7NEWS has confirmed a major restructuring of its news operations in Queensland, marking the end of the Gold Coast’s local 5.30pm news bulletin in a significant shift to modernise the delivery of its prime-time metropolitan coverage.

The change will see the Gold Coast news operation streamlined into a multi-faceted news bureau that will continue to produce award-winning stories and cover key regional issues, but with a shift in focus towards integration into the 6pm metropolitan bulletin, which is already a cornerstone of Seven’s programming.

This restructuring means the 5:30pm local news bulletin will be axed, with the final Gold Coast-focused broadcast scheduled for this Thursday. Viewers will now tune in to a revised lineup that includes a full hour of Seven’s Afternoon News at 4pm, followed by The Chase Australia at 5pm, before transitioning to 7NEWS live at 6pm with presenters Max Futcher and Sarah Greenhalgh.

In a statement, Anthony De Ceglie, Seven Network director of news and current affairs and editor-in-chief at Seven West Media, said the changes reflect the evolving landscape of news delivery. “This is about bringing together and modernising both our Gold Coast local news and Brisbane’s unrivalled 6pm bulletin hosted by Max Futcher and Sarah Greenhalgh,” De Ceglie said.

“It’s an exciting evolution, and it in no way diminishes our commitment to the Gold Coast. Quite the opposite. The creation of a dedicated Gold Coast news bureau will allow us to inject the most crucial local stories and issues directly into the metropolitan 6pm news every night,” he added.

Local 7News Gold Coast presenters Amanda Abate and Steve Titmus will stay with the network.

Max Futcher and Sarah Greenhalgh from 7News Brisbane will now present Gold Coast news as part of the metropolitan 6pm bulletin.

A shift to the bureau model

The shift to a consolidated bureau model will ensure that Gold Coast stories — including key regional issues — will still feature prominently in the nightly news cycle, with a greater focus on delivering those stories to a wider, metropolitan audience. The new setup aims to improve the reach and impact of Gold Coast news by giving it a “stronger voice” within Seven’s larger, state-wide programming, reaching a broader viewership in the process.

While the change affects the local 5.30pm bulletin, most staff from the Gold Coast newsroom are expected to remain in the new bureau, with some transitioning to the Brisbane office. Other teams based on the Gold Coast — outside of the news department, including sales teams — are not impacted by the changes.

“This change will allow us to deliver more comprehensive and timely coverage of the stories that matter most to the Gold Coast community,” De Ceglie added. “It’s about making sure viewers in the region have access to the most important local and metropolitan news as they sit down for dinner at 6pm.”

Impact on viewership

For Gold Coast viewers, the restructured news schedule offers a more consistent, metropolitan-focused lineup, ensuring that 7NEWS at 6pm remains the focal point of evening news. With more people now able to tune in at the 6pm timeslot, Seven is positioning its broader coverage as more accessible to a larger, more diverse audience.

This announcement comes just a week after Seven’s 2025 Upfront presentation, which showcased a strategy centered around live-streamed sports, expanded news offerings, predictive AI insights, and a new ad-buying system that focuses on audience members rather than channels.

Carnival Cruise Line has launched the latest phase of its 100% Holiday campaign, encouraging Australians to embrace ‘Holiday brain’ with Today the Brave.

The creative agency’s campaign builds on the 100% Holiday platform and how our brains behave a bit differently when ‘Holiday brain’ immediately sets in, leaving no room for real-life concerns like ROI, the day of the week, housework, passwords, or what’s for dinner.

“The default in the cruise category is to overwhelm audiences with experience montages. But we knew we could connect with people through deeper insight and break the category convention. The universal feeling of ‘Holiday brain’ provides just that,” said Vince Osmond, creative partner at Today the Brave.

The agency’s campaign centres on Carlo, the charismatic narrator who captures the essence of the brand and knows a holiday brain all too well. As he narrates, Carlo notes that your brain ultimately behaves differently when you’re experiencing a 100% holiday onboard a Carnival cruise: you forget what day of the week it is, whether dessert comes before dinner and bedtime… what’s bedtime?

“Holiday Brain is a perfect representation of how guests feel on a Carnival cruise, knowing that everything they need is taken care of and they can truly switch off and enjoy their break,” said Anton Loeb, senior director, sales and marketing at Carnival Cruise Line Australia.

This awareness campaign goes live across various platforms, including cinema, TV, OOH, and radio, complemented by 45”, 30”, 15” and 6” films. Designed to build brand visibility and future demand, it elevates the 100% Holiday brand idea that Carnival Cruise Line has been weaving into its brand narrative since 2023.

This campaign not only signals the next chapter in Carnival’s journey but also reinforces its commitment to delivering a stress-free, joy-filled experience for every guest, inviting Australians to leave the “real world” at the dock and embark on an adventure that’s 100% Holiday.

Credits:

Agency: Today the Brave
Head of Strategy: Alyce Gillis
Creative Partners: Jade Manning, Vince Osmond
Creative Team: Kate Idle, Cyndall McInerney, Hannah Lawson
Head of Design: Ethan Hsu
Operations & Production Director: Alistair Pratten
Resource Director: Kate Gregson
Managing Partner: Jaimes Leggett
Group Business Director: Cosmo Haskard
Account Executive: Anika Berkelouw
Brand: Carnival Cruise Line
Vice President: Kara Glamore
Senior Director, Sales & Marketing: Anton Loeb
Brand & Retail Marketing Manager: Nicole Bradbury
Marketing Content Specialist: Alison Steele
Production Co: Sweetshop
Director: Trevor Clarence
Managing Director: Greg Fyson
Producer: Nicole Crozier
Post House: Vandal
Editor: Ben Jones
Sound: Vandal
DOP & Photographer: Alex Serafini
Casting: Danny Long Casting

Media Agency: Speed
Client Partner: Meredith Ansoul
Client Director: Emma Smallwood
National Head of Strategy: Rachel Teh
Client Planner: Peta Van Agten
Digital Director: Callum Coleman
Trading Manager: Meg Anderson
Performance Executive: Emily Sow

The ‘Building Bad‘ investigation has won the 2024 Gold Walkley, Australian journalism’s highest honour, for reports broken by a team of journalists across The Age, the Sydney Morning Herald, The Australian Financial Review and 60 Minutes.

The winner was selected unanimously by the Walkley Judging Board, as the story of the year. The judges declared it ‘an incredible, courageous feat of investigative journalism with huge ramifications. A story Australian journalists have been trying to tell for decades’. They added: “Nick McKenzie and his team finally nailed it, in a massive cross-platform, inter-newsroom collaboration.”

The Building Bad Team is Nick McKenzie from The Age, The Sydney Morning Herald and 60 Minutes, David Marin-Guzman from The Australian Financial Review, Ben Schneiders from The Age, Garry McNab and Amelia Ballinger from 60 Minutes, and Reid Butler from Nine News.

The 69th Walkley Awards for Excellence in Journalism

Nick Moir was named the Nikon-Walkley Press Photographer of the Year for his portfolio of work published in the Sydney Morning Herald. Andrew Fowler took out the Walkley Book Award for Nuked: The Submarine Fiasco that Sank Australia’s Sovereignty (Melbourne University Publishing). And How To Poison A Planet won the Walkley Documentary Award, made by Katrina McGowan, Janine Hosking, Mat Cornwell and Carrie Fellner (iKandy Films and Stan).

