melbourne, 3AW maintained its enviable position, finishing the year with a stable 13.6% share. Byrnes credited the result to the enduring connection between the station and its audience: “3AW is an institution. Its relationship with Melbourne is something we never take for granted.”

Sydney, meanwhile, continues to be fiercely competitive, with 2GB reaffirming its position. “We’ve always said we’re up for a fight, and we’ve seen a return to form that aligns with expectations. Strong breakfast, strong mornings—it’s a rebound that’s pleasing to see,” Byrnes noted.

Audience engagement and emerging trends

One standout trend this year was the increase in time spent listening, an area Nine has strategically focused on. Across the network, TSL grew by an impressive 40 minutes. Byrnes emphasised the role of content in driving this result, saying, “We can control the content—the forward teasing, the structure of our hours, and ensuring listeners pick and stick.”

Amid the proliferation of podcasts, social media, and on-demand content, Byrnes noted a shift in listener behaviour. “Attention spans may have shortened, but the unique cut-through of respected, interesting voices keeps audiences engaged. Once they find us, they stay, because there’s nothing quite like what we offer.”

Regeneration without revolution

2024 also marked a year of generational change for Nine Radio. Byrnes pointed to key transitions like Mark Levy replacing Ray Hadley and Jackie Felgate stepping into Melbourne’s drive slot as examples of how Nine evolves while maintaining its core strengths.

“Regeneration without revolution—that’s what we strive for. Our audience expects consistency: news, opinion, sport, entertainment, and companionship. At the same time, we bring in new voices that resonate with listeners and reflect their cities,” Byrnes explained.

Byrnes cited Felgate and Fegan in Brisbane as success stories, saying, “We elevate new talent when we know they have the skills, the passion, and the love for their community. It takes time for listeners to build habits, but once they do, those voices become part of their day.”

Innovations in digital and podcasting

Looking ahead to 2025, Byrnes highlighted Nine’s growing focus on digital audio and podcasting. “The suite of podcast products continues to expand. We’re using linear radio to highlight standout podcast content, and the integration is working well.”

The network’s streaming numbers have also seen remarkable growth. “Digital streaming has transformed the listener experience. For AM stations like ours, streaming delivers crystal-clear audio on par with FM for the first time. Whether it’s through smart speakers, apps, or earbuds, it’s a premium experience,” Byrnes said.

A big year ahead: Elections, sport, and stability

As Nine Radio prepares for 2024, Byrnes anticipates a year shaped by significant events, including a federal election and expanded AFL coverage under a new agreement.

“Election years are big for talk radio, with listeners tuning in for policy discussions and varying points of view. Sport remains another cornerstone, with AFL and NRL continuing to deliver for our audiences,” he said.

While looking forward to new lineups in Sydney, Brisbane, and Perth, Byrnes reinforced the importance of stability. “For us, it’s about maintaining momentum and continuing to grow. Change takes time, but we’re confident in the talent we’ve put on air.”

Byrnes concluded the year on a celebratory note, paying tribute to Ray Hadley’s retirement. “Ray finishes tomorrow as the number one morning show—a feat he’s achieved for 161 out of 162 surveys. That’s remarkable and well-deserved,” Byrnes said.

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By Kate Musgrove, managing director of Bazaarvoice APAC

Looking ahead to 2025, it’s clear that successful brands will be those that genuinely connect with their customers through authentic messaging, clever innovation, and shopping experiences that just work. Let’s chat about the key trends that I reckon will shape retail and commerce in the coming months.

Seamless Shopping: The new normal

The retail world is shifting from simple buying to immersive shopping experiences. Today’s consumers expect to be informed, delighted, and inspired to purchase at any moment, anywhere. Our research shows that 88% of shoppers want a seamless experience across different channels, with four in five preferring a mix of in-store and online shopping. In Australia, we’re seeing this play out uniquely. While 28% of shoppers still start their journey in physical stores, they’re constantly moving between channels – checking reviews on their phones while in-store, discovering products on social media, and completing purchases online. The key is making these transitions feel natural and connected.

Tech and AI: Powering the future of retail

Technology isn’t just changing retail; it’s revolutionising it from the ground up. AI and machine learning are transforming everything from supply chains to personalised shopping experiences. Our data shows that personalised offers drive 45% of shoppers to complete online purchases. At Bazaarvoice, we’re seeing firsthand how AI helps brands understand not just what customers are saying, but why they’re saying it. This deep insight helps retailers anticipate needs, manage inventory more effectively, and create those magic moments that turn casual shoppers into loyal customers.

