Meta has criticised Australia’s new Online Safety Amendment (Social Media Minimum Age) Bill, which bans children under 16 from accessing platforms like Facebook, Instagram, and TikTok. The legislation, which passed, imposes some of the toughest restrictions on social media globally, with fines of up to A$49.5 million ($32 million) for breaches. However, Meta has called the process rushed and lacking in evidence.

“Naturally, we respect the laws decided by the Australian Parliament. However, we are concerned about the process which rushed the legislation through while failing to properly consider the evidence, what industry already does to ensure age-appropriate experiences, and the voices of young people,” a Meta spokesperson said.

The company pointed to inconsistencies in the government’s findings, noting that just last week, a parliamentary committee stated that “the causal link with social media appears unclear” concerning youth mental health. This week, however, the Senate Committee report argued that social media causes harm, prompting Meta to label the process as predetermined.

Australia leads the way in regulating social media

The Bill, which begins enforcement trials in January and takes full effect in a year, positions Australia as a global leader in regulating Big Tech. Unlike similar laws in France and some U.S. states that require parental consent for minors, Australia’s legislation implements a blanket ban for those under 16.

The government has justified the law as a necessary measure to protect young Australians, citing concerns over social media’s potential harm to mental health. Advocates of the Bill argue that bold action is required to safeguard vulnerable youth. However, critics, including Meta, warn of significant unintended consequences, from enforcement challenges to privacy risks and limited digital access for young people.

Impact on advertisers

The legislation’s impact extends beyond tech companies to advertisers, who now face losing access to a key demographic. Platforms like TikTok, Instagram, and Facebook have long been essential for reaching audiences under 16, particularly for brands in gaming, fashion, and entertainment.

Advertisers will need to rethink their strategies, likely shifting to family-oriented campaigns targeting parents as the primary decision-makers. This demographic shift may also lead to increased competition for ad inventory targeting older audiences, driving up costs for precision marketing.

Influencer marketing, a mainstay for campaigns aimed at younger users, will also face disruption. Brands will need to adapt by partnering with influencers who appeal to broader or older audiences, potentially diminishing the effectiveness of campaigns rooted in youth culture.

Ultimately, the legislation may reshape how brands build long-term loyalty with younger audiences, forcing them to find new ways to connect while navigating the restrictions.

Mental health and the evidence gap

The Bill has reignited debates about social media’s role in young people’s mental health. While some studies suggest a correlation between social media use and mental health issues, the evidence remains contested. Last week, a parliamentary committee found no clear causal link, but this was contradicted by the Senate Committee report, which asserted that social media causes harm.

Meta has used this inconsistency to bolster its criticism of the legislation, calling for a more evidence-based approach. “The lack of robust evidence underpinning the Bill demonstrates a need for deeper consultation and collaboration with all stakeholders,” the company said.

A global precedent with complex implications

Australia’s sweeping social media ban for minors is being closely watched by governments worldwide. Florida recently introduced similar legislation banning social media use for children under 14, but it faces legal challenges on free speech grounds.

While the Bill sets a new benchmark in the global push to regulate Big Tech, its rollout will test whether such ambitious measures can be effectively enforced. Meanwhile, Meta has urged lawmakers to explore alternatives, such as age verification at the operating system or app store level, which it argues could reduce privacy risks and minimise challenges for families.

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.

As Black Friday continues to dominate retail calendars, consumer behaviour has undergone a seismic shift, particularly in Australia. Lee Besser, Studio project manager at impact.com, explains on how social platforms like TikTok, Instagram, and Facebook are reshaping the shopping landscape.

The new path to purchase

“Consumers today are far less influenced by traditional ads,” said Besser. “In fact, only 3% of Australian shoppers consider ads a trusted source when making purchase decisions. Instead, they look to trusted reviews, peer recommendations, and social media.” Platforms like TikTok and Instagram have moved from simply facilitating discovery to influencing the entire purchase funnel, from awareness to brand advocacy.

This evolution is especially pronounced among younger shoppers. “IAB and Pureprofile’s Australian and New Zealand Ecommerce report 2024 found that 58% of shoppers aged 18-29 say influencers and social media impact their research and shopping habits,” he said. This data reflects the increasing importance of authenticity and relatability in consumer decision-making.

