Just as Nova 106.9 was farewelling Susie O’Neill as a breakfast show regular comes news she not leaving the studios permanently.

O’Neill is to extend her longstanding relationship with Nova Entertainment with a new role across the Nova Network in 2025.

In a new contract, O’Neill will remain within the Nova Entertainment family, working on shows across the Nova Network as a guest presenter for both breakfast and national shows next year.

Susie O’Neill on location for her final Brisbane breakfast show

O’Neill will also join the Nova Podcast Network, working alongside the podcast team to develop unique content for Nova’s 2025 podcast slate.

The final breakfast show from Susie with Ash and Lutty was broadcast this morning. It featured audio messages from a who’s who of Brisbane wishing the swimmer-turned-broadcaster all the best about what comes next.

The final 2024 show was an outside broadcast and one lucky Nova listener won a new car.

O’Neill is finishing a day early before the end of the 2024 survey year because she has a swimming event tonight in Sydney.

Susie O’Neill and her Nova colleagues at her final breakfast show

Susie O’Neill’s new role at Nova

Said Susie about her new role, “It was such a hard decision to step away from the breakfast show and although my final day has been an emotional one, I’m really looking forward to starting this next chapter. This new opportunity in 2025 will allow me to remain with my Nova family while pursuing other goals, including getting back to the grass roots of sport and involving myself in the wider community.

“To be able to step into this new role across broadcast and podcasting, where I can connect with a broader audience while still being part of the community that I love, is a fantastic opportunity. Nova has been there from the beginning of my radio career, so this feels like a natural next step. Watch this space!”

Nova group programming director Brendan Taylor said: “Susie has been an integral part of the Nova Brisbane broadcasting family for 11 years and we’re delighted she’ll remain with us in this new capacity next year. The unique relationship she has with her audience and commitment to excellence meant there was always going to be more to explore together. We know our listeners across Australia will love hearing Susie on Nova in 2025.”

The Ash, Luttsy & Nikki Osborne breakfast show launches on Monday, January 20, 2025.

Nikki Osborne is the new co-host at Nova 106.9

Marcus Casey, a towering figure at The Daily Telegraph across the 1980s, 1990s, and early 2000s, has passed away suddenly from a heart attack in Newtown over the weekend. He was 58.

As reported by The Daily Telegraph, Casey grew up on the outskirts of Byron Bay in what he affectionately called “Struggle Town” and attended Ballina High School. He moved to Sydney in 1984, starting his career at the paper as a copy boy before earning a cadetship, where he learned his craft under the mentorship of the newspaper’s greats.

Casey’s natural talent for journalism was evident early. His fearless coverage of major events, including the Strathfield Massacre, earned him a reputation as one of Sydney’s most formidable reporters.

In the early 1990s, Casey became The Daily Telegraph’s New York correspondent, covering some of the most significant stories of the era, including the Oklahoma City bombing and Bill Clinton’s presidency.

Upon returning to Australia, Casey worked across various sections of the newspaper, including features and entertainment. His sensitive reporting on the death of Michael Hutchence showcased his ability to balance compassion with relentless pursuit of the truth.

As one of the lead writers for Sydney Confidential, Casey cemented himself as a powerhouse in entertainment journalism, breaking stories in television, music, and radio. His deep knowledge of the industry and unmatched contact base enabled him to tackle industry titans like Alan Jones and John Laws and to track the rise of emerging stars, such as Kyle Sandilands.

Former features editor Phil McLean shared his admiration: “When Marcus returned to Sydney, I was intrigued, and a little intimidated thinking he’d be a rival I couldn’t match. But instead, we became the best of mates.”

The Daily Telegraph also credited Casey for his larger-than-life personality, tireless work ethic, and commitment to storytelling, leaving an indelible legacy in Australian journalism.

Jo McAlister has been appointed as the new CEO of Initiative Australia, succeeding from Melissa Fein who left the agency earlier this year with Sam Geer and Chris Colter for The Monkeys.

McAlister’s appointment heralds a new era of leadership for the agency. She will announce her expanded leadership team shortly.

Mark Coad, CEO of IPG Mediabrands Australia, said from the outset he committed to taking the time to carefully canvas the industry nationally and globally in order to find the best person for this pivotal role, which made it all the more gratifying to have found the ideal person already firmly ensconced at the agency.

Coad said: “Jo is a highly regarded leader with a strong people-first leadership style, a track record of managing large clients in complex market categories and proven success in data and technology-driven media innovation and marketing. She not only knows Initiative from the inside out – its people, its culture and its clients – but she also has a strong vision for the agency’s future and is eager to set the agenda to drive the next era of Initiative.

“The agency has dug deep this year to solidify its positioning as the cultural experience agency, with award-winning work client across multiple markets. Jo has driven the new direction which makes me even more delighted to see her take on this key role, and I look forward to working alongside her and building on Initiative’s longstanding success.”

McAlister first joined IPG more than five years ago, leading Rufus (Powered by Initiative) to support Amazon as a new market entrant to achieve significant, sustained sales growth before taking on the role of managing director of Initiative Sydney in 2019.

Under her leadership, the Sydney office has won and retained many key clients, including Sanitarium, Fantastic Furniture, Pernod Ricard, Goodman Fielder, Salesforce and IAG. Prior to IPG, McAlister held several senior client-side marketing positions at Foxtel, NBCS, SBS and Seven, the most recent as Content Marketing Director at Foxtel, where she helped produce Cannes Lion-winning work on the final series of Game of Thrones.

Throughout her media and client-side career, McAlister has been recognised for her commitment to building strong, high-performing teams, her experience as a former client uniquely positions her to navigate client challenges, which has shaped her approach as a trusted partner and leader. She is known for challenging the status quo to deliver more effective solutions for clients driving sustainable growth and better consumer experiences.

Newly appointed CEO Jo McAlister said: “I am honoured to take on this important role and excited about what the future holds for Initiative, our incredibly talented team and our driven clients. I have experienced first-hand the culture of innovation and collaboration that leads to exceptional client work, and I look forward to building on that with my colleagues, collaborating with our many industry partners, and driving significant outcomes for our loyal clients. With my previous client experience I know how to think like a client which underpins my approach and leadership style.

“I would also like to acknowledge Initiative’s previous leadership team whom I collaborated closely with for nearly five years, they have left a strong and solid foundation for me to build a new era for the agency.  I cannot wait to get started as I am bursting with ideas and new initiatives.”

Coad concluded: “As an agency Initiative often says to its team that they will do the best work of their career at Initiative, and as a result their career will flourish; this mantra has proven true for Jo.”

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Top image: Jo McAlister

Amidst the ever-evolving media landscape and a world plagued by misinformation, the Australian news publishing industry has maintained its relevance and impact through collaboration and a focus on creating premium, trusted, audience-first environments.

Vanessa Lyons, CEO of the news publishing media industry body ThinkNewsBrands, says collaboration is the heartbeat of the news publishing industry.

“We foster a unified approach that benefits the entire media landscape. By working together, we’ve not only strengthened our offering but also advanced the broader goals of trust in journalism and effective advertising.”

Vanessa Lyons

Executive chairman at News Corp Australasia Michael Miller agrees, telling Mediaweek the industry is far closer than many would know and has been galvanised by concerns around big tech and a desire to deliver for readers and advertisers.

“Our competition is probably not each other anymore. We’re now seeing [our competition] as the global tech platforms. Not just in a commercial sense but also regarding the threat to our industry and society more broadly. As a result, we’ve really come together on the importance of trust and credibility.”

This theme of trust comes through strongly whoever you speak to, with most considering it the lifeblood of the industry.

Michael Miller

Jo Clasby, director of sales, Total Publishing at Nine says the common goal for the entire industry is to ensure misinformation – whether its AI-generated or on global platforms – does not take hold.

“We are at a crucial time where a thriving, robust media has never been more important. And with a strong emphasis on investigative journalism, unbiased news and lifestyle content, Australian news publishing can provide the trusted environments we need as a society.”