The power of keeping it real

Our latest research shows that 65% of global shoppers rely on user-generated content when making purchasing decisions. For Aussie consumers, who are naturally sceptical of polished marketing, this is particularly important. What’s fascinating is that nearly half of all shoppers find user reviews on retailer websites more influential than any other content when researching products online. It’s clear: genuine customer voices carry more weight than any carefully crafted marketing message.

Social shopping and creator connections

Social commerce is booming, with 39% of consumers using social media for product discovery and research, and 31% making direct purchases through these platforms. However, Australians approach this trend with their characteristic pragmatism. The real game-changer is in creator marketing. About 86% of consumers engage with creator content before making a purchase decision. But here’s the interesting bit – it’s not about big-name influencers anymore. Aussie shoppers are drawn to authentic, relatable voices that feel genuine rather than staged.

As we move into 2025, success in retail will come down to how well brands can blend these elements together. It’s about creating experiences that feel personal and authentic, leveraging technology without losing the human touch, and meeting customers wherever they are – whether that’s in-store, online, or scrolling through social media.

BMW Group Australia has been forced to discontinue its latest Pay TV advertisement after Ad Standards upheld a complaint that the ad breached the Federal Chamber of Automotive Industries (FCAI) Motor Vehicle Advertising Code.

The decision, handed down on 20 November, centres on concerns of unsafe driving portrayed in the commercial, including a car skidding near the edge of a pier and another becoming airborne. The Panel determined that such scenes promoted unsafe and illegal driving behaviour, breaching Clause 2(a) of the FCAI Code, which prohibits depictions of driving that contravene road safety regulations.

The Advertisement

• The TV ad showcased various BMW vehicles being driven across diverse locations, featuring:
• A car skidding at the end of a cement pier, with visible wheelspin and smoke,
• A vehicle driving up a ramp and becoming airborne,
• Four cars driving side-by-side on a public road.
• The complainant described the scenes as depicting “burnouts, wheelies, and airborne driving,” actions classified as serious traffic offences in all Australian jurisdictions. They also drew comparisons to a previous Volvo ad that was ruled against two decades ago for similar depictions.

BMW’s defence

In response, BMW Australia denied breaching the code, arguing that the ad was creatively edited to include historical footage and fantasy elements. The carmaker highlighted the inclusion of an airborne scene taken from a Guy Ritchie-directed action film featuring actor Clive Owen, asserting that the context clearly signalled a fictional and stylised narrative.

The Ad Standards Panel ruled that these scenes breached Clause 2(a) of the FCAI Code, which states that ads must not portray unsafe driving or reckless behaviour.

BMW maintained that:

• The skidding vehicle demonstrated a “controlled skid” rather than an unsafe burnout,
• The airborne scene was rooted in fantasy, a creative device acknowledged by the FCAI Code as permissible when not undermining safety messaging.
• BMW further argued that current-day models depicted in the latter half of the ad complied with road rules, reinforcing responsible driving behaviour.

Ad Standards decision

The Ad Standards Community Panel ultimately disagreed with BMW’s reasoning. It concluded that:

The skidding scene near the edge of a platform was dangerous, as non-professional drivers could interpret it as achievable and attempt to replicate it.

The airborne vehicle scene did not clearly differentiate itself as fantasy, with many viewers unlikely to recognise its origin as a movie scene. The use of the superimposed word “here?” over the footage further integrated the moment into the ad’s broader message, undermining claims of clear exaggeration.

The Panel ruled that these scenes breached Clause 2(a) of the FCAI Code, which states that ads must not portray unsafe driving or reckless behaviour.

BMW Australia has accepted the Panel’s decision and will discontinue the advertisement effective the week commencing 9 December 2024. The carmaker also indicated a willingness to modify the ad by including subtitles referencing the fictional origin of certain scenes, should the need arise in future campaigns.

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Carlton & United Breweries (CUB) and Clemenger BBDO have launched a throwback beer ad that’s full of midriffs but definitely not mid-strength for Carlton Dry’s newest mid-strength beer: Carlton Dry 3.5%.

The Embrace the Mid product launch campaign unapologetically celebrates the growing popularity of mid-strength beers via a collection of characters who are as memorable as their outfits.