Pioneering Australian business journalist Robert Gottliebsen was honoured for his Outstanding Contribution to Journalism which is awarded by the Walkley Foundation’s board of directors.

The Walkley Foundation’s chief executive, Shona Martyn said: “There were more than 1100 entries in this year’s Walkley Awards from journalists, photographers, documentary makers, authors, cartoonists and producers. The quality of their work was extremely high this year proving the excellence of Australia’s leading journalists. My congratulations to the winners and the finalists.”

This year the Walkley Foundation required entrants to declare chequebook journalism, and introduced more rigorous reporting of AI and legal challenges, with a checking process that includes the assistance of three integrity observers. You can find information about the Walkley Awards judging process here,  conflict guidelines here and the Terms and Conditions of the Awards here.

The 69th Walkley Award winners list

PRINT/TEXT NEWS REPORT

Carrie Fellner, Matt Davidson, Matthew Absalom-Wong and Michael Evans, The Sydney Morning Herald and The Age, ‘The factory that contaminated the world’ (1,2,3)

FEATURE WRITING SHORT (UNDER 4000 WORDS)
Award Partner The Sydney Morning Herald and The Age
Ben Walter, Island, ‘The Only Fish: Flathead Decline in Tasmania’

FEATURE WRITING LONG (OVER 4000 WORDS)
Sarah Krasnostein, The Monthly, ‘Peace in the Home: The trial of Malka Leifer‘

ALL MEDIA: COMMENTARY, ANALYSIS, OPINION AND CRITIQUE
Award Partner Thomson Geer Lawyers
David Leser, The Sydney Morning Herald and The Age, ‘The war in Gaza: Not in my Jewish name’ (1,2,3)

ALL MEDIA: EXPLANATORY JOURNALISM
Faster, higher, stronger team, The Sydney Morning Herald and The Age, ‘Faster, higher, stronger’ (1,2,3)

ALL MEDIA: COVERAGE OF INDIGENOUS AFFAIRS
Caroline Graham, Kylie Stevenson and Tilda Colling, The Australian, ‘NT Schools in Crisis’ (1,2,3)

ALL MEDIA: COVERAGE OF COMMUNITY & REGIONAL AFFAIRS
Award Partner BHP
Matthew Kelly, Newcastle Herald, ‘Three decades on the streets’ (1,2,3)

ALL MEDIA: CARTOON OF THE YEAR
Cathy Wilcox, The Sydney Morning Herald, ‘Break glass’

ALL MEDIA: SPORTS JOURNALISM        
Award Partner University of Queensland
Michael Warner, Herald Sun, ‘White Line Fever: AFL illicit drugs crisis’ (1,2,3)

SPORT PHOTOGRAPHY
Quinn Rooney, Getty Images, ‘Australians in the Pool’

AUDIO SHORT (UNDER 20 MINUTES)
Award Partner ABC
Ayla Darling and Hannah Palmer, Triple J, Hack, and ABC Investigations, ‘Behind closed doors: How one child’s voice exposed the dangers of rape inside mental health hospitals‘

AUDIO LONG (OVER 20 MINUTES)
Award Partner McGrathNicol
Paul Farrell and the Background Briefing Team, ABC, Background Briefing, ‘Stop and Search’ (1,2,3)

DIGITAL MEDIA: INNOVATION JOURNALISM
Award Partner Master Builders Australia
Guardian Australia team, Guardian Australia, ‘Leaving Gaza‘

ALL MEDIA: SCOOP OF THE YEAR
Award Partner The Sydney Morning Herald and The Age
Nick McKenzie, Michael Bachelard and Amelia Ballinger, The Age and The Sydney Morning Herald, ‘The Pezzullo files’ (1,2,3)

ALL MEDIA: COVERAGE OF A MAJOR NEWS EVENT OR ISSUE
Award Partner Ogilvy
Chris Reason and Simon Hydzik, 7NEWS, ‘Israel-Hamas War’

NEWS PHOTOGRAPHY
David Gray, AFP, ‘Walk to freedom’

ALL MEDIA: SPECIALIST AND BEAT REPORTING
Award Partner MEAA
Linda Morris and Eryk Bagshaw, The Sydney Morning Herald, The Age and Brisbane Times, ‘The portrait Gina Rinehart doesn’t want you to see’ (1,2,3)

ALL MEDIA: BUSINESS JOURNALISM
Award Partner ING Australia
Linton Besser and Ninah Kopel, ABC, 7.30 and ABC Investigations, ‘Netstrata’ (1,2,3)

FEATURE/PHOTOGRAPHIC ESSAY
Diego Fedele, Getty Images, ‘In the Shadow of a Deadly Sky’

TELEVISION/VIDEO: CAMERAWORK      
Matthew Davis, ABC, Foreign Correspondent, ‘From the high Arctic, to the hustle of Seoul‘

TELEVISION/VIDEO: NEWS REPORTING
Award Partner Seven News
Ben Lewis, SBS World News, ‘October 7 Attacks’

TELEVISION/VIDEO: CURRENT AFFAIRS SHORT (UNDER 20 MINUTES)
Award Partner SBS
Nick McKenzie, Amelia Ballinger and Michael Bachelard, Nine, 60 Minutes, ‘The Power Player‘

TELEVISION/VIDEO: CURRENT AFFAIRS LONG (OVER 20 MINUTES)
Award Partner TEN News First
Building Bad Team – The Age, SMH, AFR and 60 Minutes, Nine, 60 Minutes, ‘Building Bad‘

ALL MEDIA: INTERNATIONAL JOURNALISM
Award Partner Sydney Airport
Dateline Team, SBS, Dateline, ‘Finding Yusuf’ (1,2)

ALL MEDIA: INVESTIGATIVE JOURNALISM
Award Partner Guardian Australia
Chris Reason, 7NEWS, ‘The Bishop of Broome’

WALKLEY DOCUMENTARY AWARD
Award Partner MinterEllison
Katrina McGowan, Janine Hosking, Mat Cornwell and Carrie Fellner, iKandy Films and Stan, How To Poison A Planet

WALKLEY BOOK AWARD
Award Partner Banki Haddock Fiora
Andrew Fowler, Nuked: The Submarine Fiasco that Sank Australia’s Sovereignty, Melbourne University Publishing

NIKON-WALKLEY PRESS PHOTOGRAPHER OF THE YEAR
Award Partner Nikon
Nick Moir, The Sydney Morning Herald

OUTSTANDING CONTRIBUTION TO JOURNALISM
Robert Gottliebsen AM

2024 GOLD WALKLEY
Building Bad Team – The Age, SMH, AFR and 60 Minutes, Nine, ‘Building Bad‘

See also: Finalists selected from 1,150 entries for the 2024 Walkley Awards for Excellence in Journalism

Paramount Australia has partnered with FreeWheel, a Comcast company and a leading global ad-tech platform, to power its next-generation advertising offering, Paramount Connect. This marks a significant milestone in Paramount’s ongoing business and technology transformation, delivering advertisers a unified, end-to-end platform for TV planning, trading, and measurement.