Managing director and publisher of the Free News & Lifestyle division at News Corp Australia, Pippa Leary says “news media companies have invested in trusted journalism that advocates for what’s important and tells unique, honest and engaging Australian stories that enhance our culture and way of life.”

Jo Clasby

This comment highlights the coming together of an altruistic cause and a commercial strategy that is shared across the industry. That trusted content is good for society while also being key to creating credible, premium environments that audiences want to engage with. And that this ultimately delivers more value to advertisers.

Lyons drums home this point, saying advertising within premium trusted environments offers brands a unique advantage.

“Trust leads to higher engagement levels which combined with extensive reach, allows news media to deliver results that are unmatched by other channels. With news publishing media, advertisers can not only reach their audience but also connect more strongly with them.”

Leary further emphasises this point saying “how engaged someone is and whether they are in a trusted, decluttered environment matters – particularly in terms of the outcomes clients achieve. Readers who come to your homepage every day are not accidental clicks but deliberately choosing to engage with your content.”

Pippa Leary

The industry thinks its advocacy around this is taking hold with many marketers now talking about engaged reach rather than traditional metrics such as impressions and pure audience size.

Leary says, “the market is evolving, and smart marketers increasingly talk about not just the size or reach of the audience but also how engaged it is. They understand that engagement is a key determinant of the return on investment (ROI) their brands earn and a better reflection of consumer behaviour and how the market truly works.”

However, while there has been a shift, the industry believes more work needs to be done.

Recently announced Mediaweek Icon and director of sales at News Corp Australia, Lou Barrett, says marketers need to be prepared to have the tough conversations with finance and procurement departments to educate them that it’s not just about cost.

“Too many in our industry are hooked on Meta, which provides an easy but, in my view, ineffective solution that lacks the brand safe, trusted environment news media specialises in.”

Lou Barrett

“They need to shout it from the rooftop that investing in media that will really move the dial on your brand is just so, so important.”

Outside of delivering value for advertisers, the industry also points to the collaborative way it addresses its own environmental impact via its government accredited product stewardship scheme.

This world-leading scheme has seen publishers make a positive impact on the environment and set an example for other industries to follow.

Lyons says, “with nearly 35 years of industry collaboration, and over $350 million of investment, the scheme has put Australia at or near first in the world at recycling newspapers and magazines. Importantly, it also gives advertisers the confidence that buying news publishing space is both an effective and sustainable decision.”

Nicholas Gray

Managing director & publisher of The Australian and Prestige titles, Nicholas Gray, believes the product stewardship scheme is yet another example of the positive impact the industry creates when it comes together.

“We get bad laws changed, we provide a voice to those who struggle for a fair hearing and we tell the stories that make Australia unique. Despite the challenges before us, I know the industry will continue punching above its weight by working together for ourselves, our readers and our advertisers. Because when our industry is strong, positive and united, and when we believe in ourselves and our work, the effects flow far and wide and we can quite literally change the world.”

Beau Ryan, Natarsha Belling and Aaron Woods have been named the new breakfast hosts of 104.9 Triple M Sydney after Mark Geyer was axed from the spot earlier this month.

Starting on January 20, Triple M Breakfast with Beau, Tarsh & Woodsy, brings together three fantastic local Sydney voices to engage and entertain listeners, from 6-9 am weekdays on 104.9 Triple M Sydney and LiSTNR.

Dave Cameron, SCA chief content officer, said: “In 2025, the Triple M network will continue to have a steadfast approach to locally focussed Breakfast shows across the country, hosted by much-loved local identities in each city that can connect with local audiences and clients. Sydneysiders know their city to be Australia’s most exciting, and they deserve something just as exciting, fresh and locally relevant to wake up to, instead of the tired same-same approach of other Sydney stations.

“We’re hugely excited to welcome this brand-new Breakfast team in Beau Ryan, Tarsh Belling and Aaron Woods to deliver a hilarious, completely Sydney-focussed, sport-flavoured, and genuinely mischievous way for Sydney to wake up. Beau and Tarsh are already well-loved and experienced Sydney media talent, and Woodsy, who is fresh off the footy field, will bring added cheekiness to the show. 

“104.9 Triple M Sydney will lead the charge on creating a new and different Breakfast approach in Australia’s biggest city, which is simply screaming out for something fresh and locally connected. It’s time!”

Ryan, former professional NRL player and host of The Amazing Race Australia, will sit alongside journalist and news reader Natarsha Belling and former West Tigers Captain, Aaron Woods,

Since retiring from his elite NRL career, Ryan has proven himself to be a standout media host and performer who has gained national recognition for his hosting duties of Channel 10’s The Amazing Race Australia and Top Gear Australia, amongst his many other television and radio appearances including on Triple M’s The Rush Hour. Whilst this will be Ryan’s first full-time radio gig, his mischievous sense of humour and bloke-next-door demeanour is the ideal fit for Triple M listeners. 

No stranger to the Triple M audience, over the past two years Belling has been a wonderful contributor to the Mick & MG in the Morning Breakfast show and will now help steer the Breakfast ship as co-host, whilst continuing to deliver the morning news for Triple M. Rounding out the show’s hosts is Aaron Woods, who has recently been an outstanding contributor to Triple M Sydney’s The Rush Hour. Current Triple M Sydney Breakfast show anchor, Cat Lynch, will also keep the mornings on track as the show’s anchor.

In further good news for Triple M Sydney, Laura Bouchet has been appointed to the role of content director. She brings almost two decades of audio experience including six with the SCA station, Bouchet’s expertise and passion for the medium will be an invaluable asset to the station’s announcers and producers, helping lead Triple M Sydney into a new era.

Ryan said: “I’m so keen to start on Triple M Breakfast in 2025 with the fabulous Tarsh Belling and my good mate Aaron Woods. I grew up with Triple M; it was always on for every car trip and then, during my playing days, it got me through the long commute to training at the Wests Tigers and Cronulla Sharks. So now to be a part of the new Breakfast team is a wonderful full circle moment. I can’t wait to greet Sydneysiders with the new team in the new year. It’s a close-knit network with passionate listeners.  Let’s f*#*en go!”

Belling said: “I’m thrilled to be joining Beau and Woodsy for this exciting new Breakfast show. I can’t wait to wake up with Sydney and share all the day’s news, sport and crazy stories. Strap yourselves in Sydney – we are live and local and anything can happen!!!” 

Woods added: “Honestly, I can’t bloody wait to join the Triple M Breakfast show, it’s like a dream come true. My whole family love Triple M and my Nan would always have it on the stereo at home. To work with my ex-teammate Beau Ryan will be awesome. We know he’s a lunatic and God only knows what he will be coming up with on-air. And then there’s Natarsha Belling, what a legend!” 

This comes as Mark Geyer, who co-hosted the 104.9 Triple M Breakfast show with Mick Molloy, was axed from the Breakfast show earlier this month.

Cameron thanked Geyer for his work and said: “We wish to thank MG for his incredible 17-year contribution to Triple M across many shows and NRL calls. We sincerely hope he will be a part of the Triple M family again at some stage in the future, and we wish him all the best.”

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Top image: Beau Ryan, Natarsha Belling and Aaron Woods

Banijay Rights, the global distribution arm of Banijay Entertainment, has signed what is describes as a landmark premium scripted and factual package deal with ABC TV.

The agreement comprises Welsh crime drama The One That Got Away, the modern re-imagining of iconic detective series Bergerac, the forthcoming Grantchester season 10 and documentary series Picasso.

The deal was negotiated by Lyle Bettson-Barker, SVP sales, Australia and New Zealand, Banijay Rights.

“From gripping thrillers and period dramas to fascinating documentaries, we’re in no doubt this incredible ensemble of premium Banijay Rights programmes will captivate viewers across Australia,” said Bettson-Barker.