The campaign’s heroes sport mid-riff tops that proudly declare their love for Carlton Dry 3.5%, from a steely-eyed veteran footy bloke with a weathered tum to an office worker in a full belly-baring gilet to an unfazed barman who’s half as dressed as the rest.

“Gone are the days when ordering a mid-strength beer was met with a few sideway glances at the bar,” Ant Phillips, ECD, Clemenger BBDO, said. “Now it’s becoming the go-to choice at pubs and BBQs around the country. Like Australia, Dry 3.5% is embracing the mid in more ways than one.

“We wanted to tap into this cultural shift on beers and fashion to make work that gets Aussies talking at the pub, and if that means we need to show a bit of mid-riff then so be it.”

Adrián Flores, chief creative officer, Clemenger BBDO, said: “It’s a beer ad. Made how beer ads are meant to be made: half naked and full flavoured.”

Directed by rising young director Hayden Somerville through Clems’ in-house production arm, MADE THIS, the campaign will run across film, digital, social, outdoor with experiential activations.

Jess Johnson, marketing manager, Carlton, said: “We recently revealed Carlton Dry 3.5% is the no 1 selling newly-released beer in the country. For years Aussies have loved the crisp refreshing taste of an ice-cold Carlton Dry, so of course it made perfect sense to release a mid-strength version.

“It also made perfect sense to produce a classic pub beer ad to support it. Embrace the Mid taps into the humour that Carlton advertising is known for, we’re so excited to bring this new campaign to market and see even more Aussie beer lovers embrace Dry 3.5% this summer.”

Ainslee Littlemore, head of production at MADE THIS, “This project was highly collaborative between director, client, production and creative. Everyone really came together as one team, one dream to bring this vision to life, quickly. I reckon I’ll go a mid too.”

CREDITS

Client – Carlton & United Breweries
Head of Beer – Ben Eyles
Marketing Manager, Carlton – Jessica Johnson
Assistant Brand Manager – Gianni Cozzi

Creative Agency – Clemenger BBDO
Chief Creative Officer – Adrián Flores
Executive Creative Director – Ant Phillips

Creative Director – Derek Anderson
Senior Copywriter – Phoebe Sloane
Senior Art Director – Jake Blood
Chief Strategy & Experience Officer – Simon Wassef

Strategy Director – Vanessa Quincey
Managing Partner – Jason Melhuish
Group Business Director – Sam Siddons

Business Director – Laura Keating
Head of Production – Ainslee Littlemore
Head of Studio – Matt Gauci

Production Company – MADE THIS

Director- Hayden Somerville
Executive Producer – Ainslee Littlemore
Producer – Lachie Beattie

DOP – Marcus Croup
Offline/ Online Editor – Sam Coates
Grade – We Are Crayon
Sound design – Squeak E.Clean

Photographer – Paul Hermes

Media Agency – PHD

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DiDi and agency Sunday Gravy has launched its innovative new service, DiDi Tow, to make roads a little safer this holiday season and the coming summer’s busiest nights.

The rideshare company’s service, which will be able to book the service from within the app, allows people to stay and have “one more” while ensuring both they and their vehicle get home safely, so they can wake up the next morning with their car in the driveway.

“To help get less people behind the wheel this summer, we’re introducing an array of initiatives, including DiDi Tow, a summer surge cap, and discount codes to make ridesharing the safe and affordable option,” Tim Farmer, head of brand marketing ANZ, DiDi, said.

The in-app service and video are part of a wider campaign, encouraging people to get out and enjoy everything the ‘24/’25 summer has to offer – that’s supported by OOH, Social, and Radio.

“Going out with mates and having a good time is the best, but people who drive under the influence are the worst. Launching a tow service was the most responsible thing we could do,” Mary Graham, Sunday Gravy art director, said.