The partnership will streamline and enhance advertisers’ interactions with Paramount’s vast content portfolio, providing a single entry point for managing cross-platform TV advertising. Paramount’s flagship streaming service, Paramount+, has already migrated to FreeWheel’s technology platform, and 10 Play is set to integrate by January 2025. This transition marks the beginning of the first phase of Paramount Connect and the foundation of a unified digital ecosystem.

Leveraging global expertise to meet local market needs

Building on the success of the global Paramount-FreeWheel partnership in the UK, US, and Canada, this strategic collaboration will deliver localised solutions tailored to the unique needs of the Australian market. The integration of FreeWheel’s premium video ad server and SSP (Supply-Side Platform) will give advertisers greater control, transparency, and efficiency across Paramount’s premium content library.

Lee Sears, president of international markets ad sales at Paramount, said:
“This partnership extends our proven global technology strategy and leverages FreeWheel’s world-class capabilities to meet the specific needs of the Australian market. By aligning with FreeWheel, we are bringing cutting-edge technology and a unified advertising experience to Australian advertisers, combining the best attributes of both digital and linear TV.”

Pictured: Lee Sears, president of international markets ad sales at Paramount.

Sears also pointed to the proven success of this model in other markets:
“Our experience in the US, UK, and Canada has shown significant media efficiencies and effectiveness. We’re confident this will translate into strong results for Australian brands as well.”

A Superior ad experience for advertisers and viewers

At the core of FreeWheel’s platform is the ability to simplify and connect ad management, giving publishers and advertisers enhanced control and greater flexibility in delivering impactful ad experiences.

Tess O’Brien, managing director of FreeWheel for Australia & New Zealand, added:
“We’re thrilled to expand our global partnership with Paramount to bring the full potential of Total TV advertising to the Australian market. Our platform reduces complexity for brands and agencies while providing publishers with the tools to effectively monetise their content.”

FreeWheel’s robust ad-tech infrastructure will help Australian advertisers tap into the power of unified ad management, covering everything from live TV to video on demand (VOD), all through a single integrated platform.

Key benefits of the Paramount-FreeWheel partnership

The integration of FreeWheel’s technology with Paramount’s proprietary advertising solutions unlocks a range of benefits for advertisers:

• Unified platform: FreeWheel centralises inventory management across all screens and deal types, providing a seamless experience for advertisers running cross-platform campaigns. Advertisers can make unified ad decisions to maximise impact across Paramount’s ecosystem.
• Greater advertiser control: The platform’s advanced inventory management features give advertisers more control over how ads are delivered, optimising the impact of their investment across Paramount’s global and local content offerings.
• Addressable audiences at scale: With FreeWheel’s data-driven targeting capabilities, advertisers can connect with precisely the right audience based on declared identifiers, ensuring campaigns reach the right people in the right context, no matter where they are watching.
• Contextual advertising: FreeWheel’s platform enhances Paramount’s data-led contextual ad solutions, delivering highly relevant and effective ad experiences at the ad pod level, optimising user experience through dynamic ad insertion (DAI).
• Premium ad formats & flexibility: Advertisers will have access to a range of innovative, first-to-market ad products that unify Paramount’s video offerings and provide scalability, flexibility, and relevance at scale.

Pictured: Rod Prosser, chief sales officer, Paramount Australia

Education & collaboration at the forefront

As part of its commitment to a smooth and successful transition to the new technology, Paramount Australia will host a series of agency engagement sessions. These sessions will offer advertisers an in-depth look at the new platform’s capabilities, highlighting unique opportunities and addressing market needs. Paramount’s goal is to ensure stakeholders are well-equipped to leverage the full potential of Paramount Connect.

Rod Prosser, chief sales officer at Paramount Australia, said: “Our focus is on education and collaboration. By engaging with agencies and advertisers, we aim to fully explore the scale of opportunities available through Paramount Connect, ensuring all stakeholders maximise the platform’s potential.”

The latest results from the Workplace Gender Equality Agency (WGEA) confirm that while progress is being made on gender equality in Australian workplaces, significant work remains to be done.

Released as part of WGEA’s 2023-24 Gender Equality Scorecard, the findings show a 0.6 percentage point reduction in the total gender pay gap, now at 21.8%. This means that, on average, Australian women earn 78 cents for every dollar men earn, equating to an annual income gap of $28,425.

The reduction in the pay gap is largely due to wage increases for low-paid workers, especially in industries like residential aged care, where women make up around 80% of the workforce. For the first time, WGEA’s latest report also includes the remuneration of high-paid executives — CEOs, Heads of Business, and Casual Managers — offering a more accurate and comprehensive measure of gender pay disparities.

A key highlight of the 2023-24 data is the increased focus on gender pay gap analysis among employers. 68% of employers are now conducting this analysis, with 90% of those businesses having done so in the past 12 months. Importantly, 75% of those employers are taking action based on the findings, indicating a positive shift towards addressing gender pay inequality.

The WGEA Gender Equality Scorecard provides an annual update on the state of workplace gender equality in Australia.

WGEA CEO Mary Wooldridge pointed to this growing focus on accountability, stating: “Employers are being held accountable by employees, prospective hires, investors, and the broader community. Business leaders are increasingly challenged to understand and address the drivers behind their gender pay gaps.”

The 2023-24 Gender Equality Scorecard offers insights into the practices of over 7,400 private-sector employers, covering more than 5.17 million Australian workers. The report reflects actions taken by employers ahead of the February 2024 release of official gender pay gap data, which will see employers publicly disclose their gaps for the first time.

While the data shows improvement, Wooldridge cautioned that the persistent gender pay gap continues to affect women’s long-term financial security. She added: “The national results show that, despite positive change, a significant gender pay gap persists. This gap limits women’s lifetime earnings, their ability to save, invest, and build financial security for themselves and their families.”

Employers with 100 or more employees are required to report annually to WGEA against six Gender Equality Indicators (GEIs), which measure critical areas of workplace equality, including pay equity, leadership, and flexible work arrangements.

The full results from the 2023-24 Employer Census, including industry and employer-level data, are available through the WGEA Data Explorer on their website. The employer-specific gender pay gap data will be published in early 2025.

IAB Australia intends to ensure responsible frameworks are in place to meet marketer, consumer, and Government expectations in 2025 while also exploring new market needs and dynamics, as outlined in its 2025 Annual Report.

The report, released at the inaugural IAB Australia Leadership Summit, includes an overview of last year’s activities, including education, talent and mentoring programs, industry events and the work of the seven councils and its seven working groups.

Key priorities in 2025 include a focus on harmonising carbon emissions tracking for media buying and planning, evolving the digital ratings currency Ipsos isis, working with industry and government in preparation for the next tranche of privacy reforms and providing education and guidance on AI developments impacting the digital advertising industry.

Further work is also slated on updating the Australian Digital Advertising Practices, as well as developing best practices and standards for the emerging retail media industry and improving the effectiveness and efficiency of digital advertising operations with a particular focus on advanced TV solutions to improve the CTV experience.

“As digital advertising now commands almost 70% of the paid media market, a strong, credible and effective industry body is more critical than ever,” Vanya Mariani, newly appointed IAB Australia chair and commercial director – media at Carsales said. “I am immensely proud of our board and what we have achieved over the past year.”