“With such a strong and genre diverse line up of scripted offerings, partnerships like this are a testament to our depth and breadth.  Once again, we’re proud to secure this deal with our partners at the ABC.”

Head of programming, acquisitions & streaming ABC, Roberta Allan, said, “Our audiences will be pulled into mysteries, grandeur and history with these world-class series. We are thrilled that these titles will be joining our incredible slate of content on ABC TV and ABC iview.”

Head of acquisitions ABC, Dallas Krueger, added, “I’m delighted that ABC audiences will be treated to a stellar line-up of content. This deal underscores the strong collaboration between the ABC and Banijay Rights.”

What’s ahead for ABC viewers?

• Set in the west Wales coastal town of Pembroke Dock, The One That Got Away brings together a top-class team of Welsh crime drama talent. The shocking murder of a nurse opens old wounds in a small-town community, throwing a historic conviction into doubt, raising the horrifying prospect of a copycat killer and reuniting two former lovers tasked with finding the killer. The series is written by Catherine Tregenna (The Bench, Law & Order UK, Lewis and DCI Banks) and stars Elen Rhys (The Mallorca Files, Craith/Hidden), Richard Harrington (Y Gwyll/Hinterland) and Rhian Blythe (Y Golau/The Light in the Hall, Craith/Hidden). All six episodes are directed by Sion Ifan (Y Gyfrinach/The Secret). Produced by BlackLight TV (a Banijay UK company), the series is the English-language version of Welsh-language drama Cleddau, an original series commissioned by Welsh-language channel S4C, supported by Welsh Government via Creative Wales.

• Produced by BlackLight TV, (a Banijay UK company), Bergerac is based on the original series created by Robert Banks Stewart, which starred John Nettles and ran for nine series on the BBC between 1981 and 1991. The detective drama features Damien Molony (The Split, Brassic, Crashing) in the leading role of Jim Bergerac, alongside Zoë Wanamaker (My Family, Shadow and Bone, Black Ops) as Jim’s mother-in-law Charlie Hungerford, and Philip Glenister (Steeltown Murders, Life on Mars) as Arthur Wakefield. The series is written by Toby Whithouse (The Red King, Being Human), alongside Brian Fillis (Trust, Sirens), Catherine Tregenna (The One That Got Away, Three Pines) and Polly Buckle (Love Rat, A Discovery of Witches). The six-part U&Original series is produced by BlackLight TV, part of Banijay UK.

• Returning hit crime drama Grantchester will see Robson Green and Rishi Nair return as DI Geordie Keating and Reverend Alphy Kottaram, respectively, for season 10 as they continue their crime-solving exploits. The series is a co-production of Kudos (a Banijay UK Company) and Masterpiece PBS for ITV.

Unflinching look at the life of Picasso

• Documentary series Picasso is an unflinching look at the life and legacy of the artist. When Picasso died in 1973, the world mourned one of the most celebrated artists of all time. His death left behind a family in turmoil and over 100,000 art works. Since his death, stories of womanising, cruelty and cultural appropriation have made us reassess Picasso. This series provides a look at the life of the artist, whose endlessly inventive revolutionary art and problematic personal life spanned seven of the most tumultuous decades in history. The series director is Alice Perman, producer/director is John O’Rourke and executive producers are Sophie Leonard, Alicia Kerr and Greg Sanderson. The three-part series was produced by Minnow Films for BBC Two.

See also: Getting deals done: ABC head of programming Roberta Allan at MIPCOM TV marketplace

Hamish & Andy’s Remembering Project returns for a new season on LiSTNR for 12 episodes.

For season six, Hamish Blake and Andy Lee listen further back to their archive of more than 2,500 shows and, for the very first time, revisit and re-listen to their original demo tape, with both having very mixed feelings about hearing it.

In the season’s first episode, the pair listen back to two incredible moments from their radio days. One is the first time that Jack Post (aka ‘Cackling Jack’) appears on the show, and unsurprisingly, he is accused of weaselling! Plus, they revisit the blooper, which they both agree is one of their favourite radio moments of all time!

This season also ‘remembers’ Blake and Lee’s epic adventure of taking a convertible car through a car wash, the birth of ‘Napkin Ninja’, Blake’s psychic dreaming ability and their final performance as a band. In some more poignant moments, Blake gets sentimental as they listen back to voicemails from his late Grandma Moosie, and the boys remember what a pivotal part of the radio show she played for many years.

Reflecting on the new season, Lee said: “This season is a rollercoaster of laughs and emotions. We were especially hesitant to listen to our first-ever demo tape because we honestly couldn’t remember how it would sound. It definitely made us question how we ever thought we could make a career out of radio!”

Sam Cavanagh, LiSTNR Original Podcasts head of entertainment and culture, said: “Once again the boys have gone deep into the archives to pull out some absolutely legendary moments from more than 20 years of shows, but it doesn’t get better than hearing their very first demo tape.  I think the boys’ reaction will surprise and delight people.  New episodes of the Hamish & Andy podcast will return in 2025, but in the meantime, fans can join in as the boys reminisce on what helped forge their incredible partnership.”

LiSTNR’s Hamish & Andy is Australia’s no.1 podcast and has topped the Australian Podcast Ranker charts a record-breaking 26 times*.

Enjoy a trip down memory lane with Australia’s most successful radio and podcast duo. New episodes of Hamish & Andy’s Remembering Project drop every Thursday across the Government Mandated Break. The first episode of season six is available now on LiSTNR.

By Sebastian Diaz, head of media innovation, Bench Media

In today’s world of AI-driven advancements, companies face a critical decision: forge ahead with their own internal innovation efforts, or rely on large tech companies to provide off-the-shelf solutions? Companies like OpenAI provide powerful AI tools used by 92% of Fortune 500 companies to automate tasks and enhance decision-making. While AI’s shortcuts and efficiencies contribute to business success, this reliance comes with significant risks.

Lack of flexibility and customisation

When a business partners with a major tech provider, it buys into their ecosystem. While these platforms offer immense power, they are designed for a broad user base, not tailored to individual business needs. The trade-off? Less flexibility and limited control.

In contrast, when a company builds its own AI tools, it retains full control over the innovation process. Solutions can be designed from the ground up to meet the unique requirements of the business. This ensures the technology is fit-for-purpose, rather than adopting a one-size-fits-all approach. Internal development also allows companies the flexibility to pivot. If a particular solution isn’t performing, it can be adjusted, iterated, or even scrapped. External partnerships rarely offer this level of agility, and often, companies discover limitations too late.

Control over data and transparency

Data is the fuel for AI and machine learning. However, when companies use third-party solutions, they often surrender control over how their data is processed, stored, or used. Many tech companies operate with closed systems, limiting insight into how algorithms function and process data. This can lead to compliance risks, inefficiencies, and reliance on systems that don’t fully align with the business’s goals.

By building proprietary AI solutions, companies retain full control over their data, ensuring transparency in how it’s used. This is crucial given the growing landscape of global privacy regulations. Transparency also safeguards businesses against vulnerability to potential risks, such as AI bias or “black box” decision-making, where algorithmic processes are opaque and difficult to audit.

Innovation at your own pace

Tech giants innovate at a rapid pace, which can be both an advantage and a challenge. While they bring impressive advancements to market, businesses that partner with them are often at the mercy of their roadmaps. If a company like Google or Meta deprioritises a tool or feature, businesses relying on it may find themselves without support, or forced to adopt new solutions that don’t align with their strategies.

On the other hand, companies that handle innovation internally can move at their own pace. They can decide when and how to integrate new technologies, ensuring that their solutions align perfectly with business objectives. This internal agility allows businesses to adapt quickly to market changes without waiting for updates or patches from an external provider.

Long-term cost efficiency

Building in-house AI solutions requires an upfront investment in research, development, and testing. While partnering with tech firms may initially seem more cost-effective, companies often face ongoing subscription fees, high licensing costs, and the burden of adapting third-party tools to meet their specific needs. Over time, these costs can accumulate.