CREDITS:

DiDi:
Head of Brand Marketing ANZ: Tim Farmer
Senior Marketing Manager: Dona Barbagallo
Marketing Manager: Dylan Vale
Head of External Affairs: Daniel Jordan

Sunday Gravy:
Co Founder, Chief Creative Officer: Ant White
General Manager: Anna Camuglia
Head of Creative Productions: Karolina Bozajkovska
Head of PR: Sean Sowerby
PR Account Manager: Lily-May McBain
Head of Strategy: Brigitte Bayard
Senior Producer: Hanna Rayner
Senior Creative: Sam Whatley
Senior Creative: Max Kennedy
Copywriter: Phoebe Joiner
Art Director: Mary Graham
Group Account Director: Emily Pietrocola
Senior Account Manager:  Kat Hallahan
Senior Account Director: Bec Gubbins

The Sweetshop Films:
Director: Trevor Clarence
Producer: Nicole Crozier
Executive Producer: Kate Roydhouse
co Managing Director: Greg Fyson
co Managing Director: Edward Pontifex
DOP: Shelley Farthing-Dawe
Editor: Stu Morley @ The Editors
Colourist: Billy Wychgel
Flame Artist: Stu Cadzow

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AKQA has appointed Tara McKenty as executive creative director, strengthening the agency’s leadership team as it continues its integration with whiteGREY.

In her role, McKenty will collaborate closely with AKQA Australia’s senior leadership team, including Tim Devine, executive creative director, Iona Macgregor, chief strategy officer, and Justine Leong, general manager Sydney, to continue driving excellence and growth within the region.

McKenty brings over 16 years of creative industry experience across the APAC region, including a decade leading Google’s creative team across APAC. Her work has been celebrated globally, earning awards at all major festivals, including a coveted Gold for Creative Innovation at Cannes Lions.

She has served on high-profile juries such as the Cannes Lions Innovation Jury. She is also the founder of D&AD RARE, a global initiative supporting underrepresented groups thriving within the creative industries.

Leong said: “Tara is an exceptional talent whose creative excellence and leadership have left an indelible mark on the industry. Her commitment to innovation and inclusion aligns perfectly with AKQA’s mission to create a better future. We’re delighted to have Tara join us and are excited about the impact she will bring to our clients and team.”

McKenty said of her new role: “AKQA is renowned for creating work that blends creativity, technology, and humanity in meaningful ways. I’m looking forward to working with a strong team of leaders and partnering with our clients to build innovative and impactful experiences that truly make a difference.”

Earlier this year, WPP creative agencies AKQA and Grey completed its merger. The move comes three and a half years after they were combined globally to form the AKQA Group, and three months after the move to operationally merge the two agencies in Australia was announced. As part of the merger, whiteGREY CEO Lee Simpson departed the business.

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Top image: Nicole Armstrong (executive strategy director Australia), Tara McKenty (executive creative director Australia), Justine Leong (general manager Sydney), and Iona Macgregor (chief strategy officer Australia).

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The Independent Media Agencies of Australia (IMAA), the national industry body representing independent media agencies, announced a new Board of Directors today as it reaffirms its commitment to education for 2025.

New board member Michael Petersen (Pivotus CEO & founder) joins existing board members Jacquie Alley (The Media Store chief operating officer) as chair and Stephen Fagan (Media Republic director) as treasurer, along with Phil McDonald (BCM Group managing director) and Melissa Roberts (The Advertising Room CEO), as voted by members at the IMAA Annual General Meeting in November.

Petersen owns and operates media agencies in both Brisbane and Perth, and offers complementary skillsets to the current Board. He is a passionate advocate for the IMAA and the independent media agency sector.

Stephen Fagan (Media Republic director) as treasurer of IMAA.

“It’s wonderful to welcome Michael to the IMAA Board,” Alley said. “He has long been a passionate advocate for the Queensland and national indie sector and its contribution to the broader media landscape. He brings a wealth of high-level media experience to the board and his unique skills and experience complement our current Board composition.

“We’re looking forward to taking key initiatives like our IMAA Academy and our Female Leaders of Tomorrow programme to new heights in 2025. As an organisation, we remain dedicated to futureproofing the national indie media agency industry, creating critical learning and development opportunities, and investing in the next generation of media talent.”

Commenting on joining the Board, Petersen said: “It’s an honour to be elected to represent the national indie sector. I’ve been a member of the IMAA Leadership Team for many years and have been a staunch supporter of both the organisation’s work and its ethos. Having spent most of my career spearheading independent agencies, I have a deep understanding and appreciation for the indies and what they offer. I look forward to working with the IMAA Board of Directors in 2025 to continue driving the indie agenda nationwide.”

Michael Petersen (Pivotus CEO & founder).

The new Board will be critical in launching the association’s key initiatives in 2025, including its highly successful and award winning IMAA Academy.

