Mediaweek Morning Report: 22 July 2024

Friday August 2, 2024

Mutinex introduces AI-powered offering, Hendren: 'It exists in a category of one'

By Alisha Buaya

Baxter says Hendren “breaks a category and creates a new one”, while Innis promises “Hendren will help marketers reclaim their valuable time and redirect it to what really matters.”

Mutinex has introduced its new AI-powered offering, Hendren, at its inaugural Marketers and Money Conference.

With Hendren, named after the Norse God of Knowledge with a nod to the nickname of co-founder Henry Innis, Mutinex said it launches a new category called “BAM”, or Business Answers Modelling.

Innis debuted the offering at the conference with a live demonstration and showed attendees how to use the chat-based interface, which he called “a business consultant in your pocket.”

Users can ask critical marketing effectiveness questions, and drawing on a customer’s proprietary market mix modelling data, the interface can answer instantly, complete with charts, thorough analysis, and optimisation recommendations.

Hendren can also provide written executive summaries and presentation slides for CMOs and senior executives that are “CFO and boardroom ready.”

“Every so often something comes along that breaks a category and creates a new one,” Mat Baxter, Mutinex APAC CEO, said. “Hendren is one of those rare products. It exists in a category of one.

Innis, Mutinex’s global CEO, added: “We believe that Hendren will significantly reduce the burden on marketers and their partners in processing reams of market mix insights and analytics – instead jumping directly to answers with immediately actionable recommendations, all in less than a minute.

“Hendren will help marketers reclaim their valuable time and redirect it to what really matters and that’s great creative ideas and realising the true power of marketing.”

Hendren is available now as a product upgrade to GrowthOS.

The launch of the new AI-offering comes in the same week as the start-up appointed Danny Bass as chief revenue officer.

Mutinex said Bass – who was most recently Dentsu Media CEO until April, when he exited amidst a restructure – will accelerate the company’s global growth agenda.

“I’ve seen increasingly how the GrowthOS platform has become adopted much like Salesforce by the C-suite,” Bass said.

“C-Suite leaders and marketing teams are looking for one, unified platform to make sense of how to invest their growth dollars across pricing, media and more.

“That’s the platform our industry has been waiting for, and Mutinex has built it in GrowthOS. It’s why incredible leaders are joining them. And it’s why I see an amazing opportunity here to work to build this into a Salesforce-style platform for growth with both C-Suite leaders and our wider agency ecosystem.”

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Top image: Henry Innis introducing Hendren

‘You’ve got to be ready when the market bounces back’: Michael Bass launches mbassy

By Alisha Buaya

Plus: Bass on offering a “refreshing approach” and the power of a strong brand name.

“The idea behind mbassy is to work with all three – media owners, agencies, and clients – so there’s more cohesion between how they operate. If people start to understand and unpack that, then the relationships can become much more cohesive,” Michael Bass told Mediaweek following the launch of his namesake consultancy, mbassy, this week.

Bass began to dip his toe back into the industry at the start of the year after his role as chief trading officer at dentsu was made redundant in October. His conversations with media and agency leaders gave him an insight into the challenges and negative talk in the industry.

“Between all those layers of demise were these big rivers of opportunity. I could see pretty clearly things are tough, but things bounce back, and you’ve got to be ready when the market bounces back.”

“A common theme I found amongst everyone was understanding the complexities of media agencies at the moment, how they work, what their offerings are and how media owners can best approach agencies.”

“[Agencies] have evolved so much from traditional media, media planning and buying.

“After all those discussions, I saw a clear area where I could help: unpicking what agencies do, how they work, how they operate their decision-making process, their commercial realities, and their KPIs.”

“It’s a refreshing approach and a risk”

As founder director of mbassy, Bass said he aims to help clients examine commercial and collaborative outcomes, optimise media spending, offer another point of view, and highlight potential alternative opportunities in the market.

“The one thing that’s difficult for a media owner to understand is what else is happening in the market. They understand their product so intricately, they’re so passionate and engaged with their product.

“But they don’t see [anything else], and that is what media agencies are saying.”

He noted that working with media owners will involve helping them understand how they fit into the media mix and how an agency develops a strategy and communications plan.

“You need to think about how you fit into that mix in order to be considered, the level of consideration in terms of volume or revenue, and how you grow that relationship.”

The consultancy will also offer commercial strategy development, enhanced negotiation strategies, growth strategies, guidance on mastering influence, relationship management, training and upskilling programs, media pricing and pitches, yield planning, and revenue management.

Bass is also looking forward to moving away from a management role to being back on the tools. He said: “Truth be told, when you’re in management roles in agencies, you go away from the fundamentals of what you loved about media in the first place.

“You’re managing people and influencing outcomes. That’s great, but it’s not what I love to do. I like getting my hands dirty.

“From my early years in media, I have always been involved in trading and investment. It’s the wheeling and dealing, that stuff that I love to do. In management roles, you don’t do that.

“So, it’s a refreshing approach and a risk with mbassy to see how we can talk to clients, agencies and media owners and make a go of it in the areas of media that I like to do.”

“It’s better to be prepared than to be scrambling”

While the market challenges persist, Bass maintains an optimistic outlook and is working on preparing clients for the inevitable turn in the market.

“[The market] will turn—it always does. This one’s been a bit longer. Globally, if you look at economic drivers, inflation is coming down in many countries. In Australia, inflation is also coming down. We’ve got a few more challenges here, but it’s not as bad as it was.”

Bass noted that in the short term, he hopes to help clients with their challenges and to shape and prepare businesses for the next six to 12 months.

“It’s better to be prepared than to be scrambling,” he added.

His long-term view for mbassy is to see what part of the business creates the most noise with clients and what kind of clients he attracts.

“That’s inevitably going to shape how I move forward. It will shape where I concentrate for the next 12 to 24 months.

“If I look at this laterally, media owners will likely get the most out of this service. I think they’re finding it the most difficult to understand how to work with agencies at this point.”

“I couldn’t not do it”

Speaking on his aptly name agency, Bass said he had been playing with using his name as the brand for some time.

“I think the brand is so strong because it is basically my name. I couldn’t not do it,” he said.

Bass had drawn the mbassy logo and enlisted the help of a graphic designer friend to polish it. “He sent it back to me a couple of hours later, and I was like, ‘I’ve got to do this.’

“Being in media for 25 ideas, brand is important to me. If you don’t have a strong brand, you don’t have a strong presence. I’ve always believed it, and I’ll believe it for as long as I’m in media. Because it is my name, the branding does not get any stronger in connection.”

He added that he had shared the branding with partners who got it and noted that the feedback was positive.

“The comments I’m getting from people [are that they] love the name and love the brand, and that’s a good start. The fact people recall it simply because of the name, to me, that’s powerful.”

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Top image: Michael Bass

Exclusive: Instagram flies Off the Handle with launch of first Australian podcast

By Tess Connery and Kellie Brown

“We’re trying to elevate longer form conversation off platform, while acknowledging how people connect and create on Instagram.”

Instagram is going behind the grid and getting to know some of its biggest creators, in the Meta-owned platform’s first video-first podcast series.

Off The Handle marks a major investment in original content for Instagram. Michael Morcos, Instagram’s head of communications, told Mediaweek that the title “depicts beautifully what we’re trying to achieve.”

“We’re trying to elevate longer form conversation off platform, while acknowledging how people connect and create on Instagram. It’s about finding those inspiring voices, those creative voices, that exist on the platform, and really trying to lift them out in a longer form content capacity,” Morcos said.