“While we may be fierce commercial competitors in our day jobs, we continue to unite within the IAB to support Australia’s $15.6 billion digital advertising market.”

Gai Le Roy

Gai Le Roy, IAB Australia CEO said: “I extend a thanks to all our members for their investment in the IAB. It allows us to provide a wide range of services to member companies, as well as funding the important work we conduct on behalf of the entire industry.

“As we head into 2025, our Board, Councils and the full IAB Australia team will continue to both lead and support the industry,” she added.

The report also acknowledges the industry body’s key milestones this year, including growing to 190 members, including 20 new members joining in FY24 and 12 to date in FY25, and more than 350 people representing a wide range of digital advertising industry companies participating in IAB Councils and Working Groups.

IAB’s report noted 90 people participated in the IAB mentoring program – with the program having supported 450 participants in total, more than 1800 e-learning modules undertaken and eight submissions to Government inquiries, along with many consultations.

The IAB Tech Lab has also worked on new frameworks and guidance to ensure the effective operation of digital advertising in a world of changing technology and regulation, including data clean rooms, privacy-enhancing technologies, podcast measurement, CTV measurement and more.

Independent podcast company Acast is the new exclusive ad sales, hosting and distribution partner for the award-winning Casefile True Crime podcast. As one of the world’s leading true crime podcasts and Australia’s most successful podcasting export, Casefile adds 80 million annual listens to the Acast platform.

The news about the massive Acast deal comes on the eve of a new Podcast Ranker chart which will again feature the Casefile podcast close to the top of the chart.

Casefile launched in 2016, has over 800 million downloads to date and featured on Spotify’s Podcast of the Decade playlist.

The show is hosted by an anonymous narrator – known to fans as Casey – who delivers each episode with in-depth analyses of criminal cases sourced from Australia and around the world.

Casefile began as a living room experiment and became a mainstay in the Australian, UK and US charts within its first year and now consistently ranks among the top podcasts globally.

Guy Scott-Wilson, Acast Australia and New Zealand’s creator network director, commented: “Casefile is absolutely iconic. One of the biggest Australian podcasts and a globally recognisable brand in its own right. For an independent podcast from Australia to achieve what it has over the last nine years is something we should all celebrate. We’re excited to be partnering with the team on their next chapter, helping them to continue growing their huge global audience and giving brand partners a chance to connect with their listeners across the world.”

Meet Casefile host ‘Casey’

Casey, the mystery host of Casefile added: “The Casefile team have had a great time working with Audioboom for the past few years and we are so grateful for their support with the podcast. Since starting as a side project in a spare room, Casefile has grown massively to reach new global audiences and we’re looking forward to joining the Acast Content Network to expand even further, both in Australia and internationally.

“Our main focus remains the Casefile community and we’re keen to continue spending the majority of our time researching cases and recording episodes, while Acast take on managing ads and sponsorships for the show.”

This Casefile November live event will feature Casey’s first Australian appearance

Casefile expanded into its own multiverse with the addition of Casefile Presents in 2019, a platform to grow audiences for existing podcasts alongside launching new projects and voices.

Casefile’s move to Acast marks an expansion of their work together as the two companies brought the overnight sensation The Bakersfield Three podcast to market last year. The Casefile Presents podcast reached number one on Apple’s Top Podcast Chart in the US and has garnered more than 12 million downloads worldwide.

New episodes of Casefile are released weekly across all major podcasting platforms, YouTube and on the Casefile website.

See also: Toni and Ryan move from Spotify to Acast: Hit podcast duo change channels

Australians believe social media is doing more harm than good, bucking the majority support for technology in the Asia-Pacific region, Ipsos data revealed.

The market research leader released its Global Trends: Understanding Asia report designed to deep dive into the specific issues affecting the Asia Pacific region, including Australia and New Zealand. The report is the largest public survey in history, with 50,000 people interviewed across 50 markets.

The report identified three key trends that are set to be critical for Australian consumers in 2025:

Technowonder

Australians overwhelmingly believe social media does more harm than good, with data showing their opinions are in stark contrast to those in Asia and across the world. More than half of Australians (54%) said social media did not have a positive impact on people’s lives – just 38% said it did. The figures are in direct opposition to the global data, which showed 54% of people agreeing that social media did have a positive impact on people’s lives, and just 38% disagreed.

In line with this, more than half of Australians (54%) believe technical progress is destroying our lives – up from 44% in 2013. The data also shows Aussies are more cynical about technology and AI development than their Asian counterparts. Across Asia, two in three people (68%) said they felt AI was having a positive impact on the world, with China most open to embracing new technology.

Retreat to old systems

Many young Australians are pining for the days of old. The report showed that more than half (52%) of Millennials are nervous about the future and would have preferred to have grown up when their parents were children. In contrast, just 26% of Baby Boomers (most likely to be the parents of Millennials) said they would have wanted to grow up at an earlier time. Overall, four in 10 Australians said they would prefer to have grown up in another era.

The data is in-line with sentiment across Asia, where more than half (57%) of Gen Z said they would have preferred to grow up at the time their parents were children. Globally, just over half (51%) said they wished they had grown up in previous decades.

Climate convergence

There is broad acceptance across Australia that we are heading for environmental disaster unless we change our habits quickly. The report showed 77% of Australians agree we need to change our ways – and the number has climbed significantly, up from 60% in 2013.

Six in 10 Australians (64%) said they were already doing all they could to save the environment, slightly down on the global average of 72% and on figures across Asia, particularly Indonesia (91%), Thailand (89%) and the Philippines (87%).

Like most of the world, Australians are calling on companies to do more for the environment. Seven in 10 Australians (73%) believe big businesses are not paying enough attention to the environment – on par with the overall APAC average (73%).

‘It is important to understand how Australians are thinking’

“Like many countries globally, Australia is on the precipice of change, particularly as technological evolution and climate change occurs at a rapid pace,” Simon Wake, Ipsos Australia CEO, said.

“Now more than ever, it is important to understand how Australians are thinking and the issues that are likely to preoccupy water cooler conversation in the coming years. The insights reveal a region that is wary of technology, particularly social media, and is cynical about new technology and its impact on mental and emotional health.

“When it comes to climate change, Australians are more concerned than ever about the state of the environment. Like many of their global counterparts, they believe businesses have a critical role to play in minimising harmful environmental effects.”

WeAre8 has launched its new Flows Feed to let citizens jump into meaningful conversations and its new partnership with verification solution provider Legitimate to enhance trust and transparency in premium news content while elevating the work of journalists and premium publishers.

The 8Stage is a TikTok-like feed that curates top content in a full-screen video experience. Swiping left reveals the Following Feed, an Instagram-style feed where people can follow friends and those they love, both free from algorithms. Another swipe left brings the Flows Feed, a nod to retro Twitter, for inspired text-based conversations. All citizens of the platform have full control over posting public or private and the content they follow, making it a social experience that gives full control back to the people.

WeAre8’s new social architecture may appear simple but carries profound implications for freedom, personal liberty, and economic reward. The “link” button on every post empowers individuals, publishers, creators, and brands to drive traffic to their websites, unlocking economic benefits without boosting content such features. Enabled by WeAre8’s revolutionary ad model, it restores user control, letting people choose when to watch ads and valuing their time.