Developing proprietary tools eliminates the need for continuous financial outlay to external providers. Companies can fine-tune their solutions, ensuring they remain relevant without incurring additional costs. Owning the technology also removes the risk of being locked into a vendor’s ecosystem, providing more predictability and financial stability in the long run.

Own your own innovation

While there are short-term benefits to partnering with Big Tech, the long-term constraints – lack of flexibility, limited control over data, and ongoing costs – can hinder a company’s growth and innovation potential. Internal innovation offers greater freedom to build customised solutions that fit specific needs, pivot when necessary, and retain control over both data and costs.

In today’s rapidly evolving digital landscape, businesses that take ownership of their innovation will thrive. They will understand their limitations but always look toward creating proprietary solutions that best serve their evolving needs.

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Top image: Sebastian Diaz

The month of November has seen major announcements from Spotify in the podcasting space.

In mid-November Spotify founder and CEO Daniel Ek spoke at the Spotify campus in Los Angeles about initiatives for uninterrupted video podcasts, audience-driven payments, and the new Spotify for Creators platform.

“We can provide an experience for your audience that is superior to any platform. And by giving you, the creators, another path to monetisation beyond ads, we’re freeing you up to spend more time doing what you love: creating,” said Ek.

Creators are taking notice of the changes. Why? Spotify is one of the largest platforms in the world for creators, with more than 640 million users and more than 250 million subscribers. Video consumption is rapidly growing on Spotify.

To find out a little more about the changes on the platform, Mediaweek spoke with Prithi Dey, podcast lead AUNZ at Spotify.

Dey explained the platform is no stranger to video content. “We’re seeing a lot of engagement with video content on Spotify. We’ve had video podcasts since 2019.”

“For audio-only podcasters, they are being an opportunity to grow via Spotify.” There’s good reason to consider adding video to audio-only content. More than 250 million users have watched a video podcast on Spotify, and nearly two-thirds of podcast listeners say they prefer podcasts with video. There are now more than 300,000 video podcast shows on Spotify

Dey: “Our focus is really trying to give creators from all different backgrounds the opportunity to grow their audience, monetise their content and give them the tools they need to be able to engage with their audiences.”

With no option for audio creators to offer subscriptions to podcasts on Spotify, their monetisation options were restricted. Now with the ability to share Spotify subscription revenue with creators, it provides a new revenue stream.

Better user experience

“The reason we’re doing that is to basically have a creative, better user experience for the audience because they get an uninterrupted experience of being able to view video podcasts on Spotify,” said Dey.

“We’re able to do this because we are going to be paying the video podcast creators the premium revenue from subscribers.

“It will also help video creators, like traditional YouTubers for example, decide if they want to bring their video content to Spotify because they will essentially have three revenue streams that they could leverage from the 2nd of January, 2025.”

Prithi Dey

New audio home: Spotify for creators

“Spotify for Podcasters has been rebranded to Spotify for Creators,” explained Dey.

“It’s an easy-to-use platform and the whole purpose of rebranding is to create a holistic ecosystem that is easy to use. It’s free to use, and those thinking about bringing their content onto Spotify can easily upload content through Spotify for Creators.

“They can easily look at their analytics, they can easily distribute to all other platforms, and our job really is to support them on that process. We’re having multiple with creators and partners from all different places about how they can actually bring their video podcast onto Spotify and how to use Spotify for Creators.

“We try to make it as easy for them as possible. We also have a help section on Spotify for Creators, which is easy to use and comprehensive. I often direct a lot of new creators there and all their questions are usually answered, and it’s a really easy process if they have that content.”

Video podcasting on this rise

Spotify has reacted to what its audience wants, explained Dey. “In 2021, 43% of podcast listeners said they prefer video podcasts. In 2024, just three years later, that number’s grown to 64%. We are seeing increased interest from audiences coming to Spotify to watch video content.

“In Australia, the number of podcast listeners engaging with video podcasts has surged around 25% year over year. This is why we are investing in this space a lot more.”

See also: Every Thursday in Mediaweek’s Podcast Week

Crime rates

When asked about what rates for Spotify users, Dey said: “I don’t think there’ll be any major surprises if I say true crime is always popular. Entertainment in general, sport and comedy, too are the categories that we always see doing well. Given that we’ve got quite a young audience, entertainment skews towards younger demographics and sport is always really popular.

“Long-form content is where we are going and what we’re encouraging creators to upload. When I say long form, we’re thinking 15 to 30 minutes. That’s something the audience can be consuming when commuting or maybe walking.”

There is another initiative aimed at helping grow podcast audiences – podcast clips.

These are basically short-form teasers that can be uploaded by creators. The purpose of the clips is to drive awareness to the long-form content.”

Host read ads

For podcasters who have “baked-in ads”, including host reads, nothing changes.

“That will not be impacted,” advised Dey. “If the podcaster or the video creator has those baked in ads, mayb sponsorships that they set up and manage directly. Those host reads and sponsorships will stay in the podcast or the video podcast.

“Even if you’re a premium user and you don’t get those third party dynamic ads, the host reads will still be there. The creator gets a hundred percent of that revenue.”

What Prithi Dey listens to

While Dey listens and watched a wide range of content for her work, she has a few regulars she doesn’t miss.

“I’m watching more content now than I did previously because it’s actually a really good user experience when I can watch and listen to a podcast. It is easy to toggle between the two.

“I recently started watching a new show called Swag on the Beat. They’re comedians, with a massive social following. They just launched a couple of weeks ago.

“Also Relatables with Jake and Ottie, that’s a video show as well. So those are two local shows. In terms of audio podcasts, I like to listen to a lot of current affairs and I listen to the news.

“I listen to Guardian podcasts and The Daily Aus. I love a good documentary series too.

See also: Spotify’s Now Playing event: Uninterrupted Video Podcasts to roll out first in Australia

Summary: Spotify and video podcasts

Uninterrupted Video Podcasts: Beginning in January, Spotify Premium subscribers in the US, UK, Australia, and Canada can watch their favourite podcasts uninterrupted by dynamic ads.

Spotify Partner Program: Beginning in January, this new program will give eligible creators access to a new monetisation system. The Spotify Partner Program has two components: Premium Video Revenue and Ads.
With new Premium Video Revenue, creators in the US, UK, Canada, and Australia can earn revenue based on video consumption from Spotify Premium subscribers beginning in January.

With Ads, enrolled creators earn a share of revenue every time a dynamic ad monetised by Spotify plays in their episodes both on and off Spotify.

Eligible creators can apply today and learn more at creators.spotify.com

Spotify for Creators: Spotify for Podcasters, Spotify’s free, all-in-one podcast hosting and analytics platform, is evolving to Spotify for Creators to serve the needs of multiformat creators with a more expansive and streamlined platform.

The platform features a new mobile app experience, robust analytics, a suite of new monetisation options, tools to customise shows’ presence on Spotify, creator-fan interactivity features, and turnkey audio and video distribution.

Podcast Clips: Eligible creators will also have the ability to upload short-form, vertical Podcast clips to promote their episodes, and select a custom thumbnail to represent their content on Spotify.

Seamless Streaming: We’re delivering the best viewing experience for audiences by making it easy for fans to stream their favourite video content in the foreground or background without disrupting the experience – whether they are using Spotify Premium or Free. We’re giving fans more content they love and a best-in-class UX so they can easily switch between watching or listening.

Topline Global Stats

• More than 170m users have consumed a podcast on Spotify, up from 10m in 2019.
• There are now more than 300,000 video podcast shows on Spotify.
• More than 250M users have streamed a video podcast on Spotify (based on users who streamed video in background or foreground).
• More than 70% of users consuming video podcasts watch them in the foreground.
• On Spotify, more than 1 in 3 US podcast MAU engage with video, while more than 1 in 4 global podcast MAU engage with video. Video Podcast MAU globally has grown by 60% year on year.
• Premium users listen more than twice as much as Ad-supported users.
• In 2021, 43% of podcast listeners said they preferred video podcasts, and in 2024, that number has grown to more than 64%.
• In 2020, average users were spending 30 hours a month on Spotify. Today it’s closer to 40. And younger subscribers are spending around 60 hours each month on Spotify.