In each episode of Off The Handle, host Rudy Jean Rigg asks guests about how they tackle various aspects of their lives and careers, answering all the questions audiences have – and some they didn’t know they had – about the people behind the handle. Guests will also bring along an item they love (or don’t) so audiences get to know them better.

Despite being original content for Instagram, Morcos said the team sees Off The Handle as “being channel agnostic.”

“While there are elements that are exclusive to Instagram, we wanted to make sure that it’s completely accessible, no matter where you consume, no matter where you find your entertainment.

“It really is for those who are very much embedded in or following pop culture. That comes through in the content. So naturally, that will lean towards Gen Z, Millennials, and younger audiences, but we’ve been very conscious of making sure that it’s accessible to everyone.”

Episode one features Aussie musician G Flip, with the season also seeing Rigg sit down with Eras-tour opener Girl In Red, singer and competitive swimmer Cody Simpson, singer-songwriter Jessica Mauboy, Australian it-girl Sopha Dophaa, comedian Tim Collins, and best friends, entrepreneurs and foodies Bridey Drake and Jiny Maeng – with more guests to be announced.

Rudy Jean Rigg and G Flip speak at the Off The Handle launch event

“We spend so much time online and on Instagram on the handle, why not go off the handle? Our awesome season one guests get comfy on our couch and get the opportunity to open up and talk about all the things that they don’t share on the handle,” host Rigg told Mediaweek.

“The listener should feel like they’re in the lounge room and together we’re getting to know someone – and they’re listening to a friend who already shares their life on Instagram – sharing their stories and sharing their journey, there needs to be that kind of spirit and that kind of life to it.”

Off The Handle Episode one featuring G Flip will start streaming on all podcast platforms including Spotify, Apple Podcasts and YouTube today, with exclusive content released on Instagram @OffTheHandle.

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Top image: Rudy Jean Rigg and G Flip

Shez Ford, chief general manager, consumer of Australian Olympic and Paralympic Team partner, Allianz

CMOlympics: Allianz’s Shez Ford on creating ‘community and connection’

By Amy Shapiro

“The team is working like a media newsroom to be reactive in every moment and it’s a new approach for Allianz and it’s working.”

With the Paris 2024 Olympics in action, Mediaweek is catching up with the standout brand partners powering the Summer Games to hear first-hand from their marketing guns about running campaigns on the world’s biggest sporting stage. Today, we’re with Shez Ford, chief general manager, consumer of Australian Olympic and Paralympic Team partner, Allianz.

What does being an Olympic partner mean for Allianz?

We believe that good partnerships bring people together, creating a sense of community and connection. Our local and global Olympic and Paralympic partnership does just that.

For Allianz, sport has always been in our brand‘s DNA, and this partnership connects to our purpose with the Olympic and Paralympic visions of building a better and more inclusive world through sport. The 2024 Games are expected to attract 15 million visitors, with billions expected to watch the Opening Ceremony and the competitions live around the globe. There are very few other events which bring so many people from different nationalities, religions and cultures together in the same way. We are excited to be a part of this incredible display of global unity demonstrating respect, fairness, inclusion, and tolerance.

In Australia, we’ve been a proud partner of Paralympics Australia since 2011, and the Australian Olympic Committee since 2019. Globally, Allianz joined the Worldwide Olympic and Paralympic Programme as the Worldwide Insurance Partner from 2021 – 2028. The partnership reflects an opportunity for Allianz Australia to join a local and global community of athletes and people who share our passion for sport, and the social, physical, and mental benefits it can bring to humanity.

Walk us through your campaign for the Olympics. What are the key elements and what inspired the creative direction?

There are a number of different components to our Olympic and Paralympic Campaign, but each component has one thing in common, celebrating the communities that will be cheering on our athletes at Paris 2024. Go Australiaahhh, our f ully integrated TTL campaign, turns the focus back to Australians, capturing the places we gather to cheer our country on – from the farm, to the work break room, to the local pub, and of course around the modern campfire of the family living room.

What makes this ad different to other Olympic and Paralympic ads is the integration of the Allianz ‘Ahhh’. ‘Ahhhhhlianz’ is one of Australia’s most iconic and memorable brand codes and ‘Ahhh’ is the sound Aussies make when excitedly cheering the country on.

‘Ahhh’ is the sound we made when Cathy Freeman sprinted into history, it’s the sound that we made watching the Courtney Vine score ‘that goal’, and it’s how we will celebrate every time an Aussie achieves the remarkable in Paris. Our Go Australiaahhh creative uses this simple but powerful truth to create a uniting cheer, celebrating those shared moments of everday Australians cheering on their nation.

But we know that it’s not all about what people watch on their tv screens or see in OOH, it’s the way a brand makes them feel, and this is why we have bought our campaign to life for the community in our ‘Future Team Australia’. This part of the campaign was an epic act to bring the cheer to life and an opportunity for people to touch and feel the brand. This paid and earned extension was created to inspire children to continue to play sports by coming to the Allianz Stadium and being treated like world class athletes for the day, all whilst listening to the incredible Go Australiaahhh cheer that was created to sound like it was the voices of 45,000 Australians.

Allianz and Eleven launch 'Go Australiaahhh' in-stadium to inspire young Aussie athletes

What objectives did you set out to achieve with the campaign?

We knew going into the development of this campaign that the Olympic and Paralympic period would be extremely cluttered, with brands, both Olympic and non-Olympic partners, fighting for share of voice. We knew we needed to create a campaign that would drive distinction, ensuring Allianz is the brand Australians remember most these Olympic and Paralympic Games.

To drive brand distinctiveness, we set out to develop a campaign that captures the very essence of the Games – not just our amazing athletes, but the way in which the Games unite the nation. Go Australiaahhh is a celebration of the Australian spirit and the way in which we feel when celebrating our nation. That infectious and unbridled excitement that comes from sport. We wanted Australians to feel as if Allianz is cheering right alongside the rest of the nation.

What is the weighting of your media mix, and what has driven this decision?

Our paid media campaign launched in early May with a 10-week lead into the Opening Ceremony. Our aim was to cut through the competitive clutter and be one of the first sponsors out to market. We launched with a multi-channel approach including TV, BVOD, cinema, social, digital, outdoor, and radio. Our aim was to strengthen Allianz’s association with the Games, proudly promoting that we are the Worldwide Insurance Partner through association with key sport and cultural moments.

As momentum built in the lead up to the Games, so too did our presence in market, leveraging additional channels and formats to add gravitas and impact to ensure that Allianz is unmissable.

Allianz Olympics OOH Billboard

Allianz Olympics OOH ad

OOH formed a huge part of our media strategy, with three separate buckets of activity: Our Go Austraaliaahhh creative running across high impact, large format placements nationwide. Reactive content celebrating key milestones and moments in the lead up and during the games, from ambassador qualification to gold medal moments. And finally, a media package with QMS, giving us category exclusivity across a nationwide out of home network in the lead up and during the games.

As part of this package, our logo features alongside content from Paralympics Australia and the Australia Olympic Committee, celebrating content key milestones including team announcements, countdown celebrations, medal tallies, and real time results.

Allianz Olympics OOH Kiosk

And just when you thought our campaign couldn’t get any bigger, Allianz is now live on the Glebe silos – this is currently the biggest billboard in the southern hemisphere. Additionally, people in Sydney and Melbourne will be able to hop on an Allianz Go Australiaahhh branded light rail and tram.

How important is FTA TV coverage to the campaign?

With over 4 million customers nation-wide choosing to have an Allianz product, we know how diverse our customer base is and how important it is to show up in places that they are. We still have a large base that watches free to air, just like we have customers that are only interested in digital channels, so for us it’s about looking at our segmentation and understanding what the different behaviours are and making considered decisions to ensure each and every person is in this mix.