The rise of social commerce

While Australia still sees a blend of social platforms and e-commerce sites working together, the shift toward shopping directly via social media is gaining momentum. “Social platforms excel in building trust and excitement,” explained Besser. “They drive discovery and engagement, while e-commerce sites complement this by offering streamlined purchasing and fulfilment options. It’s a partnership that maximises conversions and consumer confidence.”

Markets like Southeast Asia and China, however, are leading the way in social-first commerce. “New research by impact.com and Cube Asia shows that influencer marketing drives around 20% of e-commerce sales in Southeast Asia, with TikTok Shop playing a critical role,” he said. This trend is expected to influence the Australian market in the coming years.

Why consumers make impulse buys on social media

Black Friday has evolved into “Black November,” with brands leveraging the entire month to build momentum. “Most brands lock in their highest-converting influencers for November,” said Besser. “Strategies like flash sales, countdowns, and limited-time offers create a sense of urgency and FOMO (fear of missing out).”

Content creators amplify this urgency through unboxing videos, product demonstrations, and exclusive deal announcements, making it easy for shoppers to decide quickly. “Influencers act as trusted intermediaries, combining authenticity with expertise,” he said. “It’s about shared values and community.”

Trends shaping Black Friday in Australia

Australian consumers are embracing longer Black Friday sales periods, with transparency and authenticity being key drivers. “Deals that are straightforward and backed by visible social proof—like reviews and testimonials, are highly effective,” Besser said. Platforms like Afterpay and Zip also play a role, making big-ticket items more accessible.

Moreover, Australian brands are leveraging lo-fi, behind-the-scenes content to humanise their offerings. “It’s not just about big-budget campaigns anymore,” he added. “Social media has democratised visibility, allowing smaller brands to compete effectively with creative storytelling.”

The power of social proof

Social proof, through unboxing videos, reviews, and testimonials, remains critical during Black Friday. “Almost a third of Australians (31%) are more likely to buy something based on an online review,” he said. These forms of validation mitigate hesitations and create a shared sense of excitement around Black Friday deals.

As younger demographics embrace social-first shopping, Besser predicts significant changes in consumer behaviour. “Brands need to prepare for a future where social platforms play an even more direct role in driving sales,” he added.

With Black Friday evolving into a month-long shopping phenomenon, Australian brands have an opportunity to connect with consumers through social media. As Besser aptly concluded, “The convergence of content and commerce is here to stay, and brands that harness this shift will lead the way in 2025 and beyond.”

“We knew there was resistance to the change of VOZ because systems weren’t ready and people weren’t confident. There were a number of different obstacles,” Karen Halligan, CEO of OzTAM, told Nine CMO Liana Dubois on the Talking Media podcast.

OzTAM announced that VOZ will become Australia’s trading currency on December 29, 2024, following its introduction in January. TV network annual rate negotiations for CY25, which start in Q4 this year, will be based on VOZ Total TV data.

Halligan explained in the episode that the OzTAM team spoke to the agencies resisting the change and listened to their concerns, particularly about the new system’s readiness.

“We asked them what they would need for this to be a success and how could we get them on board. I think my consultancy days helped. It was a bit of good old basic change management,” she added, referring to her time at KPMG.

Halligan noted that the feedback has been great and applauded the efforts made by the MFA, its member agencies and leaders – Sophie Madden and Linda Wong, for their support through training and change management workshops.

“I was thrilled earlier this year when we had the photo shoot with the MFA, the IMAA and quotes from Josh Faulks from the AANA and our partners that influence the success of this supporting the change.”

Halligan said contracts for VOZ Streaming were sent out to people and agencies looking to get involved in the first trial before Christmas.

“We had one contract back in less than 48 hours remote from one of the Holdcos in their enthusiasm to get involved in VOZ Streaming.

“They say actions speak louder than words. We’ve got another signed this morning from another Holdco, so that suggests what we’ve been doing is working and the interest is definitely there.”

As a self-professed television enthusiast, Dubois asked if it was a watershed moment in moving past legacy measurement structures with television into the future.

“I really agree with that,” Halligan said. “Even if I just crystallise the fact that we’ve been working with an open market third-party software supplier where all of our data goes into multiple partners and agencies get to choose how they use our data and how they evaluate for better decisions.