Topline Australian Stats

• The share of podcasts from Australian creators that publish video has grown by more than 60% YoY.
• Video podcast consumption hours in Australia are up 11% YoY.
• Video podcast monthly listeners in Australia are up more than 40% YoY.
• The share of podcast listeners in Australia who watch video podcasts is up almost 25% YoY.
• Australia is the top podcast market in APAC for Spotify (by consumption hours).
• Podcast listeners in Australia are up 13% YoY.
• Podcast consumption hours for local shows in Australia are up 8% YoY.
• Politics & Current Events, Horror, Paranormal & Conspiracy Theories, Business & Technology are the fastest-growing podcast categories on Spotify in Australia.

The deal for Solstice Media to buy The New Daily from Industry Super Holdings is expected to be finalised by mid-December.

Paul Hamra, managing director of Motion Publishing, a subsidiary of Solstice Media, told Mediaweek that for the past year, the independent publication has been “managing its output differently” as it reduced staffing levels and contributors. Among the roles axed were eight editorial, one commercial and one production.

Hamra noted that the key to the sale would be for The New Daily to be integrated into the Solstice Media ecosystem of news and lifestyle websites to ensure “efficiencies in editorial, production, sales and distribution and the aggregated audience of the wider group.”

The New Daily was launched in 2013 and led by founding editor Bruce Guthrie. The publication received funding from Industry Super Holdings, which includes AustralianSuper, HESTA, LUCRF, United Super, First Super, and Cbus.

In addition to Industry Super Holdings funding, the publication stayed afloat with money coming in from Meta and Google due to the News Media Bargaining Code.

Like other public interest media outlets, Hamra said that the Meta payments were a “great injection of funding for our newsroom over a three-year period.”

“It also filled the deficits left by advertising downturns. Practically, it paid for the salaries of journalists, so without it, we could not afford to maintain those roles.”

Hamra said the Federal Government has not used the News Bargaining Code as intended, a tool to force negotiations between the platforms and news producers.

Instead, he noted the introduction of the Code triggered the tech giants to direct licensing arrangements with public interest journalism providers.

“The impact has been good, and we still have a licensing arrangement with Google. I think the onus is back on this government to actually do something about the media industry it says it cares about.”

Hamra said: “Either use the established instrument of the Mandatory Bargaining Code or find a way to support the importance of journalism in a democracy via one of the many proposals that have been put forward, i.e., a digital levy on platforms, tax incentive, or employment support for journalists.

“Doing nothing is now killing journalism in Australia – 1000 jobs have been lost in media since June this year. That’s not good.”

Looking to the year ahead, Hamra said the independent publication will become part of Solstice Media’s stable and a national brand alongside its state-based news and lifestyle websites.

“It has a subscriber base of 500,000 and a website audience of 1.5m monthly unique users (IPSOS).  We have great first-party data on our audience – so we will be building on this, integrated with our other sites, and presenting a bigger, national engaged audience to the market.”

He noted that The New Daily will continue to write and grow breaking news, politics, business, arts, and culture under Solstice Media’s ownership.

Hamra added: “As a sector, it could not be a more important time for independent media. Independent, trusted journalism and information is vital.

“(Solstice Media) will continue to search for revenue and funding models that support this aim. I am confident that they are out there. There are a lot of people who support independent media.”

–

Top image: Paul Hamra

Netflix has unveiled the main trailer and key art ‘Round and Round’ for the second season of the world’s most-watched show, Squid Game.

With its premiere just around the corner on December 26, the trailer delivers an electrifying glimpse into the deadly games and gripping character dynamics that await fans worldwide.

Seong Gi-hun (Lee Jung-jae) returns, locked in a tense battle with the shadowy Front Man (Lee Byung-hun). As new games unfold, the stakes grow deadlier, and Gi-hun’s mission to end the games once and for all takes center stage. Will he succeed, or will the system claim even more victims?

The trailer draws viewers back into this gripping universe, along with new cast members Yim Si-wan, Kang Ha-neul, Park Gyu-young, Lee Jin-uk, Park Sung-hoon, Yang Dong-geun, Kang Ae-sim, and Jo Yu-ri who bring fresh intrigue and complexity to the world of Squid Game.

The countdown is on. As alliances shift and rivalries ignite, Squid Game Season 2 raises the stakes in ways fans could never have imagined.

Squid Game Season 2 debuts globally on December 26, only on Netflix.

What is Season 2 about?

Three years after winning Squid Game, Player 456 gave up going to the states and comes back with a new resolution in his mind. Gi-hun once again dives into the mysterious survival game, starting another life-or-death game with new participants gathered to win the prize of 45.6 billion won.

Director Hwang Dong-hyuk, who made history at the 74th Primetime Emmys® becoming the first Asian to win Outstanding Directing for a Drama Series, once again helms the series as director, writer, and producer. Lee Jung-jae, Lee Byung-hun, Wi Ha-jun, and Gong Yoo reprise their roles from Season 1 with a list of new cast members including Yim Si-wan, Kang Ha-neul, Park Gyu-young, Lee Jin-uk, Park Sung-hoon, Yang Dong-geun, Kang Ae-sim, Lee David, Choi Seung-hyun, Roh Jae-won, Jo Yu-ri, and Won Ji-an rounding out the ensemble of colorful characters in the new season.

Atomic 212° has won Chargrill Charlie’s media planning and buying account.

The independent agency will work with the Chargrill Charlie’s team on all media, including digital as they expand the business.

Chargrill Charlie’s, part of the Craveable Brands group which also includes Red Rooster, Oporto and Chicken Treat – opened its first store in Coogee in 1989 and now operates 22 stores across Sydney and Melbourne. 

“We are thrilled to partner with Atomic 212° as we embark on the next phase of Chargrill Charlie’s growth,” Lisa White, head of marketing at Chargrill Charlie’s, said. “Their proven expertise and innovative approach align perfectly with our ambitious plans for network expansion and store growth, and we’re confident they will help us take our brand to new heights.”

Rory Heffernan, Atomic 212°’s chief executive officer, said: “Chargrill Charlie’s is an iconic brand in Sydney and Melbourne, with a loyal and growing customer base. We love this business and the Chargrill Charlie’s brand, which is ambitious, fun and engaging. Our team are delighted to work with Lisa and the team as they continue to expand through Australia.”

The new partnership with Chargrill Charlie’s follows a series of client wins and retentions for Atomic 212° over the past year including BlueScope, Great Wall Motor, BMW Australia and New Zealand, Bupa, the Northern Territory Government, Tourism Northern Territory, Northern Territory Major Events Company, Darrell Lea, Victoria University, My Muscle Chef, Vet Partners, Adyen and UKG.

Atomic 212° won Global Independent Agency of the Year (Media) and Global Digital Innovation Agency of the Year in Campaign’s Global Agency of the Year Awards announced in June 2024, and won Best Agency Culture and Talent (more than 100 awards) at the 2024 MFA Awards in September.

It also ranked #1 among independent agencies in Australia in new business wins, including client retentions, according to the FY 2023 report from COMvergence.

See also: Atomic 212° appoints Rory Heffernan as CEO: ‘I will continue to focus on innovation and how we best equip our clients and team into the future’

Yumi Stynes wins Podcast of the Year at 2024 Australian Podcast Awards

This year’s Australian Podcast Awards named winners in 31 categories.

Ladies, We Need to Talk – hosted by Yumi Stynes – won Podcast of the Year and also the Sex and Relationships category for its frank, funny, and fearless dive into taboo topics.

The Pool Room with Tony Armstrong took home Best Entertainment and Best Sport categories for its heart and humour in exploring untold tales of winners, losers, and the weird stories in between.