What aspect of this campaign and partnership are you most proud of?

There are so many things to be proud of and to be honest, with the Games still going, it just gets better and better and we get more and more proud of the work we are achieving.

One of the things that has not only had the biggest impact, but has been incredible to watch, is the work we did with Grassroots sporting teams at Allianz Stadium to bring our Paris 2024 campaign to life. Watching children arrive at the stadium to their names up in lights, experiencing motivating locker room speeches by Olympians and Paralympians and then running out onto the pitch to the roar of a crowd was something that had a significant impact on the team.

The other part to this is the work we are doing since the Games started celebrating our athletes in their special moments. Whether it is to remind Australia to set their alarms for a 3am Matilda’s match or celebrating Allianz Ambassador, Mollie O’Callaghan’s gold medal win, we are using our OOH and digital assets to bring these moments to life in real time. The team is working like a media newsroom to be reactive in every moment and it’s a new approach for Allianz and it’s working.

Allianz Olympics OOH Matildas ads

How do you plan to build upon or expand the campaign moving forward?

Sometimes, brands can forget how impactful campaigns can be when you manage to tap into an emotional truth. What we know from all the incredible feedback we have been receiving is that our Olympics campaign has resonated with Australians.

Whether you love sport or not, it has reminded us all of how important the Games are in coming together and supporting our athletes. We want to build on this feeling going forward and continue to evolve the brand and the work we do encompassing the things that Australians really care about. And now, with our Football Australia partnership that we announced a couple of weeks ago, we know we have the partnerships and assets to do just this. Watch this space.

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Top image: Shez Ford

Ad demand down 1.1% in June, OOH jumps 14.2%: Guideline SMI

By Alisha Buaya

“Outdoor is clearly the media of the moment as it’s delivered record levels of ad spend for the June month, the second quarter, the calendar year-to-date and financial year periods.”

Ad demand in June was back 1.1% – the smallest monthly decline reported so far this calendar year, according to Guideline SMI.

The figures show the Australian ad market has ended the financial year in a stable position with the value of total ad spend down just 1.6% from last year’s record total.

Jane Ractliffe, Guideline SMI APAC managing director, said the fact the financial year total was the second highest on record showed the market’s underlying strength.

“And if you view Guideline’s ad spend data over a longer-term period, you’ll see the market is now up 4.5% on the pre-COVID financial year and that represents an extra $376 million of ad spend that’s come into the Australian media economy since that time,” she said.

“But obviously, the composition of media shares has changed considerably over these years, with Digital now representing close to 40% of all ad spend and Outdoor hitting 15% of all ad bookings in the last financial year.”

Ractliffe said outdoor was also the star performer in the June results, with its ad spend soaring 14.2% year-on-year to a record June high. The only other growth seen this month was in the smaller cinema category (+22.3% YOY) and among all regional media (TV, Radio and Press).

“Outdoor is clearly the media of the moment as it’s delivered record levels of ad spend for the June month, the second quarter, the calendar year-to-date and financial year periods,” Ractliffe said.

From a brand-level perspective, the biggest trend was a huge boost in ad spend from streaming TV companies, while online media groups reduced their ad spend.

This ongoing decline in online media ad spend was also a key contributor to the lower June quarter ad spend, back 2.4% despite stronger demand for outdoor, streaming TV, regional radio and press.

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Top image: Jane Ractliffe

Andrew Mercado signs off: Final column looks at 10 and programming that saved it from bankruptcy

By Andrew Mercado

Listen to Mercado on TV on the weekly TV Gold podcast: This week, Binge’s Liz Taylor doco and Malpractice on 7Plus.

Network 10 turned 60 yesterday – a diamond anniversary. 1 August 1964, was the day that ATV-0 began in Melbourne. Its first show was a variety special called This Is It, which was considered “bold” because it sent up sacred cows like the RSL and Aussie Rules football. Being bold would be what would always set 10 apart from its competitors.

10 really struggled in its first decade against the more established Seven, Nine, and the ABC. On the verge of bankruptcy, they gambled everything on Number 96 and they hit the jackpot. Emboldened by its success, they decided to double down.

10’s best ratings number in the 70s: 96

The Box was filmed at the Nunawading studios of ATV-0. Set in a TV station, it was the second most popular series of 1974 behind Number 96. These two dramas took 10 to the top of the ratings for the first time in their history.

Flushed with success, industry advertisements portrayed 10’s sales executives as dirty old men opening their raincoats to show off pics of naked women emblazoned with the logos of Number 96 and The Box. Seriously. By 1975, 10 had TV’s new top-rating show, The Six Million Dollar Man, but the second highest-rated show was repeats of Bewitched, a show that 10 had let go for Seven to repeat in colour.

As advertising revenue poured in, Number 96 creator David Sale wrote in his autobiography that 10’s first priority was to “turn the first-floor executive offices at 10’s studio complex into the kind of panelled, deep-carpeted luxury suites occupied by Hollywood moguls”.

10’s other big 1970s hit: The Box

Meanwhile, the actors making The Box were relegated to a downstairs dressing room at ATV-0 that had no outside light or phone. Fred Betts, who played TV station owner Sir Henry Usher in the series, quit the show in 1977 saying he was sick of being “treated like dirt”.

When The Box finished up later that year, ATV-0 ignored the show that had taken them to the top, burying the final episode in an 11:45pm timeslot. The bunker dressing room was re-purposed for the cast of Prisoner, which continued to complain about its conditions well into the 80s. Only the success of Neighbours saw an upgrade in facilities.

The poster for The Box movie

I am currently trawling through all 445 hours of The Box to make a new documentary and one thing is very clear – there is no way to ever reboot the show. For starters, it’s about an era that doesn’t exist anymore because networks aren’t hives of activities anymore with hundreds of staff working on variety shows, cop dramas, or kids’ programming.

Any romantic relationship between bosses and staff would also be off-limits today. In The Box, program manger Nick Manning (John Stanton) was portrayed as being one of the good guys even though he was always sleeping with female staff members. Outrageously, Nick even impregnated his secretary on the day of the funeral for his pregnant wife and disabled son.

Although many TV series of this era are dripping with chauvinism and entitlement, 10 did manage to shatter other taboos, particularly when it came to LGBTQ+ representation. They were multicultural and woke before either term was invented. Happy Birthday 10, although who gets the diamonds these days?

Mediaweek’s James Manning and Andrew Mercado: Stay in touch on TV Gold

After a decade, this is my last regular Mediaweek weekly column but James Manning and I will continue doing our TV Gold podcast. Check out our new online home here.

The abovementioned doco about The Box will be included on the 14th and final volume out through Crawfords DVDs later this year. And if you love Aussie TV history, keep an eye on the new free streaming service Brollie.
Thanks for reading.

This week on the TV Gold podcast:

TV Gold

Elizabeth Taylor: The Lost Tapes, Malpractice, Mr Bigstuff

This week Andrew Mercado and James Manning review:
• Elizabeth Taylor: The Lost Tapes (HBO Documentary on Binge & Foxtel) Features a newly recovered interview with Taylor and unprecedented access to the movie star’s personal archive.
• Malpractice (7Plus, 5 episodes) A British medical drama with a memorable performance from Niamh Algar who has quite a few issues she’s trying to deal with.

• Mr Bigstuff (Binge/Foxtel, 6 episodes) A comedy that explores broken families, brotherhood, manhood and carpet sales. And Andrew explains the cult of Danny Dyer!
• They also look at The Decameron (Netflix), the Presumed Innocent (AppleTV+) final episode and we farewell BBC First.