“It means that we can now run reach frequency across linear and BVOD together. Before we could do that, but we had to upload files manually.”

Halligan noted that OzTAM is in one of the few countries that have collaborated with multiple partners in the distribution of this data, unlike the USA which defaults to Nielsen and the UK with Kantar.

“Here in Australia, we’ve got a different approach. That means agencies can pick the best way to receive the data and the information in real-time with partners that suit their needs, and they can make better buying decisions quickly.”

Dubois asked Halligan what her advice was to marketers or people in media looking to diversify their skill set and embrace the change.

Halligan directed them to the education assets and training modules on the VOZ website for self-education.

“Our role as OzTAM is to serve the industry. So if people have any questions, if you want presentations, we have been trying to cover as much ground as possible, road-showing out to the market and talking to as many people as we can.”

The discussion also saw Dubois and Halligan talk about the impact and application of having greater granular data on the creative process and where AI is in the VOZ and VOZ Streaming discussion.

Cosmopolitan magazine is reviving the women’s magazine centrefold, and features a man on its cover for the first time since the Australian brand’s relaunch.

The magazine is featuring Heartbreak High’s Josh Heuston labelling him the “ultimate Cosmo crush.”

Cosmopolitan Australia Editor Tess Ogle explained the decision to feature the actor as a response to readers who have been quizzing her since the magazine returned to shelves.

“The one question we were asked repeatedly when we relaunched Cosmo back into Australia with overwhelming support this year was, ‘Please, tell us you’re bring back the centrefold?!’,” she said.

“Well, we heard loud and clear – our readers want bold, they want fresh, and they want content that speaks to the empowered woman of today. So, we’re delivering just that by reviving the centrefold in a way that feels authentic, exciting, and oh-so-Cosmo. We’re excited to make history together. Because Cosmo doesn’t just follow trends, we set them.”

Heuston, 27, is a Sri Lankan-Australian actor from Sydney’s west.

He holds a double major degree in Biomolecular Science and Commerce from Macquarie University, models for some of the world’s biggest fashion brands and stars in the Netflix show Heartbreak High. He was also in Marvel’s Thor: Love and Thunder and was named GQ Australia’s “Breakthrough Actor of the Year” in 2022.

Heuston can currently be seen in HBO’s Dune: Prophecy as Constantine Corrino, the illegitimate son of the Emperor.

During an interview with Jackie O on The Kyle and Jackie O Show to announce the new issue, Heuston said he decided to pose for the magazine because of his family.

“My little sisters grew up reading the magazine so that was a big reason I did it,” he said. But admitted he was currently single and that he does get rejected by women.

“You can’t be everyone’s type,” he told Jackie O.

Josh Heuston on the cover of Cosmopolitan Australia

Cosmo has never included a male centrefold in its pages before but other male celebrities to grace the pages of the Cleo magazine’s centrefold include Richard Branson, Kyle Sandilands, Guy Pearce, Jamie Durie and Tom Williams. 

The new December/January Summer issue of Cosmpolitan goes on sale on December 2.

Mediaweek Morning Report: Sign up here for the most important media, marketing and agency news delivered to your inbox every day

By Andrew Brain, director of data and growth, Seven Network

In today’s advertising landscape, one thing is clear: standing still isn’t an option. As audiences evolve, so must the ways we understand and connect with them. At Seven, we’ve taken a bold step forward with 7REDiQ, a platform designed not just to analyse who your audience was yesterday but to predict who they’ll be tomorrow.

This evolution – from hindsight to foresight – is more than just a data modelling advancement. It’s a paradigm shift that empowers advertisers with actionable insights and unprecedented transparency. With 7REDiQ and the newly launched REDiQ4U platform, we’re putting the future in the hands of brands, giving them tools to surface insights, that lead to better planning, buying and measuring campaigns in an increasingly complex market.

Why Audience Intelligence Needs to Evolve

For too long, the industry has been stuck looking backward. Traditional customer data platforms (CDPs) excel at aggregating historical and real-time data – what audiences did, watched, or bought – but they stop short of offering actionable foresight, what will happen. That’s where 7REDiQ comes in.