Heading into its third year in 2025, the academy is the organisation’s most significant education initiative – a landmark, comprehensive learning platform built by the sector to lead industry education.

Since its inception, the platform has trained hundreds of independent media professionals via its eight e-learning modules, covering media, audio, digital, cinema, TV, out-of-home, regional, and publishing and news, along with videos, digital glossaries, and podcasts featuring industry leaders and channel experts.

The association also recently announced an innovative partnership with SBS for a new training module, set to go-live in 2025, focused on core inclusion skills, gender equity, cultural diversity, disability, First Nations, LGBTQI+, generational diversity and appropriate workplace behaviour.

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Last year the self-proclaimed ‘social media influenza’ Skye Wheatley won the hearts of Australia and went on to win the crown. With a brand-new season of I’m A Celebrity… Get Me Out Of Here! premiering live from South Africa on Sunday 19 January, there’s another influencer with her eye on the prize.

Will she feel the love of her jungle Instafam? Or will she be feeling anti-social media when she sees what first-class service looks like in camp?

The Influencer will have lots of famous friends, alongside Reality Royalty, a Hero, an Olympian, a TV Host, an Award-Winning Actress, a Footy Legend, a Comedy King, an AFL Star, a Reality Star and a Leading Man.

Check out the clue below and keep your eyes peeled for more hints as we get closer to Sunday, 19 January.

Skye Wheatley won the 10th season of Channel 10‘s I’m A Celebrity… Get Me Out Of Here!, beating out fellow top three contestants Callum Hole and Tristan MacManus.

Wheatley is an influencer and finished third in season 11 of Big Brother Australia. During her time in camp, she never shied away from feeling the big feelings, crying, laughing, and singing her way through every mood.

Wheatley’s charity, Bully Zero, is Australia’s leading bullying prevention charity. It was begun by founder Ali Halkic after his son died by suicide after falling victim to cyberbullying. Bully Zero provides evidence-based education, advocacy, and support for all communities across Australia.

Season 10 saw Aussie darling Robert Irwin – a passionate conservationist, zookeeper, photographer, and son of Steve Irwin – join the show to co-host alongside Julia Morris.

Ahead of his debut, Irwin was named Australia’s most popular broadcast personality in the Australian Talent Index’s 2024 Top Talent Report – before the show had even aired.

Irwin, a relative newcomer to Aussie screens, took out the top broadcast talent spot, eclipsing the last report’s winner – comedian and TV personality Hamish Blake – in his debut appearance on the list.

Alongside his top broadcast position, Irwin was also voted number one broadcast talent by women and was considered the celebrity who gives the most back to the community, according to the Index.

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Droga5 Melbourne, part of Accenture Song, has promoted Hugh Gurney and Joe Sibley as executive creative director roles to lead creativity at the creative agency.

Gurney and Sibley have helped create some of Australia’s best-known and awarded work, including Weather Anything for Macpac, Enter Asahi for Asahi Super Dry, The Greatest for Aussie Beef, You’re Good for ahm, England Bitter for VB, Camp Pain and EOFY WFH $ALE for BCF and Deals you didn’t see coming and Hello Christmas for Telstra.

The duo will report to Tara Ford, chief creative officer of Droga5 Australia and Accenture Song APAC. They will work closely with Milla McPhee, chief strategy officer of Droga5 Australia and Matt Michael, CEO of Droga5 ANZ, as part of the continued move towards a more national approach.

“Hugh and Joe are tremendous creatives and wonderful leaders of talent, who we’re sure will continue to help create world-class work from Droga5 in Melbourne,” Ford said.

Michael said: “Hugh and Joe were our first team in Melbourne and as long-term members of our creative team, we’ve had the chance to see them grow, so it’s a pleasure to have them take roles as executive creative director I Melbourne as we transition into the future as Droga5.”

Gurney and Sibley said of their new role: “Droga5 make some of the best work in the world, so we jumped at the opportunity.”

Over the last seven years as part of the team in Melbourne their work has been awarded at Cannes, D&AD, One Show, Spikes, Clio, New York Festivals, AWARD and MADC.

The Monkeys became Droga5 at the start of this month, with the aim of delivering outsized impact through outsized ambition and provocative thinking.

Michael recently spoke to Mediaweek about the merge and said: “Increasingly, we’ve had opportunities to bring our teams together to work on assignments for clients within the global Song network, and we’ve really enjoyed that interaction.