Listen online here, or on your favourite podcast platform.
Read more Mercado on TV columns here. Follow Mercado and TV Gold here.

Gaming worth $184bn globally but ad apend remains low: WARC

By Jasper Baumann

US advertisers are forecast to spend $6.7bn on in-game ads this year, equivalent to just 3.7% of total US digital ad spend.

Gaming has a vast global audience and is a key driver of culture, yet in-game advertising spend remains stubbornly low, according to WARC Media’s latest Global Ad Trends report, Gaming: Advertising’s untapped opportunity.

Alex Brownsell, head of WARC Media, said: “Gaming is huge, both in audience and cultural impact, and its highly complex ecosystem spans devices and platforms defying conventional definitions of a channel. Gaming has long been heralded as a vital emerging opportunity for brands, particularly those wanting to reach younger audiences.

“However, in-game advertising spend remains low. This may soon change, with game publishers focused on improving ad monetisation. But evidence is needed to make the case for gaming as an advertising medium.”

The worldwide games market generates revenues of $183.9 billion annually and 3.4 billion people globally play games across age groups. Research by Newzoo has found that 72% of 35-54s and 46% of over 55s game at least once a week.

Nearly 90% of advertisers surveyed by the IAB agreed that gaming is a brand-safe channel as a result of improved tools such as fraud deduction, context and age rating, ads interactivity, and engagement metrics. Yet many marketers remain cautious of gaming as an advertising channel.

Enthusiasm around in-game ads peaked during the pandemic, but since 2021, the share of advertisers planning to increase spend on gaming has fallen by 20 percentage points, from 72% to 52%, per WARC’s Marketer’s Toolkit 2024 survey.

US advertisers are forecast to spend $6.7bn on in-game ads in 2024, up 10% year on year. This is equivalent to only 3.7% of total US digital ad spend, according to Dentsu.

WARC said the slow uptake of in-game ads is attributed to the gaming advertising ecosystem being so large, spanning devices, genres, formats, and market preferences.

Brands can choose between numerous touchpoints to reach gaming audiences, including creator content on Twitch, user discussions on Discord, and e-sports sponsorships, meaning they aren’t reliant on nascent in-game formats.

Jo Pereira, SVP strategy, media futures group, EssenceMediacomX, said: “Gaming is a whole entertainment ecosystem, not a channel, and is stealing share from entertainment platforms. However, clients haven’t grown up with gaming, and feel less confident with the opportunities.”

According to the report, while gaming companies such as Roblox are working to boost ad revenue, it may be ineffective without adequate support in other channels, particularly social, which is “key to facilitating discovery and engagement.”

Netflix has reportedly spent $1bn on its gaming business since launching three years ago, with game downloads up 200% since 2022. Investment in gaming content has helped even The New York Times to retain users with other digital platforms including LinkedIn and YouTube following suit.

GroupM promotes Daniel Aguirre-Davies to head of search

By Alisha Buaya

Ryan Goldsworthy: “Dan knows our business well, with nearly six years at our agencies and GroupM plus 10 years in the search game.”

Daniel Aguirre-Davies has been promoted to head of search at GroupM Australia and New Zealand.

His appointment to the role comes a year after he joined the agency as group performance director.

The new position will see him work closely with talent across the group’s agencies to ensure search excellence for its clients.

Ryan Goldsworthy, general manager of practices at GroupM Nexus, wrote on LinkedIn:

“The biggest search gig in Australia, and I’m over the moon to promote him from within to our Nexus Leadership Team. Dan knows our business well, with nearly six years at our agencies and GroupM plus 10 years in the search game – not many like that around these days.”

Prior to joining GroupM, Aguirre-Davies was the performance director at Mindshare. He was previously at MediaCom, Ladbrokes Australia, and SponsoredLinX.

Mediaweek has contacted GroupM for comment.

Aguirre-Davies’ promotion follows Joshua McDonnell joining GroupM as Mindshare’s growth and marketing director.

McDonnell will depart from PHD Australia after almost three years. He told Mediaweek: “I’m thrilled to be joining GroupM and Mindshare as growth and marketing director, it’s an exciting time for the business and I look forward to being a part of the team and contributing to the continued growth and success of the business.”

Meanwhile, Brian Lesser has been appointed as the new Global CEO of GroupM. Lesser will succeed Christian Juhl, who is stepping down after five years to take up the new position of president, corporate development at WPP.

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Top image: Daniel Aguirre-Davies

Paris 2024 Olympics TV ratings: Wednesday 31 July saw Natalya Diehm win bronze in the Women’s BMX Freestyle Final

By Jasper Baumann

Penny Smith won a bronze medal in the Women’s Shooting Trap Final.

The 9Network’s TV ratings for Wednesday’s broadcast of the Olympic Games Paris 2024 (up until 2am AEST) secured a National Total TV Reach of 9.572 million across Channel 9, 9Gem and 9Now.

Olympic Games Paris 2024 Day 5 Night Session (7pm-9pm) was Australia’s No. 1 program with all key demos and Total People. It registered a National Total TV Reach of 5.331 million, a Total TV National Audience of 1.892 million and a BVOD audience of 260,000. Audiences in this time slot saw Australian Matthew Hauser come 7th in the Men’s Triathlon.

Olympic Games Paris 2024 Day 5 Night Session 2 (9pm-10:30pm) was Australia’s No. 2 program with all key demos and Total People. The broadcast, which saw Australian Natalya Diehm win bronze in the Women’s BMX Freestyle Final, secured a National Total TV Reach of 4.179 million, a Total TV National Audience of 1.773 million and a BVOD audience of 276,000.

Olympic Games Paris 2024 Day 5 Late (10:30pm-12am) dominated its timeslot across Australia with Total People and all key demos. It achieved a National Total TV Reach of 2.339 million, a Total TV National Audience of 1.066 million and a BVOD audience of 178,000. Audiences in this slot saw Australian BMX professional Logan Martin compete in the Men’s BMX Freestyle Final as well as Penny Smith shooting her way to a bronze medal in the Women’s Shooting Trap Final.

The 9Network was the No. 1 network across the 5 City Metro with Total People and all key demos, with massive shares of 63.26% with People 25-54, 69.07% with People 16-39 and 54.50% with Total People.

9Now was the No. 1 CFTA BVOD platform across Australia with Total People and all key demos, securing shares of 82.46% with People 25-54, 84.83% with People 16-39 and 80.48% with Total People.

Other 2024 Paris Olympics TV ratings
• Paris 2024 Olympics TV ratings: Sunday 28 July delivers more Gold for Australia and Nine
• Paris 2024 Olympics TV ratings: Opening Ceremony and Day
• Stan Sport sets new viewing record as people pay to watch 2024 Paris Olympics ad-free in 4K

Media Movers: Danny Bass, Liana Rossi, Adam Sadler, Sian Whitaker

By Alisha Buaya

Plus: Ryan Ferguson, Lorraine Woods, Alastair Baker, Serena Leith, and Sebastian Vizor.

Mediaweek’s Media Movers charts the biggest people moves in the industry over the past week.

This week:

Mutinex finally made a long-rumoured hire official, appointing Danny Bass as chief revenue officer.

Ogilvy’s head of culture and influence, Liana Rossi, departed the creative network to set up her own consultancy practice, Mediaweek revealed. Ogilvy confirmed with Mediaweek that Rossi left the business several months ago and is now working as an independent consultant.

SBS’ director of media sales Adam Sadler resigned and will step down after six and a half years leading SBS Media.

Jane Palfreyman, SBS’ chief marketing and commercial officer, will assume temporary leadership of SBS Media over the coming months, while SBS goes through a process to recruit a new director of media sales.