First Things First, hosted by Brooke Blurton and Matty Mills, was awarded Podcast Champion for its influential focus on Indigenous and LGBTQIA+ topics.

Journalist Marc Fennell was honoured in multiple categories, taking home Best History and Spotlight for his podcast House Of Skulls, recognising his in-depth explorations of pivotal yet often overlooked stories, as well as his wide-reaching influence.

Audience favourite Listener’s Choice went to comedy duo Toni & Ryan, celebrating their powerful connection with fans. Best Host was awarded to two of Australia’s most respected music journalists and friends, Myf Warhurst and Zan Rowe of the Double J podcast, Bang On.

The Rising Star accolade was awarded to emerging talent Pearl Tan, for her fictional storytelling and rising influence in the industry. Her podcast Diversity Work tackles race, identity, and the pressures of representation.

LiSTNR’s adtech hub drives personalisation in digital audio advertising

LiSTNR’s AdTech Hub is revolutionising digital audio advertising. It stands out with its world-first capabilities, which deliver unmatched ROI for brands. By blending efficiency with effectiveness, the Hub continues to set the benchmark for personalised and data-driven audio campaigns.

Launched in March, the AdTech Hub introduced pioneering initiatives, including expanded Dynamic Creative Optimisation (DCO) capabilities that incorporate factors such as age, gender, fuel prices, and live contest updates. Additional advancements include audience targeting via LiSTNR’s proprietary conversational tool and Advertiser Data Matching using clean room solutions, which drive exceptional brand outcomes.

Success stories in action

One standout campaign utilised LiSTNR’s fuel price DCO, enabling brands to align messaging with real-time price updates. In a campaign promoting a money-saving app, the fuel price trigger API dynamically adapted ad creative 56 times throughout a one-month campaign, delivering over 1.9 million impressions to 314,000 unique individuals across five metro areas. Results included a 125% increase in unprompted recall and significant action from 90% of listeners, with 37% downloading the app directly.

Another groundbreaking campaign saw Berocca harness LiSTNR’s live context dynamic triggers, pairing them with time-of-day data to deliver personalised messages. By aligning product benefits with listeners’ real-time activities, Berocca created meaningful connections. Jodie Lynch, head of marketing consumer health Australia, said: “A product like Berocca Energy has many benefits and uses that don’t fit into a single 30-second ad. This innovative campaign allowed us to reach our target audiences in relevant, personalised ways, showing how Berocca Energy can support Australians throughout their day.”

[Read more]

‘An authentic-sounding audio ad is far more powerful than a visual ad”: The secret to engaging listeners with sound

There’s one key secret to the success of Ralph van Dijk and Andy Maxwell from Earmax Media, a pioneering business helping brands leverage audio and podcasts to engage and build loyalty for brands.

Your ears don’t lie to you.

During a fascinating conversation with Liana Dubois on the Talking Media podcast, the trio explore the power of audio, particularly in advertising, and how sound engages listeners on a deeper, more intimate level compared to visual ads.

“Our ears are our best bull**** detectors,” van Dijk told Dubois. “And in an environment where authenticity is such a vital currency in communication, an authentic-sounding audio ad that is engaging and relatable is far more powerful than a visual ad, because the audience is actually the co-author.

Andy Maxwell and Ralph van Dijk

“They’re listening, they’re involved, they’re creating pictures in their mind, so you’ve got them. They’re participating. That’s if the creative is good, obviously.”

Van Dijk, who is also the founder of Resonance Sonic Branding, gives examples of some of the most successful sonic cues which have helped to build recognition and trust in some of Australia’s most iconic brands.

Brands like McDonald’s, Woolworths and Bunnings use distinct sonic branding to immediately trigger recall in the listener’s mind, and that power extends even when listeners are distracted, because our ears are still tuned to the sonic cues.

“The poster child for this industry is McDonald’s,” van Dijk told Dubois. “So I probably don’t even need to hum it.

“In Australia, Woolworths have been extremely consistent, so we work with them and we’re updating the Fresh Food People melody in all sorts of genres.”

He added: “Bunnings is an incredibly consistent brand. [There was a] crazy idea to use that instrument in that way, but we don’t think of it anymore, we just instantly know it and it’s been the most consistent brand.”

[Read more]

Matty J + Ash saddle up for 2025 launch ‘Raunchy Ranch’ calendar

Who said dad bods can’t be sexy? Certainly not podcasters Matty J and Ash Wicks from Two Doting Dads, who are roping in 2025 with their cheeky Raunchy Ranch calendar.

Thanks to Raunchy Ranch, flicking the page to a new month has never been so hot, with Matty and Ash taking the country revival to a new level in their spicy farm themed calendar. If Beyoncé can pivot to all things Cowboy Carter, so can Two Doting Dads…albeit with slightly less clothing and added assured confidence.

Shot in regional NSW, the boys were put through their paces wrangling the likes of sheep, donkeys and alpacas, and of course in nothing more than the unofficial Aussie uniform of Budgy Smugglers. The calendar isn’t just for laughs, with all proceeds going to RizeUp, a charity supporting women, and their families affected by domestic violence.

Ash Wicks, Two Doting Dads co-host said, “As the father to a young boy, I know how important it is to set an example for the next generation…Yeeeeeehaw! On a serious note, we’ve featured guests on our podcast who’ve experienced domestic violence, so we know how important it is for men to speak up about this epidemic.”

Matty J, Two Doting Dads co-host added “The thing about wrangling kids is that it’s a lot like wrangling cattle -so we felt right at home on this shoot. Not only do we hope these calendars bring joy and make the perfect Chrissie present, but the fact that they also help raise essential funds for a fantastic charity really makes all the effort worthwhile.”

The 2025 Raunchy Ranch calendar is now available for purchase here and Two Doting Dads can be heard via the iHeart app or wherever you get your podcasts.

The latest Roy Morgan Australian Readership report highlights the sustained popularity of magazines in Australia, with more than 14.8 million Australians aged 14+ connecting with magazine content across print and digital platforms.

This figure represents 65.6% of the population, while more than 11.5 million Australians (51.1%) continue to read print magazines, showing the medium’s ongoing relevance in an increasingly digital age.

Michele Levine, CEO of Roy Morgan, said: “Magazines are holding steady, reaching two-thirds of Australians across print and digital platforms. Their ability to deliver targeted, quality audiences remains unmatched, with significant growth across key categories.”

Top 25 Magazines by print readership – Sept. 2024 (Magazines in bold are up on a year ago)

The report, covering the 12 months to September 2024, reveals that print readership has held steady, with six magazine categories experiencing year-on-year growth. Among the standout performers are the Food & Entertainment, Home & Garden, and General Interest categories, which continue to attract significant audiences.

Food & Entertainment remains the nation’s most-read magazine category, reaching 7.4 million Australians, or 32.8% of the population. This category is dominated by supermarket free titles, including Coles Magazine, which increased its readership by 7.6% to 5.3 million, and Woolworths’ Fresh Ideas, with 4.7 million readers. These publications underscore the value of accessible and practical content in driving engagement.

Home & Garden magazines also experienced growth, with 4.3 million Australians now engaging with titles in this category. Better Homes and Gardens continues to lead, with a readership of 1.8 million, an increase of 1.1% from the previous year. Bunnings Magazine follows closely, recording a 4.9% rise to 1.9 million readers, while House & Garden saw a 4.5% increase to 727,000 readers.

*Total cross-platform audience includes print (average issue readership) and digital (website visitation and app usage), in an average 4 weeks. #For additional detail on the platforms available for each magazine visit the Roy Morgan website.

General Interest magazines attracted over 4.1 million readers, representing an 18.4% share of the population. Notable growth was seen in titles such as National Geographic, which rose by 4.2% to 1.05 million readers, and Australian Geographic, which increased by 5.2% to 512,000 readers.