At its core and to be crystal clear, 7REDiQ isn’t  a CDP; it’s a data intelligence platform that redefines what’s possible in audience insights. Built on a foundation of nearly 14 million Australians and enriched by over 3,000 unique data points, it’s designed to move beyond generic demographic profiles. Instead, it delivers a rich, dynamic picture of consumer behaviour, preferences, and intent via an interactive dashboard. Users can literally see the datasets in situ that drive confidence in the datasets to drive targeting outcomes.

What sets 7REDiQ apart is its predictive power. Developed in partnership with Ticketek’s analytical arm, Ovation, and Databricks, our AI-driven capabilities enable us to forecast audience behaviours with 95% accuracy up to 28 days in advance. This isn’t guesswork; it’s data science, rigorously tested to help brands anticipate shifts in engagement and make data-driven decisions with confidence.

REDiQ4U: Putting Power in the Hands of Brands

The launch of REDiQ4U is a direct response to what advertisers have been asking for: greater understanding, transparency and usability. With REDiQ4U, we’ve created a secure platform that allows brands to dive directly into 7REDiQ’s insights, tailoring them to their unique needs.

It’s more than access; it’s empowerment. Through REDiQ4U, advertisers can explore and act on data from a robust ecosystem of partners, including Visa, Ticketek, Coles360, Car Expert, Raiz, Equifax, LandmarksID and Weatherzone. These partnerships provide a holistic view of consumer behaviour, from transactional insights to real-world movement patterns.

No other platform in Australia offers this depth of integration. While traditional CDPs will deliver audience segments of your audience, REDiQ4U offers a full narrative. It’s not just who your audience is; it’s where they shop, what they care about, and – crucially – where they’re heading next, that agencies and brands can access directly.

Andrew Brain – Director Data and Growth of Seven

A Gamechanger for Advertisers

The implications for brands are enormous. With 7REDiQ, advertisers can shift from reactive to proactive strategies, aligning their campaigns with not just current but future audience behaviours. This foresight enables precision targeting and maximises return on investment in ways the industry hasn’t seen before.

For example, imagine knowing not only that a key audience segment is engaged with your content today but also that they’re likely to shift their focus to a related product or service in four weeks. Armed with this insight, you can tailor your messaging, optimise your media spend, and create meaningful connections with consumers at exactly the right moment.

Take the predictive capabilities of 7REDiQ during major live events like the AFL Grand Final. We can pinpoint audience segments by age, geography, interests, and even transactional behaviours, giving brands a clear, actionable pathway to engage their most valuable customers.  This will be huge for the 2025 AFL season, where brands will be able to unlock predictive insights on fans of clubs and their different consumer behaviours and brand affinities.

Beyond Data: The Role of Collaboration and Innovation

Looking ahead, the future of audience intelligence isn’t just about better data – it’s about smarter collaboration. Through integrations with clean rooms like Karlsgate, LiveRamp and Databricks, we’re making it easier for brands to merge their first-party data with ours, creating privacy-compliant, custom audience segments that amplify campaign impact.

Our new AI Factory is another key part of this vision. As an innovation hub, it’s designed to help brands co-create GenAI-driven strategies that push the boundaries of what’s possible in audience engagement. Whether it’s piloting AI models to predict churn or using dynamic ad personalisation to extend viewer engagement, the opportunities are endless.

The New Standard for Audience Engagement

At Seven, we believe audience intelligence should be as dynamic and forward-thinking as the people it aims to understand. That’s why we’ve invested in making 7REDiQ not just a tool for analysis but a platform for action.

With REDiQ4U, advertisers now have the keys to a system that’s transparent, interactive, and unparalleled in its scope. By combining predictive accuracy, deep integration, and a commitment to innovation, we’re not just keeping pace with the future – we’re shaping it.

For advertisers, the message is clear: the future of audience engagement is here. And with 7REDiQ, it’s yours to harness.

In partnership with Seven Network

–

Top image: Andrew Brain

Binge will begin streaming sports on the platform from tomorrow, starting with back-to-back AFLW Grand Final on 30 November and WBBL Grand Final on 1 December.

In addition to sport, live news channels for Sky News Australia, Sky News UK, Fox Sports Australia and CNBC were also added to the platform this week, adding more variety and value for 1.6M Binge subscribers at no additional cost.