Broadsheet promoted Sian Whitaker to managing director, effective immediately. Whitaker joined Broadsheet in 2018, and has served as general manager for the past three and a half years.

Snap Inc. appointed Ryan Ferguson as the new head of sales in Australia.

Atomic 212° promoted Lorraine Woods to the new role of chief investment and trading officer, stepping up from her most recent role as national head of trading.

Havas Media promoted head of planning Alastair Baker to the newly-created role of chief planning officer.

TikTok elevated Serena Leith to the newly-created role of head of global campaigns and programs. Leith joined the platform in 2021 as global marketing – director across Australia and New Zealand.

Havas Host appointed Sebastian Vizor as its new executive creative director. Vizor joins from The Royals, where he led the creative department after returning to Australia from Europe.

PHD Sydney promoted Emma Wood, formerly Sydney’s co-head of investment, to head of investment. She will assume full responsibility for the Sydney investment product, and continue reporting into PHD’s chief investment officer Joanna Barnes.

Seven West Media’s The Nightly appointed Nicole Waudby as director of commercial strategy. Waudby will lead advertising sales and commercial strategies for the digital publication.

Taboo hired Charlotte Adorjan as executive creative director at the Melbourne-based agency.

Neighbourhood Strategy appointed Mike Ronkoske as head of strategy. Ronkoske becomes the first person to hold the position since the South Yarra-based consultancy launched in December last year.

CX Lavender expanded its senior strategy team with the appointment of Francesca Tschuchnigg as CX and innovation director. Tschuchnigg joins the independent agency from Optus, where she was CX design lead and led both core product and the Optus Sport customer experience and innovation teams.

Out-of-home agency, Revolution360, named Josh Fitzgerald as its new general manager. His promotion from national sales director is effective immediately.

TFM Digital appointed Tim Harper-Russell as general manager. He joined the independent agency after six years with Wavemaker, where he was group business director, overseeing a portfolio of key accounts, including Domino’s, Caltex, Tourism Whitsundays, and AutoSports Group.

Mamamia promoted Marie Joyce to the role of head of sales, Victoria. Joyce joined Mamamia in 2021 and has held the roles of head of audio, Victoria and most recently head of sales, agency.

Following Ali Clarke revealing her breast cancer diagnosis to listeners earlier this week, Mix102.3 confirmed Hayley Pearson will be stepping into the show.

Pearson will fill in for Clarke while she steps away from the show to undergo a mastectomy. At this stage, it is unknown the length of her further treatment and recovery time.

Former ABC news director Kate Torney to tackle misinformation in new role

By Tess Connery

The Constructive Institute’s goal is to shape global news culture in a way that will lead to healthier democracies.

Kate Torney, ABC news director from 2009-2015, has been appointed Director of the Constructive Institute Asia Pacific in the Faculty of Arts at Monash University. She will commence her role in November 2024.

Her appointment follows the departure earlier this year of the Constructive Institute’s inaugural Director, Stan Grant.

Torney will take up a Professorship of Practice in the School of Media, Film and Journalism and, through the Constructive Institute, work towards the University’s goal to counter misinformation and disinformation.

Located at Aarhus University in Denmark, the Constructive Institute’s goal is to shape global news culture in a way that will lead to healthier democracies. Based within the School of Media, Film and Journalism in Monash University’s Faculty of Arts, Torney will work towards this goal in the Asia Pacific region.

Dean of the Faculty of Arts, Professor Katie Stevenson, welcomed Torney’s appointment, saying “Today’s media landscape is rapidly evolving and enduring constant battles of misinformation, sensationalism and negativity bias.

“With the appointment of Professor Torney, Monash Arts is excited for the significant impact the Constructive Institute Asia Pacific will have on developing the next generation of journalists with a renewed commitment to news integrity,” Professor Stevenson said.

Speaking of her new role, Torney said “This is a rare moment in time for the media sector – a chance to deliberately be part of the solution to the polarisation and mistrust that we are seeing in so many of our institutions and democracies around the world.”

“Monash University is leading the way by joining a global effort to reframe and strengthen the role of journalism in supporting highly engaged, solution-focused communities. That has never been more important and I am excited by the challenge, the sense of urgency and the huge opportunities that lie ahead in this role.”

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Top image: Kate Torney

Emma Shepherd joins Affinity as communications director

By Alisha Buaya

Shepherd joins the agency after a year with The Trade Desk, where she served as editorial content manager, APAC.

Affinity has appointed Emma Shepherd as communications director.

Shepherd joins the indie agency after a year with The Trade Desk, where she served as editorial content manager, APAC.

In the new role, she will manage Affinity’s external reputation, spearhead thought leadership efforts, ghostwrite the company’s website, and oversee the production of the OutThink newsletter.

Shepherd will also drive other outreach programs designed to amplify Affinity’s brand presence, including all PR, and social media engagement on platforms like LinkedIn, Instagram, and X.

Angela Smith, chief brand officer at Affinity, said: “We kept hearing we were flying too far below the radar, so we decided to take a dose of our own medicine and invest in raising our profile by hiring one of the best. Emma has already made an important impact on how we present ourselves to the world.

“As independent thinkers in the industry, we’ve pioneered numerous approaches to market, but we haven’t really told anyone about it. Well, that’s all about to change, and we’re loving practising what we preach. One of our secrets to success is our data-driven approach that has been at the core of these innovations, enabling us to deliver measurable results for our clients.

“There’s been so many accomplishments to celebrate, I think we’re all guilty at times of being the expert plumber with the leaky tap. But as we continue to grow our offering thanks to new team members of the calibre of Vaughan Townsend, ECD, and Gavin Sommer, having the talent of Emma on our team is the icing on the cake to get the good news out there.”

Smith added that Affinity has won more than 70 effectiveness awards in the past six years, “not including another IPA Effie that’s due to land in October.”

“We owe it to our amazing team and clients to ensure their hard work is consistently out there on a bigger stage,” she noted.

Shepherd brings experience in media trade reporting, and content strategy to the role.

“I am thrilled to join AFFINITY and contribute to its mission of accelerating growth for ambitious brands,” Shepherd said.

“I look forward to leveraging my experience in editorial content and communications to elevate AFFINITY’s profile, drive thought leadership, and build meaningful connections within the industry.”

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Top image: Emma Shepherd

Edelman appointed as VIVAIA’s PR agency of record

By Alisha Buaya

The partnership comes ahead of the brand’s first flagship store opening in Sydney at the end of the year.

Eco-friendly footwear brand VIVAIA has appointed Edelman as its PR agency of record.

The strategic partnership coincides with the launch of a pop-up store in Melbourne Central in August 2024, ahead of the opening of the brand’s first flagship store in Sydney at the end of the year.

Edelman will work to amplify VIVAIA’s message of comfort, eco-friendly materials, and timeless design to audiences across the country as the agency continues to build its existing base of fashion and lifestyle clients in Australia.

The launch will be supported through a communications strategy involving earned media and influencer marketing.

In the months leading up to the Sydney store opening, Edelman will also leverage its network, working to build brand awareness among Australian media and consumers to establish VIVAIA’s presence in the market.

Edelman - Vivaia

“We’re thrilled to have been entrusted by VIVAIA to support them at this important moment in their journey,” Preya McMahon, Edelman Australia’s head of brand, said.

“Through the breadth of our consumer offering across strategy, creative, media relations, talent and storytelling, we’re excited to champion VIVAIA’s eco-friendly shoes in Australia,” she added.

Earlier this year, the 2024 Edelman Trust Barometer found that Australians’ level of trust has risen to 52%, up from 48% last year.