“Our values, ambitions and approach are so closely aligned it made sense to come together under one banner. The cross-pollination of ideas and ability to access global knowledge and teams has been well-received by our clients too.”

See also: ‘When it all comes together, we can do amazing things’: Matt Michael on leading Droga5 ANZ after The Monkeys merger

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Top image: Hugh Gurney, Joe Sibley, Tara Ford and Barbara Humphries

TBWA\Melbourne has promoted Kiefer Casamore to executive general manager and Eloise Liley to chief strategy officer.

Both roles have been elevated to join the Executive Leadership Team of CEO Kimberlee Wells, managing director Ricci Meldrum, CFO Emma Guthridge, and CCO Paul Reardon, who have been leading the agency together for over 12 years.

The creative agency’s promotions come off the back of a strong year of growth for TBWA, which recently added high-profile accounts, including the Department of Defence and Kraft Heinz to its roster.

In the new role of executive general manager, Casamore will be responsible for leading the creative advertising and digital services business for Australian Defence Force Recruiting (DFR), along with operational and product growth initiatives for TBWA.

With over 15 years of experience in integrated marketing and communications, Casamore was previously general manager of Eleven Melbourne. Since joining the TBWA Group in 2017, he has driven record growth at Eleven Melbourne, quadrupling the team’s size and earning the agency multiple accolades, including contributing to back-to-back Agency of the Year awards.

More recently, Casamore co-created and led TBWA’s first sustainability practice, Sustain by TBWA. Now a global offering, Sustain brings together creative talent, civil society and corporate affairs, using the UN’s 17 Sustainable Development Goals.

Liley, a seasoned advocate for TBWA’s proprietary Disruption methodology and strategist with over 15 years experience under her belt. The new role of chief strategy officer will see her take the reins in driving strategic excellence for the agency, while elevating TBWA’s suite of leading cultural intelligence tools.

Working in the UK, Europe and Australia, Liley has built a solid reputation for crafting culture-first ideas that deliver real business impact. Locally, she has been instrumental in driving growth across all agency brands. This year, she helped deliver record consideration for NAB with ‘Experts in More Than Money’, earning an Australia Effie Award win for ROI.

“We are immensely proud of the agency and all we have achieved. This expansion of our Executive Team marks a significant moment in the agency,” Kimberlee Wells, CEO of TBWA\Melbourne, said.

“Kiefer and Elly’s promotions are a testament to their talent and we look forward to harnessing their fresh thinking and perspective as we continue to drive the agency forward. It’s certainly a very exciting time for both our agency team and client partners.”

Paul Reardon, CCO of TBWA\Melbourne, added: “In a tough financial climate, we’re now in a position where we can significantly expand our talent pool and our agency’s capabilities, then put them to use for every single one of our clients. There’s no two people better placed than Elly and Kiefer to join our Executive Team and help us do this.”

Casamore said of his promotion: “It’s a real privilege to join the Executive Team and help lead our agency through a substantial period of growth. I’m also deeply grateful to everyone at Eleven who have allowed me to stretch to new opportunities. Safe to say, TBWA’s future is bright, and I’m excited to continue bringing our disruptive creative thinking and full-service capabilities to our clients.”

Liley added of her appointment: “Disruptive strategic and creative thinking is essential to unlocking brand and business growth. I’m incredibly proud of what we’ve achieved over the last four years and can’t wait to get stuck in alongside our Executive Team and Head of Planning, Virginia Pracht to create even better ideas and results for our clients.”

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Top image: Ricci Meldrum, Eloise Liley, Kiefer Casamore, Emma Guthridge, Kimberlee Wells, Paul Reardon

Keep on top of the most important media, marketing, and agency news each day with the Mediaweek Morning Report – delivered for free every morning to your inbox.

Noisy Beast has launched Victoria University’s student-centric brand platform Uniquely You, featuring a TVC to be released Victoria-wide and a new web presence telling the stories of VU’s diverse student body.

The Melbourne-based creative agency’s new platform celebrates the individuality of each VU student while highlighting the university’s unique and award-winning education offering, the VU Block ModelÒ.

The VU Block Model has students learn one subject at a time over four weeks in small workshop-style classes. With a particular focus on a wraparound first-year college experience giving additional support to students, it has proven successful with strong academic and Quality Indicators for Learning and Teaching (QILT) Student Experience Survey (SES) results.