“We do not depend on hours of scrolling to quietly monetise people like the other platforms,” said Zoe Kalar, founder and CEO of WeAre8.

“We put the choice back into the hands of the people, giving them the ultimate control and freedom on everything, from when they choose to watch an ad, to when they choose to be entertained, to be part of a conversation flow or click on a link and experience a deeper content experience on a partner website.”

Kalar adds: “We saw a massive gap in the market for all the great parts of the original text-based Twitter, combined with 8’s video entertainment that brings people together in a transformational way. It means real conversation, connection, and the inspiration people so desperately need right now.

The platform is enhancing its social features with advanced verification for premium content providers and journalists, making it easier for users to identify trusted news sources. Powered by Legitimate’s verification software, the tool uses millions of data points to verify profiles and differentiate credible news from bad actors. Together with WeAre8’s AI technology, 8i—which eliminates toxicity and fosters caring connections, this innovation supports local news and a healthier digital ecosystem.

Caoimhe Donnelly, CEO, Legitimate said: “At Legitimate, we believe in fostering trust between journalists, publishers, and the communities they serve. Partnering with WeAre8 is an exciting opportunity to reimagine social media as a positive force for journalism. By amplifying local news and verified voices, we’re helping create a space where authenticity thrives, disinformation is eradicated, and trusted storytelling takes centre stage.”

Kalar added: “Many of the most valuable voices in the world have been lost through algorithmic control, and when this happens, inspiration, connection and the truth is lost. We have forgotten the inspiration that comes through curiosity and learning. We no longer feel a connected part of the social experience; instead, we’ve become voyeurs to a few loud people screaming their opinions. This is inciting an epidemic of ‘hopelessness’.

“Platforms like X and Threads profit from hate speech, fuelling toxicity and isolation. We’re building a space that values all voices, inspires hope, elevates trusted sources, and wraps it around an economic model that shares with everyone.”

As part of its presence at SXSW Sydney in 2024, The Growth Distillery hosted a series of 10 vodcasts hosted by Dan Krigstein and branded Rules Don’t Apply.

The sixth guest in the series was Ryan Patel, a world-renowned futurist and a go-to authority across the globe on business, the political economy, and the future of work.

Rules Don’t Apply: Dan Krigstein with Ryan Patel

Krigstein’s introduction to Patel detailed his CV. Patel is a thought author. TV news commentator, a board director, and a senior fellow at the Drucker School of Management. He features on CNN, BBC, Fox Business, CNBC, Yahoo and has held keynotes for The Economist and the World Economic Forum. He hosts The Moment with Ryan Patel, shot in the iconic HP garage, the birthplace of Silicon Valley.

In 2015 he received the Distinguished Title of Executive of the Year from the LA Business Journal. He was among nine executives featured by Inc. magazine as an innovator making meaningful change in business.

Ryan Patel

This is how the discussion started.

Dan Krigstein: Looking into the future, what are three areas where the rules are about to fundamentally rewrite themselves?

Ryan Patel: The future of work. Globalisation, and how we do that across borders when it comes to business. The third thing is how we show up as individuals.

Dan Krigstein: What do you think are the forces shaping the future of work? And where do you think we might be getting it wrong right now?

Ryan Patel: Three years ago or when Covid hit, many companies were saying we’re going to change when everyone’s going to work from home. But now you are starting to see it creep back. You see a handful of companies making it mandatory for people to come back. So what does that mean? You actually have to put more work into how your office shows up. If you’re a hybrid or if you’re full-time, how are you making it more valuable for people to come into work and be productive? Not just, hey, I’m forcing you to come back to work. Let’s see the magic happen.

Dan Krigstein

Dan Krigstein: I’m fascinated to hear about your perspective on where we got it wrong going global.

Ryan Patel: Where we have gotten gone wrong is to not think local. That’s where you think that a trend in one country works in another country. You can’t copy and paste. But still that model still exists and it doesn’t work. I think what is exciting now is that an entrepreneur in a company doesn’t have to be so big to be able to grow in other countries or even other regions. It can be global much quicker now because of digital, supply chains, all those things. There is no longer an excuse that you can’t get to somewhere.

Dan Krigstein: Where do you see businesses getting it wrong at the moment?

Ryan Patel: [Some companies] spend capital without an ROI and they are just trying to scale scale scale. The valuation is $10m, but they are still not making money. We know those case studies where people keep raising money.

Listen to the complete Ryan Patel podcast on the link below.

Don’t miss all the other episodes too as listed below.

See also:
• Rules Don’t Apply: The Battle for Creativity: AI vs. Humanity with Futurist Brian David Johnson
• Layne Beachley first guest on Rules Don’t Apply vodcast series from The Growth Distillery
• Rules Don’t Apply: Unmasking Reality – Navigating Truth in the Age of AI with Noelle Russell
• Rules Don’t Apply: From airwaves to algorithms – Adam Spencer’s take on creativity and AI
• Rules Don’t Apply: Breaking barriers – Poppy Reid’s path from intern to editor-in-chief

Omnicom Media Group (OMG) has been named a “Leader” among global media management services providers in a new analysis from leading research and advisory firm Forrester.

The firm’s Q4 report evaluated twelve significant global media management service providers against 22 criteria specific to current offering and strategy. The report is designed to help CMO professionals select the right provider for their needs and assess the media groups under three designations: Leaders, Strong Performers, and Contenders.

OMG was one of only three of the 12 providers evaluated to receive designation as a “Leader”. Under the current offering category, the group received 5/5 scores in criteria including Martech and Adtech Implementation, Media Responsibility, Principal-Based Buying, Content Production and Broadcast Buying.

The media group also received the highest possible scores in three out of five of the criteria within the strategy category, including Innovation, Partner Ecosystem and Pricing Flexibility and Transparency.

According to the evaluation, “Reference customers note the agency’s transparent business practices, trustworthy relationships, and strength of Omni technology for media and business intelligence.”

Strategy and Capabilities Powered by Omni

The Forrester report said that “OMG shines in its ability to carry audience intelligence through media planning, buying, and activation – and into scaled, near-real-time creative campaigns,” and also notes that “OMG and Omnicom Group’s 10 years of innovation come together in its comprehensive Omni platform, which contains media planning tools, an AI-powered assistant, first- and third-party data, and end-to-end marketing orchestration capabilities, including a creative sandbox.”

OMG also credits Omni for enabling the group to leverage the full range of Omnicom’s commerce capabilities described in The Forrester Wave:Commerce Services, Q2 2024 that “help clients build a total commerce experience…”

In that report, OMG’s parent company – which acquired digital commerce powerhouse Flywheel at the beginning of the year – received the highest possible scores in the commerce strategy, vision, innovation, retail media, platforms, data/analytics/AI, online retail and marketplaces, in-store services and partner ecosystem criteria – capabilities that OMG activates through its Agency as a Platform model that enables OMG agencies to draw talent, tools and technology from across the entirety of the OMG and Omnicom networks.  