It found that Australians are still sceptical of NGOs, businesses, government, and media, despite slightly improving from ‘distrust’ to a ‘neutral’ position over the last year.

71% of respondents found scientists trustworthy when it came to telling the truth about new innovations and technologies. However, scientists were just outranked by peers or “someone like me” at 73%.

Unlike Australia and the rest of the world, in the wider APAC region, most people trust important institutions and embrace new and emerging technologies.

Mille Ford American Express Essential Rewards Credit Card

Amex taps Millie Ford as ambassador to ‘drive brand relevance’

By Amy Shapiro

The card’s launch was celebrated with the ‘Lime Cordiale & Friends’ music gig.

Australian TikTok personality, actress, musician, podcaster, and comedian Millie Ford has been named the ambassador of the American Express Essential Rewards Credit Card.

To celebrate the card’s launch, American Express hosted a one-night-only music event, Lime Cordiale & Friends, on Friday 19 July, at Sydney’s Liberty Hall. The event featured a performance by the Australian pop-rock band Lime Cordiale, joined on stage by Set Mo and surprise guest Ruel.

Lime Cordiale Performs at the American Express ‘Lime Cordiale & Friends’ gig in Sydney, Australia

The event was a collaborative effort involving creative agency dentsuMB, media agency UM, publicity and talent agency Ogilvy PR, and entertainment and talent agency BRING. Proceeds from the sold-out event supported the music industry through supportact.org.au.

“Lime Cordiale & Friends continues American Express’ ongoing support of the music industry and backing the goals, ambitions and passions of musicians, businesses and fans which we have been proudly doing for many years now,” said Will Thorne, VP of acquisition for American Express Australia.

“We want to show them the powerful backing that comes with American Express and this new card is part of our continued efforts to drive brand relevance across generations.”

Lime Cordiale, Ruel and Mille Ford on stage at the American Express ‘Lime Cordiale & Friends’ gig in Sydney, Australia

dentsuMB chief client officer, Cate Stuart-Robertson, added: “The event was the perfect way to kick off the launch of this card aimed to attract a younger audience. It’s all part of our larger campaign of Expect Extra which flows across OOH, video, audio and digital.”

Ford noted that she has always admired American Express, and “I understand how important it is to have the means to be financially empowered and live life to the fullest.”

The new card aims to appeal to a new generation of Aussie consumers, with rewards geared towards spending on dining, retail, and streaming services. Research from Amex conducted among 1,500 Australians aged 24 to 35 revealed that young Aussies actively seek ways to enjoy life while pursuing financial freedom.

AMEX OOH Victoria Parade Before Brunswick St, Fitzroy

Half of those surveyed treat themselves weekly with activities such as eating out (60%), purchasing new clothing (47%), or ordering takeaway drinks (45%). More than half (55%) strive to balance short-term desires with long-term financial goals, and 62% view spending on themselves as a form of self-care.

“Younger generations are often underestimated when it comes to their financial acumen,” Thorne noted. “Our research shows that not only are many of them sensible with their spending, but more than half of those aged between 24 and 35 (61%) are confident in what lies ahead in terms of their financial future 10 years from now.”

According to the research, 58% of younger Aussies claim to have a good or excellent understanding of money management, and 70% agree they are deliberate in how they spend their money.

Commenting on the Lime Cordiale & Friends activation, managing director of Bring agency, Adam Ireland, said: “As a brand, American Express is one of the most consistent backers of Australian music and artists and so it’s no surprise that they’ve lent into the number one passion point for Gen Z and millennials once again to launch the new American Express Essential Rewards Credit Card.”

In June, Ford also hosted the MG3 vehicle launch against the backdrop of Vivid. The event was organised in partnership with Are Media’s ELLE Australia and MG Motor Australia.

Credits:
Client: American Express
Creative Agency: dentsuMB
Media: UM
Entertainment and Talent Agency: Bring, Universal Music For Brands
Publicity and Talent Agency: Ogilvy PR
Experiential Agency: Studio Messa
Social Creative & Production: Jack Nimble

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Top Image: Millie Ford

SBS to become Australia’s first completely renewable media company

By Jasper Baumann

ZEN Energy will supply SBS’ NSW and Victoria-based operations with 100% renewable energy over the next 10 years.

SBS has committed to a 10-year renewable energy power purchase agreement with ZEN Energy.

ZEN Energy will supply SBS’s New South Wales and Victoria-based operations with 100% renewable energy over the next 10 years with Large-scale Generation Certificates (LGCs) paired with the 226.8MW Collector Wind Farm in NSW.

SBS has set the target of reaching Net Zero across scope 1, 2, and 3 emissions by 2045.

SBS’ chief financial officer, Nitsa Niarchos said: “SBS is proud to lead the way in the media industry by committing to 100% renewable energy. Our partnership with ZEN Energy underscores our commitment to sustainability and sets a new standard for reducing carbon emissions in media. Our goal is to inspire others in the industry to take meaningful steps towards a greener future.”

The media company has also partnered with Scope3 to measure emissions from advertising technology, affording advertising clients greater transparency of carbon emissions from their advertising campaigns.

The Collector Wind Farm commenced operations in 2022 and consists of 54 turbines collectively producing 528GWh each year, capable of powering 80,000 NSW homes and saving close to 320,000 tonnes of CO2 emission each year. The wind farm project has also involved a community benefit-sharing scheme.

SBS’ head of sustainability, Abigail Thomas said: “This 10-year agreement with ZEN Energy through wind power ensures that SBS’s commitment to carbon reduction is not just a short-term initiative but a long-term strategy.

“By securing a decade of 100% renewable energy, we are taking significant steps towards our Net Zero targets and demonstrating our dedication to sustainability efforts and innovation in Australia’s media sector.”

SBS’ director of media sales Adam Sadler resigned this week and will step down after six and a half years in the role.

Jane Palfreyman, SBS’ chief marketing and commercial officer, will assume temporary leadership of SBS Media over the coming months, while the company goes through a process to recruit a new director of media sales.

Mamamia appoints Marie Joyce as Victorian head of sales

By Tess Connery

Joyce was most recently head of sales, agency.

Mamamia has appointed Marie Joyce to the role of head of sales, Victoria. Joyce joined Mamamia in 2021 and has held the roles of head of audio, Victoria and most recently head of sales, agency.

Appointed to a newly created role, Joyce will oversee Melbourne operations and step into a role with Mamamia’s national senior leadership team.

Natalie Harvey, CEO, said: “Marie is one of the best people leaders I have worked with. Having her lead our office in Melbourne and as a member of our National SLT is a reflection of her contribution to the business and our team, as well as our commitment to increasing our presence in the Melbourne market which is a key market for growth for Mamamia.”

Marie Joyce, head of sales, Victoria, said: “Over the last 12 months, the Melbourne team has continued to grow. We have an extremely talented team across multiple functions. We pride ourselves on a culture of creativity, innovation, and best-in-class work. I am thrilled to expand my remit as the Melbourne Market Lead, and continue to work closely with Kate Baldwin (Head of Indie and Direct, Melbourne).”

In June, Mamamia appointed IAG marketer Zara Curtis as chief content officer. Curtis was Harvey‘s first major hire, joining the women’s media company from her previous role as head of customer experience, brand communications, and social impact for IAG.

Curtis has 20 years of experience across content, creative, and marketing roles. Her resume also includes time as commercial director of news lifestyle media, and general manager of branded entertainment and commercial at Fremantle Productions.

Curtis’ appointment coincided with Mamamia co-founder Mia Freedman’s move into the chief creative officer role.

Harvey‘s May appointment to chief executive officer came four months after she joined Mamamia in January.