Julian Ogrin, CEO of Binge, said: “It’s been an exciting week for Binge from launching more live news channels and premiering our first Original feature film How to Make Gravy to streaming a massive grand final weekend of women’s sport – it’s all happening on Binge.

“We’ve supercharged Binge to deliver unmatched variety and value to our customers. Starting from just $10 per month, Binge subscribers can enjoy the world’s best shows and movies with live and on demand sports, news, and lifestyle all included in one subscription. And if you’re quick, you can also take advantage of our Binge Black Friday sale, providing you with even more subscription value.”

Until 2 December, Binge is running a Black Friday sale – $4.99 for 12 months – offering new subscribers even more value.

On Saturday night, fans can catch all the action including the pre-game show featuring musical act Lime Cordiale, when North Melbourne and Brisbane face off for the second year in a row at the 2024 NAB AFLW Grand Final. On Sunday afternoon, fans can watch the Melbourne Renegades host the WBBL grand final at the MCG against the winner of the Brisbane Heat’s Challenger final. The 2024 WBBL competition is currently the most streamed of all time.

Eilish O’Dowd, AFLW GWS player, said: “Binge has all the best shows and movies and the fact that it’s now making sport available as part of the subscription is just brilliant. To have sport on Binge launch with women’s sport, and AFLW in particular, is a milestone moment. It’s so exciting that Binge is opening the sport up to millions of Australians to get behind us.”

Binge will offer a compelling slate of live and on-demand sport featuring AFLW, Women’s and Men’s Big Bash League, Super Netball, World Surfing League, Women’s Golf (USLPGA, Ladies’ European Tour, AIG Women’s Open), all Kayo Minis of the F1®, and Fox Sports-produced magazine shows, and, come winter, NRL and AFL footy on Thursdays, Fridays and Sundays (simulcast games) during the regular season with no ad breaks during play.

The platform will offer subscribers more than 3,000 On Demand hours and a 24/7 dedicated LifeStyle channel, more live news channels from major local and global outlets, and live music channels.

Atomic 212° has expanded its remit with its long-standing client, O’Brien Glass, adding paid search and SEO to its existing main media planning and buying role.

The independent media agency and glass repair and replacement company have worked together since 2014.

O’Brien, established in 1924, has over 1300 staff and over 80 locations around Australia. Its divisions include O’Brien Glass, O’Brien Autoglass and O’Brien Electrical & Plumbing.

“O’Brien has been helping Australians for over a century, earning their trust as a reliable partner in times of need,” Belinda Thornton, O’Brien head of group marketing, said.

“By incorporating paid search and SEO for our auto and glazing business into Atomic 212°’s remit, we are ensuring that the next generation – whose first instinct is to turn to their smartphones for solutions – can discover O’Brien seamlessly when they need us most.

“Our mission is to remain the front-of-mind supplier for autoglass, glazing, electrical and plumbing services, trusted by Australians for generations to come.”

Rory Heffernan, Atomic 212° chief executive officer, said: “This expanded remit represents a natural evolution of our partnership with O’Brien, driven by our focus on data, measurement, and performance media at our core.

“By ensuring full alignment through the funnel – from awareness to conversion – we are committed to driving strong ROI and measurable impact for the business. Our aim is to deepen engagement with existing audiences while finding new ways to resonate with emerging audiences, particularly younger demographics.

“We have a long and proud history with O’Brien and we look forward to continuing to deliver exceptional value together,” he said.

The new expanded partnership with O’Brien follows a series of client wins and retentions for the independent agency over the past year. The includes BlueScope, Great Wall Motor, BMW Australia and New Zealand, Bupa, the Northern Territory Government, Tourism Northern Territory, Northern Territory Major Events Company, Chargrill Charlie’s, 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.

–

Top image: Rory Heffernan

By Venessa Hunt, ARN Director of Commercial Strategy & Growth 

In a world overflowing with visuals—endless social feeds and screens in every room—audio advertising has a unique magic. It’s the whisper in your ear that conjures an image only you can see, your imagination sparking as it fills in the details. And research shows us that this really matters when it comes to advertising effectiveness.

Unlike its counterparts, audio advertising invites you to imagine. It’s an invitation to be part of the story, and in some instances even craft the story.