The Business, Financial & Airline category achieved the most substantial growth, with an 8% increase in readership to 1.4 million. The Qantas Magazine stood out with a 9.2% rise to 536,000 readers, highlighting the appeal of niche and premium content in a highly competitive market.

Free supermarket magazines, including Coles Magazine and Fresh Ideas, continue to dominate overall readership numbers. These titles remain an essential touchpoint for advertisers, combining broad reach with targeted, contextually relevant opportunities. Bunnings Magazine further supports this trend, reaching 1.9 million Australians, a 4.9% increase compared to last year.

Digital engagement is also on the rise, with ten Australian magazines now boasting cross-platform audiences exceeding one million. Better Homes and Gardens leads the pack with over 2.2 million combined readers, followed by Woman’s Day with 1.9 million and The Australian Women’s Weekly with 1.6 million. These figures demonstrate how magazines are successfully bridging print and digital channels to reach diverse audiences.

Wavemaker and Schwarzkopf, the Henkel-owned global hair cosmetics brand, have partnered with TikTok to launch the bespoke content series “Schwarzkopf LIVE Colour Sound Studio.”

Rolling out across Australia and New Zealand until the end of December, the TikTok series embodies Schwarzkopf’s mission that “life is better when it’s lived to its full expression”, encouraging Australians to bring their most authentic selves to every event.

The content series spotlights rising artists Kitty Rae and Xanu as they each write and produce a Bespoke LIVE Colour original song inspired by confidence and living life in full colour.

Through their unique stories of self-expression, the series not only highlights Schwarzkopf LIVE Colour’s deep ties to the music world but also champions emerging talent by providing visibility and a platform for grassroots artists.

In collaboration with We Know Video, Wavemaker has crafted a mix of long-form content and short-form videos – including Trailers, Before & After transformations, and How-To segments – blending high-production polish with TikTok’s raw, UGC-style energy.

Sound Studio content also extends across Instagram, Facebook and YouTube Shorts, broadening reach and building excitement around the series, and is supported by a robust media plan.

Jayden Harris, director content & partnerships at Wavemaker, said: “This campaign highlights Wavemaker’s commitment to identifying fresh, exciting ways to connect with audiences and deliver campaigns that truly stand out. There’s no better way to embody the concept that life is better when lived to its fullest expression than through music, where self-expression is ever-present. Partnering with TikTok provides the ideal platform to engage our core audience and connect with their passion for self-expression, and we couldn’t be more thrilled to bring Schwarzkopf LIVE Colour’s vibrant vision to life in such a fun, dynamic way.”

Chalinee Na Pattalung, brand manager at Schwarzkopf Colour ANZ, added: “We’re excited to launch the Schwarzkopf LIVE Colour Sound Studio, a campaign that truly embodies our vision for fearless self-expression. We’re thrilled to partner with TikTok, a platform that’s not just about content but about community, creativity, and celebration – values that align perfectly with our strategy.

“As one of the first brands to create a long-form content series on TikTok, we’re amplifying the voices of rising artists like Kitty Rae and Xanu, each bringing unique stories of self-expression that inspire us all to live boldly and colourfully every day. A huge thank you to Wavemaker, TikTok, We Know Video, and all the creators who have helped bring this journey to life.”

Jack Shanahan, GM & founder at we Know Video, said: “This project was a fantastic opportunity for We Know Video to showcase our ability to take a campaign from concept through to final delivery, leveraging the expertise of our in-house production team. By seamlessly connecting creative thinking with production execution, we streamlined the process, stretched budgets further, and elevated overall production value – all while crafting content that felt natural and true to the artists, blurring the line between storytelling and advertising.”  

CREDITS

Client – Henkel Australia
Brand Manager, Schwarzkopf Colour ANZ: Chalinee Na Pattalung
Assistant Brand Manager, Henkel Hair Portfolio ANZ: Tanya Navin Kohli
Marketing Manager, ANZ: Aurelia Gombert

Media, Content & Partnerships – Wavemaker
Content & Partnership Director: Jayden Harris
Content & Partnership Associate Manager: Daniella Kinda
Content & Partnership Coordinator: Kim Relph
Chief Content & Partnership Officer: Shivani Maharaj
Client Lead: Sophie Stubbert
Client Partner: Susie Si
Performance Associate Director, Wavemaker: Hemanshita Purohit
Performance Associate Manager, Wavemaker: Anjali Ahuja

Partner – TikTok
Client Partner – FMCG, Auto & Beauty: Greg Jones
Client Solutions Manager: Stacia Poulos
Creative Strategist: Gemma Hewson
Head of Brand & Creative Consultancy: Ant Dever
Agency Lead: Victoria Brennan
Production & Operations Lead: Apple Stuart
Head of Global Business Marketing: Denny Handlin
Creative Agency Partner: Nick O’Donnell

Production – We Know Video
EP: Jack Shanahan
Producer: Kezia Suryaputra
Director: Jack Shanahan / Josh Favaloro
Creative: Katie Rae / Luke Brown
Cinematographer: Josh Favaloro
Editor: Luke Brown
Editor/VFX: Aidan Warner

WiredCo. has been appointed as Boost Mobile’s lead paid media agency, overseeing all paid media, SEO, and affiliate marketing, and it will continue its momentum in Australia.

“We are super excited to be partnering with Boost Mobile, who not only share our ambitions but also happen to be a group of outstanding humans,” said Angela Hampton, founder and managing director of WiredCo.

“We couldn’t be happier we’ve officially won the work, with our focus from kick-off aimed at further growing consideration, whilst also maximising efficiencies across performance marketing.”

The independent agency’s full remit for the brand covers Brandformance, where the agency will be wiring together brand building with performance marketing, offering full-service paid media, SEO and affiliate management, from strategy through to implementation and optimisation.

Boost Mobile’s CEO Jason Haynes said: “From the outset we were impressed with WiredCo’s overall approach, expertise and mindset, and believe they are well-placed to help us further accelerate our growth. As a youth-focused brand, we are aligned to their vision and how they can support us to further unlock new growth opportunities heading into 2025 with clear focus and purpose.

“Their team will play an important role alongside our other partners in further driving consideration as the leaders in prepaid and beyond, and we look forward to seeing this relationship develop.”

Boost will be taking advantage of WiredCo’s latest MarTech solution, FuseBox which brings together a collection of owned and 3rd party tools, aimed at super-charging media buying and management capabilities.

This includes WiredBuys, WiredCo’s owned agnostic media buying solution, giving complete transparency and uncompromised media buying solutions, as well as WiredPredicts, a proprietary tool that predicts performance outcomes with over 95% accuracy.

It’s been a bumper year for the independent agency with a slew of wins, including Edgewell and G.J. Gardner, as well as successful work such as Dettol’s new ANZ campaign with The Wiggles and Clean Up Australia Day with Andy Allen and Peters Drumstick.

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

Chello has welcomed five senior hires, strengthening its offering across creative, strategy, account management, copywriting, and video production.

Joining the independent brand and creative agency are Tom Dabner, Lawrence Parmenter, Lauren Lawson, Nicola MacAlister and Jaron Lionel.

Dabner, who joins as creative strategy lead, brings over 14 years of experience in creative roles from the UK and Australia. He steps into his new role at Chello from SomeOne Sydney, where he was a partner following its acquisition by VCCP. His prior work with the Australian Museum from 2020 to 2024 drove record-breaking visitor numbers, cementing its place as a cultural institution.

Dabner said of joining: “I’ve admired the Chello team for years, both as professionals and as friends. This new role allows me to build on my background as a creative director while diving deeper into strategic thinking, which is something I’ve always been passionate about. Chello is buzzing with momentum, and I’m excited to be part of shaping how we tackle challenges and create impactful, meaningful work for our clients.”

Parmenter, who was previously with Chisel, joins as creative director. With extensive experience in culturally driven campaigns, he helped reposition Nando’s as a youth culture brand in the UK and led TikTok launches for Tinder and LinkedIn in Australia. He will focus on integrating content and brand strategy to drive impactful campaigns.