“Mamamia has been an industry-leading pioneer in digital media since it began and is unquestionably the leading women’s media brand in Australia,” Harvey said at the time.

“I am humbled and grateful to be leading the amazing Mamamia team into this next era, and continue to live our purpose of making the world a better place for women and girls.”

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Top image: Marie Joyce

NBL drafts The Gifted Group and Speak Communications for PR

By Jasper Baumann

The two agencies will spearhead the NBL’s influencer, talent, and PR initiatives.

The National Basketball League (NBL) has appointed The Gifted Group and Speak Communications as its talent and public relations agency partners in Australia for the 2024/25 season.

Beginning on 1 August, the two agencies will spearhead the NBL’s influencer, talent, and PR initiatives.

The NBL says the partnership aims to support its ambition to “elevate the visibility, popularity and engagement of basketball across the country.”

Edward Deal, founder of The Gifted Group said: “Our partnership with the NBL presents an exciting opportunity to utilise our expertise in creator marketing to continue to expedite the rapid growth of Australian basketball. By leveraging our extensive network and innovation in the space, we aim to create compelling and authentic content to help the NBL shine both on and off the court.”

Snezana Hay, founder of Speak Communications said: “Put simply, sport is our jam. Our extensive experience and connections we’ve built in this space, coupled with our passion for sports, has given us an unmatched understanding on how to engage and cultivate fans and intertwine with culture.

“We are thrilled to bring this expertise to our partnership with the NBL. The NBL has been a significant force in promoting basketball in Australia, and we’re eager to help amplify its reach and impact. Together, we look forward to developing MVP-worthy narratives and campaigns that will not only engage current fans but also attract new audiences to the game.”

The NBL announcement comes as Prime Video, the NBA, and the WNBA entered an 11-year media rights agreement last week, beginning with the 2025-26 NBA season.

In the deal, Prime Video will present exclusive global coverage of 66 regular-season NBA games, including an opening week doubleheader, a new Black Friday NBA game, and all games from the Knockout Rounds of the Emirates NBA Cup, including the in-season tournament’s Semifinals and Finals.

The agreement also gives Prime Video exclusive WNBA postseason games for the first time, including one first-round series each year, plus seven semifinal series and three WNBA Finals over the course of the 11-year deal.

BritBox joins Foxtel’s suite of integrated apps

By Jasper Baumann

The app will be integrated into the Foxtel platform in August.

BritBox will join Foxtel’s suite of integrated apps on iQ set-top boxes, along with a line-up of new dedicated channels including NatureTime, The Outdoor Channel, and a range of Vevo music video channels.

BritBox will offer Foxtel customers access to a collection of British television content, including dramas, comedies, mysteries, and documentaries, all available directly via the Foxtel homepage. The app will be integrated into the Foxtel platform in August.

Stephanie Quinn, director of content partnerships – Foxtel Group, said: “We’re committed to providing our customers with the best value experience alongside a diverse and premium content library as part of their Foxtel subscription.

“The addition of BritBox to Foxtel enhances our British content offering on the platform, alongside new genre-focused channels for our customers to enjoy.”

Foxtel will also launch a collection of new genre-focused linear channels, including: The Outdoor Channel (ch.131); NatureTime (ch.134); Vevo pop (ch.806); Vevo retro rock (ch.809); Vevo ’90s (ch.808), and Vevo 2K (ch.807).

Britbox’s Foxtel addition comes as head of content and editorial, Sarah Kenny, expands her role to add programming and acquisition responsibilities for BBC Studios’ local channels to her existing BritBox responsibilities.

Kenny will dual report to Moira Hogan and Fiona Lang, general managers for BBC Studios Australia and New Zealand.

Lang said: “I’m delighted that Sarah will be combining editorial responsibilities for our channel portfolio with her existing BritBox role, allowing BBC Studios to take a holistic approach to content across these services.

BritBox has also acquired four new shows from BBC Studios with the streamer picking up Death in Paradise, Call The Midwife and Silent Witness as BBC First exited Foxtel and Binge on 31 July.

BritBox will also premiere The Jetty – a new crime thriller starring Jenna Coleman set in a lakeside town where an arson, a missing persons cold case, and an illicit triangle are intertwined. The series is written and created by Cat Jones and produced by BBC Studios independent production label Firebired Pictures for BBC iPlayer and BBC One.

UnLtd’s Hall of Good 2024 applications open to recognise industry change makers

By Jasper Baumann

Applications close on 23 August and entries will be judged by an independent panel of social impact and marketing experts.

UnLtd has opened applications for its annual Hall of Good award for 2024. The program recognises companies, campaigns and individuals in the industry that have made a positive impact in supporting children and young people at risk.

There are three categories, all free to enter.

The Good Company category recognises companies that are showing long-term commitment to making a positive difference to young people at risk. The Campaign for Good category recognises the best pro-bono campaigns raising awareness and funds for causes focusing on at-risk young people. The Social Change Maker category recognises individuals in the industry who are going over and above to use their skills and influence for good to support vulnerable young people.

Jade Harley, director of partnerships at UnLtd said “There are so many individuals and companies across our industry doing incredible work using their media, marketing and creative skills to help our charity partners reach more young people who need support.

“The UnLtd Hall of Good program honours and celebrates the change- makers who demonstrate long-term commitment to creating positive social change.”

The program has been running for five years, and previous inductees include Paramount, Ogilvy, GroupM, Maud & The Monkeys, Yahoo, Initiative, The Hallway, EssenceMediacom, and Nine. The individual Social Change Maker of the Year inductees include Ant Melder and Chiquita King from Cocogun and Philippa Noilea-Tani from Wavemaker.

King, managing director of Cocogun said “We were so honoured to be inducted to the UnLtd Hall of Good in 2023. Making a positive difference in the world through creativity is something that underpins everything we do at Cocogun. To be recognised for this work is really meaningful, not just to Ant and I but to each of our incredibly talented team and our wonderful clients.”

Applications close on 23 August and entries will be judged by an independent panel of social impact and marketing experts. The 2024 inductees to the UnLtd: Hall of Good will be announced at UnLtd’s annual Big Dream event taking place on 12 September in Sydney.

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Top image: 2023 Hall of Good winners for Good Company – Nine

TV Ratings 31 July 2024: Billy Brownless and Steve Johnson appear on The Front Bar

By Jasper Baumann

Felicity was left heartbroken during Home & Away.

Wednesday 31 July 2024: VOZ Total TV Ratings Overnight Top 30 – Programs ranked on reach

Total People TV Ratings

Nine’s Olympics 2024 D5 – Night recorded a total TV national reach of 5,331,000, a total TV national audience of 1,892,000, and a BVOD audience of 260,000.

Nine’s 9News recorded a total TV national reach of 3,030,000, a total TV national audience of 1,645,000, and a BVOD audience of 194,000.

Seven’s The Chase Australia recorded a total TV national reach of 1,341,000, a total TV national audience of 664,000, and a BVOD audience of 34,000.

Also on Seven, Home & Away recorded a total TV national reach of 1,252,000, a total TV national audience of 834,000, and a BVOD audience of 119,000.

Home & Away saw Xander get the wrong idea, Felicity was left heartbroken and Leah tried to save her friend.

10’s airing of The Project recorded a total TV national reach of 616,000, a total TV national audience of 239,000, and a BVOD audience of 10,000.