In the recently released 2023 QILT SES, VU was rated number one in Victoria across four areas: educational experience as a whole, skills development, per engagement and teaching quality – VU’s best ever results.

David Llewellyn, VU chief marketing and experience officer said this phase of the campaign is truly student-centric, highlighting VU’s differentiated offer to other universities. The media approach is audience-led with a sharp focus on cinema and streaming services, where the data says prospective students are a key audience.

“We want people thinking about university to see VU as a place that is welcoming and supportive – that we recognise each person’s unique abilities and potential,” he said. “We create an environment students can be themselves, we look beyond their scores and focus more on what makes them who they are.”

“By having our students tell their individual stories, audiences will see and hear first hand the positive experiences they have had at VU, and they successes we are helping them achieve.”

In 2023 and 2024, VU saw strong year on year increases on commencing enrolments, placing VU in the top group of universities Nationally for growth – a testament to VU’s focus on student experience and successful first phase of the Uniquely You platform.

Murray Bransgrove, Noisy Beast creative director, said: “No One Sees You Like VU is the story of one student, but it’s also the story of a university that believes in authentically connecting with their lived experiences, right down to the point of using them as the faces of this campaign,”

The creative agency’s campaign is rolling out across streaming services, cinema and digital channels and targets both prospective TAFE and higher education students.

Keep on top of the most important media, marketing, and agency news each day with the Mediaweek Morning Report – delivered for free every morning to your inbox.

Monday 16 December 2024: VOZ Total TV Ratings Overnight Top 30 – Programs ranked on reach

Total People TV Ratings

Nine’s A Current Affair recorded a total TV national reach of 1,462,000, a total TV national audience of 1,018,000, and a BVOD audience of 71,000.

Nine’s 9News recorded a total TV national reach of 1,889,000, a total TV national audience of 1,158,000, and a BVOD audience of 90,000.

Seven’s Seven News recorded a total TV national reach of 2,017,000, a total TV national audience of 1,255,000, and a BVOD audience of 61,000.

Also on Seven, BBL – Syd Sixers v Mel Renegades recorded a total TV national reach of 2,109,000, a total TV national audience of 583,000, and a BVOD audience of 39,000.

10’s airing of Wheel of Fortune Australia recorded a total TV national reach of 811,000, a total TV national audience of 310,000, and a BVOD audience of 9,000.

People 25-54

Nine’s 9News:
• Total TV nation reach: 525,000
• National Audience: 314,000
• BVOD Audience: 45,000

Seven’s Seven News:
• Total TV nation reach: 553,000
• National Audience: 322,000
• BVOD Audience: 31,000

Seven’s BBL – Syd Sixers v Mel Renegades:
• Total TV nation reach: 749,000
• National Audience: 224,000
• BVOD Audience: 22,000

10’s Wheel of Fortune Australia:
• Total TV nation reach: 288,000
• National Audience: 115,000
• BVOD Audience: 5,000

People 16-39

Nine’s 9News:
• Total TV nation reach: 206,000
• National Audience: 112,000
• BVOD Audience: 22,000

Seven’s Seven News:
• Total TV nation reach: 186,000
• National Audience: 101,000
• BVOD Audience: 16,000

Seven’s BBL – Syd Sixers v Mel Renegades:
• Total TV nation reach: 301,000
• National Audience: 94,000
• BVOD Audience: 13,000

10’s Wheel of Fortune Australia:
• Total TV nation reach: 98,000
• National Audience: 44,000
• BVOD Audience: 3,000

Grocery Shoppers 18+ TV Ratings

Nine’s 9News:
• Total TV nation reach: 1,505,000
• National Audience: 946,000
• BVOD Audience: 73,000

Seven’s Seven News:
• Total TV nation reach: 1,617,000
• National Audience: 1,018,000
• BVOD Audience: 48,000

Seven’s BBL – Syd Sixers v Mel Renegades:
• Total TV nation reach: 1,598,000
• National Audience: 445,000
• BVOD Audience: 30,000

10’s Wheel of Fortune Australia:
• Total TV nation reach: 640,000
• National Audience: 251,000
• BVOD Audience: 8,000

Data © OzTAM and Regional TAM 2024. Not to be reproduced, published or communicated (electronically or in hard copy) in whole or in part, without prior written consent of OzTAM and Regional TAM.