“The exciting thing for me at Chello is the opportunity to change how content ladders up to brand. How can we build content and brand strategy closer together so we’re showing up for audiences in a way beyond advertising to bring brand missions to life?” Parmenter says.

Lawson brings a strong background in managing high-profile campaigns to her role as senior account director. In her previous agency role, she led Football Australia’s #Equaliser campaign in support of better women’s football facilities during the 2022 federal election, which secured over $18 million in election commitments and won two PRIA Golden Target Awards.

MacAlister joins the agency from Scotland as a copywriter. Her portfolio includes global campaigns for Spotify, such as scripting the Brit Awards and launching Spotify Audiobooks in the UK. In her new role, she will enhance Chello’s creative output with her expertise in engaging content.

Lionel, who comes from a London-based creative agency ZAK, steps into the role of senior video creative. In his last role, he led the creative development for G-Shock’s ‘Built Different’ campaign, which won EMEA Brand Film of the Year for its innovative storytelling and production. At Chello, Lionel will focus on elevating the agency’s video capabilities and delivering impactful stories for its growing client base.

Lindsay Rogers, managing director of Chello, added: “At Chello, we’ve always believed in the power of smart, creative thinking to drive meaningful results. These new hires bring fresh perspectives and deep expertise that will help us push boundaries and create work that truly resonates.

“With recent standout campaigns for brands including My Muscle Chef, Chery Motor, Shopify and Klaviyo already under our belt, this team positions us to do even more. It’s a strong team able to tackle our client’s biggest brand and marketing challenges.”

–

Top image: Nicola MacAlister, Lawrence Parmenter, Tom Dabner, Lauren Lawson, Jaron Lionel

Melbourne-based independent agency TABOO has been appointed as the lead creative and activation agency for Victoria’s Department of Transport and Planning (DTP). The account was previously held by ClemengerBBDO Melbourne.

This announcement follows a highly competitive pitch process in September. TABOO will oversee creative and experiential campaigns, while Snack Drawer will manage digital and social media strategies, and Ethnolink will lead engagement with Culturally and Linguistically Diverse (CALD) communities. Together, these agencies form a powerhouse partnership aimed at enhancing public engagement across the state.

A vital role in connecting communities

The DTP plays a central role in the daily lives of Victorians, managing all public transport modalities, urban planning, and land use functions for both metropolitan and regional areas. From roads to public transport and the design of community precincts, its work shapes the way millions live, work, and travel. The Department’s mission, “Thriving Places and Connected Communities,” underscores its focus on fostering sustainable, vibrant, and accessible environments.

TABOO’s vision for creative impact

As the lead creative agency, TABOO will help DTP deliver on its six strategic priorities, which include sustainable urban development, integrated transport networks, and dynamic local precincts. Known for its culturally driven and behaviourally impactful approach, TABOO will work closely with DTP to create communications that resonate with Victoria’s diverse population.

TABOO managing director, James Mackinnon, said:

“From the moment we met Carla and her team, we felt a synergy that truly inspired us. Having worked with TAC for nearly a decade, our team has a passion for road safety and for using creativity to help Victorians travel—and connect with one another—better. We are honoured and excited to be entrusted with this responsibility to help DTP create a thriving, connected Victoria.”

A collaborative approach

This two-year engagement, which began in October, marks a new chapter for DTP’s communications. The partnership will see TABOO collaborate with Snack Drawer and Ethnolink to ensure a multi-faceted strategy that reflects the diversity and dynamism of Victoria’s communities.

Tuesday 26 November 2024: VOZ Total TV Ratings Overnight Top 30 – Programs ranked on reach

Total People TV Ratings

Nine’s Travel Guides – Encore recorded a total TV national reach of 1,811,000, a total TV national audience of 661,000, and a BVOD audience of 51,000.

Nine’s 9News recorded a total TV national reach of 1,780,000, a total TV national audience of 1,074,000, and a BVOD audience of 91,000.

Seven’s Seven News recorded a total TV national reach of 1,735,000, a total TV national audience of 1,134,000, and a BVOD audience of 56,000.

Also on Seven, Kingsman: The Secret Service recorded a total TV national reach of 1,129,000, a total TV national audience of 285,000, and a BVOD audience of 10,000.

10’s airing of Taskmaster Australia recorded a total TV national reach of 745,000, a total TV national audience of 360,000, and a BVOD audience of 21,000.

People 25-54

Nine’s 9News:
• Total TV nation reach: 466,000
• National Audience: 266,000
• BVOD Audience: 46,000

Nine’s Travel Guides:
• Total TV nation reach: 561,000
• National Audience: 206,000
• BVOD Audience: 27,000

Seven’s Kingman: The Secret Service:
• Total TV nation reach: 376,000
• National Audience: 100,000
• BVOD Audience: 6,000

10’s Taskmaster:
• Total TV nation reach: 327,000
• National Audience: 185,000
• BVOD Audience: 13,000

People 16-39

Nine’s 9News:
• Total TV nation reach: 161,000
• National Audience: 95,000
• BVOD Audience: 23,000

Nine’s Travel Guides:
• Total TV nation reach: 221,000
• National Audience: 72,000
• BVOD Audience: 13,000

Seven’s Kingman: The Secret Service:
• Total TV nation reach: 111,000
• National Audience: 33,000
• BVOD Audience: 3,000

10’s Taskmaster:
• Total TV nation reach: 147,000
• National Audience: 80,000
• BVOD Audience: 8,000

Grocery Shoppers 18+ TV Ratings

Nine’s 9News:
• Total TV nation reach: 1,434,000
• National Audience: 874,000
• BVOD Audience: 73,000

Nine’s Travel Guides:
• Total TV nation reach: 1,442,000
• National Audience: 527,000
• BVOD Audience: 41,000

Seven’s Kingman: The Secret Service:
• Total TV nation reach: 914,000
• National Audience: 230,000
• BVOD Audience: 8,000

10’s Taskmaster:
• Total TV nation reach: 580,000
• National Audience: 274,000
• BVOD Audience: 17,000

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.

Graham Norton brought his signature wit and charm to Australian screens on Monday night for the launch of Wheel of Fortune Australia on 10. The game show’s return proved to be a massive hit, with launch night attracting a total national audience of 1.03 million viewers, cementing it as the #1 new show of the year on 10.

The Monday premiere dominated its timeslot across key demographics, including 25 to 54-year-olds and 16- to 39-year-olds, lifting 10’s timeslot performance by an impressive 42% week-on-week. The gains were even more significant in key demos, with increases of 69% in 25 to 54-year-olds and 53% in 16 to 39-year-olds. The program also achieved a commercial share of 30.2% in 16 to 39-year-olds, reflecting its strong appeal to younger audiences.

Matlock keeps the momentum going

Monday night also saw continued success for Matlock, which reached a total national audience of 926,000 viewers. Now the biggest scripted drama of the year on 10, the program dominated its timeslot, delivering the highest commercial share of the season in total viewers and all key demos.

Matlock grew significantly week-on-week, with a 12% increase overall, including a 31% rise in 16-39s and an 18% boost in 25-54s.

A winning launch for Network 10

The combined success of Wheel of Fortune Australia and Matlock gave Network 10 a strong start to the week, driving notable increases across the network:

• Network 10: Up 7% week-on-week, including growth of 12% in 16-39s and 25% in 25-54s.
• 10: Up 10% week-on-week, with boosts of 15% in 25-54s and 11% in 16-39s.
• 10 Peach Comedy: Up 32% week-on-week in its core demo of 16-39s.
• Nickelodeon: Up 12% week-on-week in its key demo of under 40s.

7-day viewing highlights

10’s success extended to 7-day total audiences, with key programs showing continued strength:

• Dessert Masters: Reached 1.01 million total viewers.
• Matlock: Reached 956,000 total viewers.