Put your ear pods in, press play and close your eyes.

Audio advertising doesn’t just communicate – it lets the audience live the message.

It’s like a movie playing behind closed eyes, where every listener becomes the director. Whether it’s a sip of a cold drink, the engine of a roaring car, or the echo of laughter in a coffee shop, audio paints a personal picture that only your mind can create.

This doesn’t mean that visuals aren’t important, but it does mean that if we appreciate the power of imagination, primed with audio, only then can we truly get the best from our visual mediums, and make them work even harder for us.

This gives audio a truly unique superpower like nothing else. Research has shown that due to the brain’s natural confirmation bias – which is where we tend to notice, believe or remember information that agrees with what we already think and feel – priming the imagination with audio cues means that when shown a visual media it will not only have more attention, but also recall and impact.

In a recent study “Advertising Research Foundation; Australia Radio Network Neurolab Study “Intimacy Never Sounded So Good” – Adding Broadcast Radio to a TV-only campaign can improve ROI by 20% and social campaigns get an 83% boost when ads run in audio first.

It’s undeniable that we have been planning media in the wrong order. I encourage you to challenge the status quo, and let the logic speak for itself – Imagination is the underutilised key to “feeling and believing” and “feeling and believing” – before you see something is the key to impact! It’s not opinion, it’s science.

This week’s Meeting of the Minds sees Ngaia Calder and Nana Kawaura from insight agency TRA reveal their leadership heroes, current streaming binge, and career goals.

The Mediaweek series showcases diverse perspectives, thoughts and opinions by bringing together two different points of view from an industry rookie and an experienced expert.

Ngaia Calder, Business Director – TRA (Sydney)

Favourite podcast/read:  It has to be Mamamia Outloud because, as the tagline says, it keeps your finger on the pulse of what women are talking about.

Current streaming binge: Only murders in the building because the suspense, the story, the witty dialogue and the cross generational trio. It’s refreshingly different.

Guilty pleasure content: Selling Sunset and Love it or list it Australia. The house, the heels, the will they or won’t they…

What do you have on repeat: Taylor Swift back catalogue, naturally.

Best career advice: If you fuck up, fess up.

Leadership hero: I’ve been lucky enough to have a few leadership heroes. First off, the one and only Terri Hall. Then there’s Vanessa Riedl, Ali Dexter, Roz Calder and Andrea Wilson!

Best training course/session: Has to be Mark Ritson’s Mini MBA. I did it in 2018.

I wish someone had told me: Write down every project / category / client I have worked on (you do forget)!

Favourite place to network: The conference circuit, there’s always somebody new to meet and something to talk about.

Something that’s surprised you about the industry: People and consumers are always evolving. They’re constantly innovating and inspiring. But often, there’s a lack of belief in this.

What is your hot take on the industry?: We need to keep championing people; we need to hero the human impact. The narrative of getting insights faster, cheaper, easier is distracting – and often not well thought through.

Career goal for 2025: Continue growing our dream team!

Nana Kawaura, Account Lead – TRA (Sydney)

Favourite podcast/read:  The Henna Artist by Alka Joshi – a young Indian woman’s independence and identity

Current streaming binge: Nobody Wants This (Netflix). A few people in the office recommended it – it did not disappoint!

Guilty pleasure content: Dog videos, I’m obsessed

What do you have on repeat: See Her Out by Francis and the Lights

Best career advice: I wish someone had told me not to be afraid to try something new. Don’t think just because you started your career in one industry, you have to stay in that industry forever. Bounce around and try new things! There’s so much value in the soft skills we learn along the way. Good employers will see the value you can bring to the team.

Leadership hero: So many mentors both past and present. The best mentors want you to grow and develop. To be the best version of you. Even if that means leaving them to find a different mentor that can help you grow even more!

Best training course/session: A grad segmentation session, I still remember it to this day!

Favourite place to network: Industry events – they’re a lot of fun and a great way to meet like-minded people. Even better if you can adventure off on your own to different sessions, it gives you the chance to meet new people.