Technology, transparency and trust

“Marketers have many reference points – such as new business rankings, creative awards and effectiveness ratings – that offer a benchmark for which media groups are leading the industry, but the Forrester Wave stands alone in providing depth of insight into why a group is a leader,” said OMG CEO Floran Adamski.

“And we believe this latest report suggests Omni is a big part of the “why” behind OMG’s success. It is the engine for our Agency as a Platform approach that enables OMG agencies to purposefully build flexible ecosystems of talent, capabilities, and technology drawn from across the group and all of Omnicom – connecting media, content, and commerce to drive transformative growth for our clients. Omni makes OMG – currently the #1 media group for total new business YTD, with the two top scoring media agencies at Cannes, and the highest scoring media group on the Effie Index – a “Leader”.

Adamski said of the report’s key message for marketers: “Our clients say it best – OMG delivers the technology they demand, the transparency they deserve and the trust they need from their media investment partner. Meeting those mandates – every day – is the core mission of our 26,000 people working around the globe to drive business growth for OMG clients.”

Receiving Forrester’s designation as a “Leader” is the latest in a streak of good news for Omnicom Media Group, which in September was awarded the lion’s share of one of the most  hotly contested reviews of the year when Amazon named OMG its media agency of record for the Americas – a mega-win that followed the group’s retaining the global media assignment for Volkswagen Group and HP, expanding its remit from Gap Inc. and being named media AOR for HanesBrands Inc. and the David Yurman Company among others.

Concurrent with growing its client roster, OMG has also continued to expand its partner ecosystem, announcing first-to-market partnerships with Google, TikTok, Amazon and Meta designed to bridge the gap between creators and commerce, driving better ROI across influencer channels; and collaborations with Amazon, The Trade Desk, TikTok and Instacart designed to directly connect upper funnel media investments to sales.

As of this writing and based on the most recent numbers reported in the COMvergence dashboards that provide a moment-in-time snapshot of the new business landscape, OMG’s YTD total new business record (wins-losses, including retentions) stands at $6.7 billion globally – approximately $2.6 billion more than its closest competitor.

Australia’s most prestigious media event, the Mediaweek 100 lunch, returns for 2024 at the Pearl Ballroom, Crown Sydney, on November 22.

The Mediaweek 100 celebrates the leaders who are at the top of their game, alongside the teams driving their success at Australia’s leading media companies.

After what has been a turbulent year, this annual event attracts the industry’s most influential people.

You can buy your tickets here. 

This year’s list is set to look quite different from previous years as there have been many big changes in the industry. In 2023, spots #1 and #2 were taken by former Seven CEO James Warburton and former Nine CEO Mike Sneesby, respectively and both are no longer in those roles.

Warburton placed in the #5 spot on 2022’s list while Sneesby placed #1 that year.

Other execs who appeared in 2023’s top 10 lineup included Nova’s Peter Charlton, oOh!media’s Cathy O’Connor, Are Media’s Jane Huxley, Paramount’s Beverley McGarvey, ARN’s Ciaran Davis, SCA’s John Kelly, Foxtel’s Patrick Delany and News Corp’s Michael Miller.

See the full list of names for 2023 here.

James Warburton, former CEO of Seven West Media

You can view the full criteria and enter the Mediaweek 100 here.

While you don’t have to be nominated to make the list, our application portal is open to encourage submissions.

KEY DATES

Submissions close: Tuesday, 12 November 2024 (11.59pm AEST)

Event Date: Friday, 22 November, 2024 (12pm AEST)
Location: Pearl Ballroom, Crown Sydney

Tickets are available here.

In this episode, we peel back the layers to reveal ‘The Person Behind the Profile’ with Nat Harvey (CEO Mamamia).

Have you ever wanted to take on a new challenge but felt anchored and loyal to your current role, which you still enjoyed?

In our latest podcast, Natalie “Nat” Harvey, CEO of Mamamia, shares her journey of “uncomfortable growth,” when she left Seven West Media to be the Chief Revenue Officer at Mamamia – a mission-driven media company focused on making the world better for women and girls.

For Nat, this wasn’t just a career move—it was a chance to find deeper purpose. But taking the leap wasn’t easy. She opens up about dealing with imposter syndrome and learning the power of self-belief and supportive networks. As well as what great things can happen unexpectedly when you change things up by taking a chance and doing what you love (the founders loved her so much they promoted her to CEO within 4 months).

This episode isn’t just about success; it’s about the importance of cultural fit, the evolving role of leadership, and finding balance in a fast-paced world. Nat’s insights on personal growth, work-life balance, and the joy of meaningful work offers inspiration for anyone at a “comfort zone” crossroads.”

“I’ve always been someone who works incredibly hard, but probably underestimates themselves,” she says in the episode.

“I think my energy and dreaming about the future and what could be is just perfectly suited for what the business needs right now.”

[Listen to the new episode here]

New episodes of Uncomfortable Growth® Uncut drop weekly and are available to stream across all major audio networks.

Coming next on Uncomfortable Growth® Uncut

Next week’s episode:

Episode 9:  Unmasking the CEO:  Jess White’s Journey from Insecurity to Quiet Confidence

In this episode, Rowena interviews Jess White (CEO, Kinesso, Mediabrands), on her Uncomfortable Growth story.

Jess’s story is as heart wrenching as it is inspiring. She opens up about her childhood, marked by the responsibility of caring for a disabled sister and the loss of another. These early experiences instilled in her a fierce independence that was, in reality, a facade for crippling insecurity. It’s a profound reminder of the complexities behind the faces we see in the boardroom, and the hidden battles that shape each leader.

Learn more about Uncomfortable Growth here.

The world doesn’t need more stories of success; it needs real conversations about resilience, vulnerability, and the human spirit’s incredible capacity to turn trials into triumphs.

That’s why the Uncomfortable Growth Uncut podcast was born. It’s a reminder that struggle and success are intrinsically linked, that growth is rarely easy, and that the moments we feel most uncomfortable are often where our greatest breakthroughs lie. 

Smirnoff has appointed Grammy-nominated global star Troye Sivan as its new chief vibes OFFicer (CVO), marking the start of an exciting new multi-year partnership between the singer and Smirnoff.

The partnership, brought to life by Dazed Studio, production leads McCann, is part of the brand’s wider WE DO WE campaign, which aims to create a more connected, open and exhilarating world. Smirnoff’s WE DO WE campaign was first launched in 2023 and aimed to boldly champion the power of the collective, celebrating the magic that’s created when different people, ingredients and flavours come together.

The launch will be followed by Smirnoff’s sponsorship of Sivan’s Australia and New Zealand tour where he will share the Go OFF vibes with fans at exclusive after parties in both Sydney and Melbourne. Then, over the coming months, Smirnoff will be sharing more examples of Troye living the Go OFF vibe – enjoying good times, good company and good cocktails.

The global partnership will show up across social, OOH, digital, in-store and through event activations in 20+ countries, including the UK, Brazil, Australia and India over the coming months and forms part of Diageo’s wider focus on embedding their brands at the heart of key cultural moments for consumers – from music and fashion to sports, food and more.

Sivan embodies the WE DO WE spirit with his dedication to creating safe and celebratory environments for his fans and the joy that he radiates. The launch moment marks the beginning of an exciting alliance between Sivan and Smirnoff, with the cultural needle shifting firmly towards fun.