People 25-54

Nine’s Olympics 2024 D5 – Night:
• Total TV nation reach: 2,093,000
• National Audience: 685,000
• BVOD Audience: 152,000

10’s Bondi Rescue:
• Total TV nation reach: 164,000
• National Audience: 84,000
• BVOD Audience: 5,000

Seven’s The Front Bar:
• Total TV nation reach: 275,000
• National Audience: 132,000
• BVOD Audience: 11,000

Seven’s Home & Away:
• Total TV nation reach: 386,000
• National Audience: 257,000
• BVOD Audience: 66,000

People 16-39

Nine’s Olympics 2024 D5 – Night:
• Total TV nation reach: 1,118,000
• National Audience: 335,000
• BVOD Audience: 90,000

10’s Bondi Rescue:
• Total TV nation reach: 82,000
• National Audience: 42,000
• BVOD Audience: 3,000

Seven’s The Front Bar:
• Total TV nation reach: 98,000
• National Audience: 40,000
• BVOD Audience: 6,000

Seven’s Home & Away:
• Total TV nation reach: 161,000
• National Audience: 116,000
• BVOD Audience: 41,000

Grocery Shoppers 18+

Nine’s Olympics 2024 D5 – Night:
• Total TV nation reach: 3,966,000
• National Audience: 1,424,000
• BVOD Audience: 204,000

10’s 10 News First:
• Total TV nation reach: 510,000
• National Audience: 244,000
• BVOD Audience: 11,000

Seven’s The Front Bar:
• Total TV nation reach: 741,000
• National Audience: 348,000
• BVOD Audience: 16,000

Seven’s Home & Away:
• Total TV nation reach: 995,000
• National Audience: 667,000
• BVOD Audience: 95,000

TV Ratings

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.

Business of Media

Russia frees Evan Gershkovich and others in biggest prisoner swap since cold war

The largest prisoner swap between Russia and the US since the cold war has taken place, as 16 people were freed from Russian custody including the Wall Street Journal reporter Evan Gershkovich. Several other foreign citizens held in Russia and numerous Russian political prisoners were also freed, reports The Guardian’s Shaun Walker and Andrew Roth.

The exchange took place at Ankara airport on Thursday in a complicated operation in which planes arrived from and departed to multiple countries.

Among those returning to Russia was the assassin Vadim Krasikov, who has been held in a German prison since 2019 for the murder of a Chechen exile in Berlin. Additionally, several deep-cover Russian “illegal” spies arrested in Norway and Slovenia were swapped, along with Russians held on criminal charges in US jails.

[Read More]

Jubilation inside The Wall Street Journal after Gershkovich is freed

Early Thursday, Ella Milman and Mikhail Gershkovich sat to eat at the Mayflower Hotel in downtown Washington before a day of celebration — a day they had been waiting to arrive for 16 months, reports The Wall Street Journal’s Katie Robertson.

They were joined by their daughter, Danielle, her husband, and executives from Dow Jones and The Wall Street Journal. Shortly, the family would be dropped off blocks away at the White House, where it expected to receive confirmation that the couple’s son, Evan Gershkovich, a foreign correspondent for The Journal, had been released from detainment in Russia as part of a prisoner swap involving seven countries.

[Read More]

BBC head says he will look at all options to claw back pay from Huw Edwards

The BBC’s director general, Tim Davie, has said the corporation will “look at all options” for recovering pay from the disgraced newsreader Huw Edwards, The Guardian’s Eleni Courea.

Davie said the corporation was exploring the possibility of legal action to claw back some of its payments to Edwards, who continued to be paid for five months after his arrest. He admitted this week to accessing indecent images of children.

Before he resigned in April citing medical issues, Edwards was paid between £475,000 and £479,999, according to the BBC’s latest annual report. He received a £40,000 pay rise in 2023-24. The public pays £169.50 a year for the BBC licence fee.

[Read More]

Mystery bidder for Paramount Global raises questions

Parties involved in evaluating offers for Paramount Global have raised questions about the legitimacy of Apex Capital Trust’s bid for the company, one source familiar with the matter told Reuters, reports Dawn Chmielewski.

Apex issued a press release Wednesday, claiming it had submitted a $43 billion all-cash offer to purchase Paramount, challenging a deal reached with David Ellison‘s Skydance Media.

Steven Weiss of Rubenstein Public Relations, whose name and contact appeared on Apex Capital Trust’s press release announcing the offer, told Reuters Wednesday morning via email, “Yes, this is real.”

[Read More]

Don Lemon sues Elon Musk and X for canceling partnership deal

Don Lemon is suing Elon Musk and X for breach of contract after the owner of the social-media platform canceled a short-lived partnership deal following a testy interview, report The Wall Street Journal’s Alyssa Lukpat and Joseph De Avila.

Lemon and X cut an agreement for the former CNN host to produce content on the platform after he was let go from the network. The complaint, which Lemon’s team said was filed Thursday in California Superior Court, said X agreed to pay Lemon $1.5 million and a cut of advertising revenue in a one-year deal. But X and Musk never intended to fulfill the deal, the complaint alleges.

[Read More]

Murder, misinformation and frenzies: the dark side of TikTok

As with other social media apps, video-sharing app TikTok has evolved since its launch in 2016. Initially, the platform focused on lighthearted lip-syncing and dancing videos, which just eight years on seems incredibly quaint, reports Nine Publishing’s Kylie Northover.

Now the app has become, essentially, a business tool for companies and influencers, and it’s a very different beast. TikTok users see videos that aren’t necessarily from other people they follow or know, which has given rise to an incentivising culture that spurs creators to be more competitive with what they’re posting.

For this compelling – if not comprehensive – BBC documentary, Marianna Spring, the channel’s disinformation correspondent (what a job title), spent a year investigating some of the app’s harmful behaviour and the subsequent real-world consequences, in particular when TikTokkers involve themselves in real-world crime cases.

[Read More]

News Brands

Steve Jackson’s new role at Daily Mail after Channel Seven scandal

Controversial journalist Steve Jackson, who had been laying low after being ditched by NSW Police Commissioner Karen Webb as her chief spin doctor, has popped up in a surprising new place: Daily Mail Australia, reports News Corp’s Angira Bharadwaj.

Jackson has had a tumultuous year after a public falling out with journalist Taylor Auerbach and being let go from his plum gig as Webb’s media boss after revelations his appointment came at the recommendation of Police Minister Yasmin Catley’s chief of staff.

[Read More]

The tiny private Catholic college making a big impression at Sky News

A small private Catholic college in western Sydney is punching above its weight at Australia’s largest and most conservative news channel, Sky News, reports Nine Publishing’s Calum Jaspan.

Campion College has developed a close relationship with sections of Sky News Australia, particularly its digital department, with alumni links for its very small student base leading to a comparatively large cohort at the network, while receiving regular promotions across Sky’s on air programming.

The college offers subjects on Western history, civilisation, literature and philosophy, and is supported by a host of conservative figures, including mining billionaire Gina Rinehart.

[Read More]

Podcasts

Spotify ends deal with Inspired Unemployed podcast

Larrikin social media duo The Inspired Unemployed have been dropped by streaming service Spotify, reports News Corp’s Tamaryn McGregor.

The Daily Telegraph can reveal the streaming service opted not to renew Matt Ford and Jack Steele’s The Inspired Unemployed podcast for another season, with the third set of episodes scheduled to wrap up at the end of the month.

A spokeswoman for Ford and Steele said “the podcast is currently in its third season and no current beyond that”, with multiple other sources also confirming the deal with Spotify would be no longer.

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Television

Netflix to wrap up Squid Game

Netflix has surprised viewers by announcing that its biggest ever show, Squid Game is coming to an end, reports News Corp’s Joshua Haigh.

A new teaser has revealed that the long-awaited second season will finally be released on Boxing Day.

The streaming giant, whose reality spin-off is already returning next year, also revealed the show has been renewed for a third and final season, to air in 2025.

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