Something that’s surprised you about the industry: How important it is to understand different cultures when we look at data from an international quant study. E.g., for a 5-pt scale question, some countries will skew to selecting strongly agree/disagree, whilst countries like the Nordics will select somewhat agree/disagree or neither – this is reflective of their cultural context as opposed to the performance of the concept itself.

What is your hot take on the industry: It’s going to be interesting to see how AI shapes the industry over time. It will distinguish some of the best businesses from the rest and it’ll be incredible to see its potential unfold.

Career goal for 2024: To embrace change. I started at TRA earlier this year, so I’ve been focusing on settling in, supporting the team and finding out what I want to focus on developing in my career.

–

To take part in future editions of Meeting of the Minds, please email: [email protected]

Past editions of Meeting of the Minds.

–

Top image: Ngaia Calder and Nana Kawaura

PepsiCo Australia has partnered with Shift 20 Initiative as an official brand partner of its brands Red Rock Deli and Gatorade.

The Shift 20 Initiative, pioneered by the Dylan Alcott Foundation, represents a coalition of the nation’s top brands working towards increased disability representation, inclusion and accessibility in marketing and communications.

Almost 20%, or 4 million Australians, live with disability, yet only 1% of people with disability are represented in advertising. The aim is to shift perceptions of individuals with disability through increased representation, the new partnership will see PepsiCo working with Shift 20 to develop new campaigns for Red Rock Deli and Gatorade that are inclusive of disability.

The partnership is already in motion and will last for 12 months from October 2024. PepsiCo staff will also benefit from Shift 20’s ongoing training and education around disability representation and inclusion alongside other Shift 20 Partners.

The partnership forms part of PepsiCo Australia’s ongoing DE&I commitment to fostering a diverse workforce and creating a collaborative, equitable and inclusive space.

“We are so proud to join the Shift 20 Initiative in its mission to influence positive change for every Australian living with a disability,” Kyle Faulconer, CEO ANZ, at PepsiCo, said.

“Creating a diverse environment that puts its people first is at the heart of how we operate at PepsiCo, and we look forward to furthering our efforts in this space with Shift 20.”

Priya Addams Williams, Shift 20 Initiative lead at the Dylan Alcott Foundation, said: “We are so excited to have PepsiCo on board as a Shift 20 Partner.

“To have such iconic brands recognise the importance of disability representation and inclusion is huge and we’re looking forward to consulting on future campaigns for Gatorade and Red Rock Deli to ensure that we’re representing the nearly 20% of Australians who live with disability.”

This comes after Shift 20 Initiative unveiled its new TikTok channel, Shift 20 Casting Call, @shift20castingcall with Special and PHD.

See also: The Shift 20 Initiative launches world-first casting channel on TikTok via Special and PHD

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

Naming the new host of Media Watch was one of the first items at the ABC TV 2025 Upfront underway today.

Taking over the role from the outgoing host Paul Barry is award-winning investigative journalist Linton Besser.

Besser is a former foreign correspondent who has reported from around the world for Four Corners, Foreign Correspondent and 7.30. His work has also appeared in The Sydney Morning Herald, The Age and The Bulletin.

Besser has won four Walkley Awards, two Kennedy Awards and a George Munster Award. His work has prompted public inquiries, including a Royal Commission, corruption findings and criminal prosecutions against business figures, politicians and other public officials.

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.

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.

Matt Doran revealed he will leave his post as co-host of Weekend Sunrise at the end of the year to focus on family and pursue other opportunities.

On Sunday, he told audiences that, following conversations with his wife, Kendall, he would finish hosting duties at the end of the year after five years.

“It’s something I’ve agonised over because it’s honest to say this is one of the best jobs on earth, but we think it’s right – and at the right time – for our little family.

“While I’m sad, and I’m doing everything possible presently not to look Mon in the eye, where I am right now is honestly a place of incredible gratitude. For the laughs, the lessons, the tears, the phenomenal sense of life perspective, the carousels of astonishing snacks (even the tofu).

“It is my unshakeable belief that this role – specifically, being entrusted with the telling of people’s most intimate, most personal stories – is one of the more privileged positions on the planet.

“And actually, storytelling is probably at the heart of this decision – finding ways to tell stories that break the mould. I came to the Seven Network eight years ago with a background in crime and documentaries, and I’m being pulled back in that direction again now.