In the role, Sivan will be the global ‘curator of immaculate vibes’ for Smirnoff – showcasing the ‘Go OFF’ spirit to fans worldwide to ditch to-do lists, go out and go OFF.

The partnership launched today across socials, after a series of teaser drops, with a video showing Troye taking part in a tongue-in-cheek press conference, announcing his new CVO position to interviewers and sharing his mission, for people to Go OFF.

“We are so excited to partner with Troye – as someone who radiates joy and shares our ‘WE DO WE’ spirit he is the ultimate vibe shifter for his fans all around the world,” Stephanie Jacoby, SVP Global Vodkas, said.

“We knew from the moment we first spoke to Troye and his team that this was going to be something truly special – we share a passion for fun, for bringing people together and for not taking ourselves too seriously.

“I am delighted to welcome our new chief vibes OFFicer to the team, Troye is the perfect fit, and we can’t wait to collaborate over the coming months together – exciting things to come!”

The collective includes cultural and creative agency Dazed Studio, production leads McCann, director Hannah Lux Davis, director of photography Ben Carey and leading stylist to the stars, Marc Forne who most recently styled Sivan for his US ‘SWEAT’ Tour with Charli xcx.

“For me, Smirnoff has always been omnipresent – whether it’s at house parties, backstage at shows, or nights out with friends,” Troye Sivan, chief vibes OFFicer of Smirnoff, said.

“I see the brand all around the world, and whenever I do, it feels like something I want to be part of. ‘Go OFF’ is all about getting people together and being ourselves, something I’ve really embraced in this part of my life and something I’m excited to continue to do with this partnership.”

Pierre Morvan, global executive creative director Dazed Studio, added: “Developing Troye’s role as Chief Vibes Officer for Smirnoff was all about channeling his ‘Go OFF’ energy into Smirnoff’s “We Do WE” platform, placing Smirnoff within the youth culture conversation through our bold, irreverent, and internet-savvy corporate satire.”

The partnership comes after Sivan recently wrapped up his ‘Sweat’ tour alongside friend, artist and frequent collaborator Charli xcx. Sivan is set to embark on the Australia and New Zealand leg of his global solo tour following the release of his hit 2023 album, ‘Something to Give Each Other’.

–

Top image: Troye Sivan

Legacy Taps have been installed alongside other beer taps in pubs and clubs across NSW in partnership with creative agency VML following a soft launch in 2023 and a year of research, testing and development.

The dry taps are equipped with RFID technology, allowing patrons to thank their fallen veterans by buying them a symbolic beer with a simple tap of their phone or credit card. Each donation directly supports veterans’ families, providing them crucial financial, social, and emotional assistance.

Launched on Remembrance Day (November 11), Australia’s memorial day to honour defence force members who have died in the line of duty since World War 1, Australians will now be able to find the taps in pubs and clubs year round.

Legacy and VML partnered with DIVISION and director Harry Welsh to bring the campaign to life, creating films using real veterans and their heroic stories. The campaign captured the heart of the media with major news outlets reporting on The Legacy Tap as their primetime Remembrance Story.

Mitchell Watson, director of fundraising marketing and communications, Legacy Club Services, said: “The Legacy Tap modernises our fundraising approach, not just by digitising it, but tapping into a deep-rooted Australian behaviour: buying someone a beer to say thanks. These taps will serve as a constant reminder of our diggers, and support Legacy families while they’re at it.”

Jack Delmonte, VML Sydney creative director added: “We couldn’t be more excited to see the Legacy Tap finally make its way into pubs and clubs around the country. It’s been such a humbling experience meeting some of the families Legacy supports and hearing their stories. It’s the closest I’ve even been to real life superheroes.

“Buying them a beer to say thanks for their service is really the least we can do. These taps bridge the disconnect between honouring our veterans and providing them with real tangible support. They also make sure Remembrance Day isn’t just on the 11th of November, but everyday.”

See also: VML gives Legacy’s tin money boxes an update with Lager Tap

Credits:
Client: Legacy Club Services
Director Fundraising, Marketing & Communications: Mitchell Watson Community Fundraising & Events Manager: Jayne Cree
Marketing & Communications Manager: Melissa Dao

Creative Agency: VML Australia

CEO: Tom Tearle
APAC CCO: Paul Nagy
Group ECD: Richard Williams & Jake Barrow Creative Director: Jack Delmonte Copywriter: Charlie Dejean
Art Director: Andrew Bao
Senior Account Director: Leanne Keogh Account Executive: Max Ohman
Strategy Director: Clancy Walsh
Executive Producer: Rachel Rider
Lead Producer: Stevi Russell
Senior Producer: Aborah Buick
Junior Producer: Isabella Lasovski Experience Design Director: Elliot Owen Senior Production Designer: Meg Copp Designer: Brock Willis
Lead Editor: Aleksander Janev
Motion Art Director: Mitch Clark

Freelance DOP and Editor: Oli Roe

Freelance Photographer: Nicholas Bonfrere

PR Agency: Sabio
Production Company: DIVISION
Sound Production: Noise International Legacy Tap prop maker: MacGyver Models

Last night, Simone and Viviana were crowned MKR champions, taking the coveted title and $100,00 prize money after a fierce contest in Kitchen HQ. The modern Italians scored 27/30, with only two points separating them from runners-up Caz and Fergus.

In awe of their win, Viviana said: “This experience has completely changed our life.”

Looking at his partner and friends watching on, Simone said: “I’m so happy to have shared this with Viviana and all our friends. Amore, Amore. We did this one for you.”

A beaming Simone then revealed: “I just found out I’m going to become a dad. My beautiful partner Victoria is pregnant. It’s mind-blowing.”

Added Viviana: “I walked into this challenge with a best friend and came out of it with a brother. I could not be happier.”

Judges Manu Feildel and Colin Fassnidge were joined in the grand final by special guest judge, acclaimed cookbook author and Australia’s favourite home cook, Julie Goodwin.

Both teams demonstrated “skill, bravery, and flavour” cooking four courses – entrée, seafood, meat and dessert – totalling 100 plates of food as they battled the clock.

Simone and Viviana’s masterful menu showcased their passion, respect for their heritage and technical finesse. Julie said: “It was a joy to eat your food tonight.”

Caz and Fergus’ flavour-packed, creative and vibrant menu also impressed the judges.

Caz said: “I’m incredibly proud of both of us. It was never going to be easy today.” To his mum, Fergus said: “I wouldn’t have got here without you. No regrets.”

Simone and Viviana’s “perfectly cooked” Lobster and Guanciale Taco entrée was a standout dish. Manu praised the balance of flavour, as Colin savoured the “beautiful crunch.” Julie said: “Every mouthful was an adventure.”

Simone, who recently became an Australian citizen, revealed: “We give credit to Australia. They introduced us to surf and turf, so we wanted to create this dish.”

Caz and Fergus served Fergburger Spring Rolls with Gochujang Aioli (cheeseburger filling inside a spring roll with hot aioli) for entrée. The “very on-trend” and “addictive” dish brought a smile to Colin’s face.

Simone and Viviana plated up “pasta perfection” with their seafood dish, Cappellacci Fagioli E Cozze (beans and mussels). Colin applauded the “beautiful and creamy” white bean filling alongside “the saltiness and little smack of the mussel.” Julie declared it “masterful cooking”, telling the modern Italians their pasta-making skills were “next level.”

Caz and Fergus chose Chargrilled Lemongrass Prawns with Vietnamese Chimichurri for their seafood course. Colin commended the “simple but elegant dish.” Julie praised the perfectly cooked prawns and “awesome” chimichurri. Manu admired the flavour combination but suggested they should have made the grill hotter “to add a bit of toasting flavour.”

Simone and Viviana’s meat dish – Lamb Rump with Pecorino Zabaione and Asparagus – was unconventional. Simone revealed: “We decided to bring this to the Grand Final because we want to serve dishes that haven’t been seen before. We want to bring innovation.”

The perfectly cooked and beautifully seasoned lamb showcased Simone and Vivana’s culinary skills. Manu praised the “brilliant” addition of the zabaione and pecorino foam. Colin’s highlight was the “crispy lamb fat”, but all the judges agreed the asparagus was rushed and needed more seasoning.

Caz and Fergus chose Szechuan Beef Short Rib with Shallot Flatbread and Cabbage for their meat course, which the judges admitted was “perfectly cooked, juicy and flavoursome.”

For their dessert course, Simone and Viviana stunned the judges with a technical feat of Paris-Brest with Hazelnut Praline Cream (choux bun filled with hazelnut cream). Manu called the “top-notch dessert” his favourite dish of their four courses. Julie agreed: “I could have eaten that all day long.”

Manu admired Caz and Fergus’ creativity with their dessert of Tamarind Date Cake with White Soy Caramel and Coconut Pandan Sorbet. Julie said their dessert was “generous and delicious,” but did fault the cake’s texture.

Manu told both teams: “I want you to know that you have done a brilliant job. You should all be very proud of what you have achieved.”

Netflix has released the first look trailer for Apple Cider Vinegar, starring Kaitlyn Dever. It was written and created by Australian Samantha Strauss, known for her work on The End, Nine Perfect Strangers, and Dance Academy.

Set at the birth of Instagram, Apple Cider Vinegar follows two young women who set out to cure their life-threatening illnesses through health and wellness, influencing their global online communities along the way. All of which would be incredibly inspiring if it were all true.

This is a true-ish story based on a lie, about the rise and fall of a wellness empire; the culture that built it up and the people who tore it down.

When does Apple Cider Vinegar come out?

The Netflix Limited Series premieres in 2025.

Who are the creatives behind the show?

• Director: Jeffrey Walker (The Clearing, The Artful Dodger, Modern Family)
• Creator: Samantha Strauss
• Writer: Samantha Strauss (The End, Nine Perfect Strangers, Dance Academy), with Anya Beyersdorf (The Twelve, Fake) and Angela Betzien (Total Control)
• Inspired by: ‘The Woman Who Fooled the World’ by Beau Donelly and Nick Toscano
• Executive Producers: See-Saw Films’ Liz Watts, Helen Gregory, Emile Sherman and Iain Canning; Picking Scabs’ Samantha Strauss and Louise Gough; and Kaitlyn Dever
• Producer: Yvonne Collins
• Co-Producers: See-Saw Films’ Libby Sharpe
• Co-Executive Producers: Jeffrey Walker; See-Saw Films’ Simon Gillis
• Previously Announced Cast: Kaitlyn Dever (Dopesick, Unbelievable), Alycia Debnam-Carey (The Lost Flowers of Alice Hart, Fear the Walking Dead) Aisha Dee (The Bold Type, Safe Home), Tilda Cobham-Hervey (The Lost Flowers of Alice Hart, I Am Woman), Ashley Zukerman (Succession), Mark Coles Smith (Mystery Road: Origin)
• Newly Announced Cast: Susie Porter (Irreverent, Wentworth), Matt Nable (Transfusion, Last King of the Cross), Phoenix Raei (The Night Agent), Chai Hansen (Night Sky, The New Legends of Monkey), Rick Davies (Offspring), Kieran Darcy-Smith (Mr Inbetween), Catherine McClements (Total Control) and Essie Davis (One Day, The Babadook)

The limited series was shot on-location in Melbourne, Australia with support from VicScreen through their Victorian Production Fund and will premiere globally on Netflix in 2025. Post Production took place in NSW with support through Screen NSW and their PDV Fund.

Monday 18 November 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 1,472,000, a total TV national audience of 1,018,000, and a BVOD audience of 74,000.

Nine’s 9News recorded a total TV national reach of 1,952,000, a total TV national audience of 1,181,000, and a BVOD audience of 94,000.

Seven’s Seven News recorded a total TV national reach of 2,037,000, a total TV national audience of 1,273,000, and a BVOD audience of 72,000.

Also on Seven, My Kitchen Rules recorded a total TV national reach of 1,795,000, a total TV national audience of 1,062,000, and a BVOD audience of 111,000.

Last night’s clash saw Simone and Viviana and Mike and Pete face off over three courses in Kitchen HQ.

Before the elimination-cook off, an emotional Viviana said: “It has already been an incredible journey. Being at the semi-finals with my best friend has been the best experience of my life no matter how this goes.” Focused, Simone said: “I have only one thing in my mind. We are obsessed with winning this competition.”

“For Italians, family is absolutely everything. I care about Simo so much. We are like brother and sister,” Viviana added.

10’s airing of Dessert Masters recorded a total TV national reach of 869,000, a total TV national audience of 349,000, and a BVOD audience of 22,000.

People 25-54

Nine’s 9News:
• Total TV nation reach: 568,000
• National Audience: 322,000
• BVOD Audience: 48,000

Seven’s Seven News:
• Total TV nation reach: 515,000
• National Audience: 290,000
• BVOD Audience: 37,000

Seven’s My Kitchen Rules:
• Total TV nation reach: 529,000
• National Audience: 300,000
• BVOD Audience: 60,000

10’s Dessert Masters:
• Total TV nation reach: 308,000
• National Audience: 132,000
• BVOD Audience: 12,000

People 16-39

Nine’s 9News:
• Total TV nation reach: 242,000
• National Audience: 127,000
• BVOD Audience: 23,000

Seven’s Seven News:
• Total TV nation reach: 189,000
• National Audience: 99,000
• BVOD Audience: 19,000

Seven’s My Kitchen Rules:
• Total TV nation reach: 209,000
• National Audience: 106,000
• BVOD Audience: 32,000

10’s Dessert Masters:
• Total TV nation reach: 127,000
• National Audience: 53,000
• BVOD Audience: 6,000

Grocery Shoppers 18+ TV Ratings

Nine’s 9News:
• Total TV nation reach: 1,515,000
• National Audience: 923,000
• BVOD Audience: 75,000

Seven’s Seven News:
• Total TV nation reach: 1,625,000
• National Audience: 1,034,000
• BVOD Audience: 58,000

Seven’s My Kitchen Rules:
• Total TV nation reach: 1,424,000
• National Audience: 861,000
• BVOD Audience: 91,000

10’s Dessert Masters:
• Total TV nation reach: 684,000
• National Audience: 271,000
• BVOD Audience: 18,000

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.