Ali Clarke has stepped down as breakfast host on Mix 102.3.

Clarke told listeners on Monday morning: “This year has given me a new perspective, so now I’m ready for the next challenge. I’ll miss our listeners terribly and can’t thank them enough for their support of not just me but my family.

“Man, I love radio and will miss this incredibly hardworking local team, but I know they’ll keep bringing the laughs and will go from strength to strength.

Clarke has been with Mix 102.3 for the past three years and made a lasting impact both on and off-air.

Duncan Campbell, ARN’s chief content officer, said: “Ali has made an extraordinary contribution to Mix 102.3 and the community. Her empathy, passion, and talent for storytelling have brought countless memorable moments to our listeners.

“We respect Ali’s decision to move on to new opportunities and thank her for all she’s contributed over the past three years. We wish her every success in her future endeavours.”

Max Burford will continue as co-host of Mix 102.3’s Breakfast show in 2025, with further details regarding the show to be announced.

A raft of changes have been introduced across ABC Radio today. But there is one change that is dominating the conversation in Sydney – the axing of ABC Sydney morning announcer Sarah Macdonald.

The former host of the ABC radio evenings made the change to breakfast in 2023, the same time James Valentine turned up to host breakfast. Valentine lasted just one year in breakfast before moving back to drive.

Macdonald has lasted two years in the morning timeslot. She started her program in cheery fashion this morning with her usual weather updates before getting to the topic of the day – the Sydney train strike. She also noted at the start of the show she would have some news about herself after 9am.

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.

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.

It was revealed on-air this morning that Nikki Osborne will be joining the Nova 106.9 Brisbane breakfast team as part of the brand new Ash, Luttsy & Nikki Osborne show, launching in 2025.

Osborne was on the phone after 8am on the Nova Brisbane breakfast show this morning and was welcomed to the show by her new co-hosts and O’Neill.

The change of announcer comes in the final week of radio ratings for 2024. Many metro radio breakfast shows around Australia will go off air after Friday’s programs and not return for seven weeks.

Audience Precision has promoted Jessica Bray and James Porter as it expands its technology-led insights and communications strategy offering.

Bray moves into the newly created head of strategy and product role as former senior media manager Porter steps into the role of media team lead.

Bray will lead strategy and product development and implementation for the business and clients as the independent media agency extends its services beyond media to focus on its insights and communications strategy, harnessing its proprietary Precise360 technology platform. Audience Precision’s media unit continues to report to Bray under this new structure.

Under his new remit, Porter will report to Bray within Audience Precision’s media unit, managing local Australian campaigns and supporting the agency’s offshore teams and partners for international campaigns.

Both Porter and Bray have been with Audience Precision for several years. Porter joined the business in 2022 from a senior media planner role at Discovery Inc, while Bray came to Audience Precision in 2016, joining as one of the foundation members of the business.

Amplify has promoted Lucinda O’Brien to strategy director and appointed Domenic Scriva to the newly created role of culture executive.

O’Brien returns to the creative agency after a year break where she focused on brand strategy. She recently spent more than five years in Los Angeles working at Zehner (now The Stable), as brand strategist and then senior brand strategist.

Scriva is new to the marketing industry and comes from a creative background as a trained performer and writer. His passion is for staying culturally connected through lived experience and research, and he understands the importance of nurturing talent relationships for brands.

Women in Media has appointed Anita Jacoby AM as chair and Bridget Fair as deputy chair, ushering in a new leadership team for the organisation.

This change comes as founding member and former co-chair Victoria Laurie steps down after nearly two decades of dedicated service and advocacy for women in the Australian media sector.

Jacoby AM, one of Australia’s most esteemed television producers and media executives, brings an exceptional breadth of experience and leadership to her new role. Fair, CEO of Free TV Australia, adds her extensive expertise in television and media to the leadership team. Both appointments take effect immediately for a three-year term.

Tess Eastcott will join Mindshare as managing partner to lead the NAB account based in Melbourne.

Eastcott joins the GroupM agency from PHD, where she has been leading the Asahi account since 2022. Before that, she had held general manager roles across Dentsu agencies iProspect and dentsu X.

In her new role, she will be responsible for the leadership of the national bank, one of Mindshare’s longest client relationships and driving continued good growth and scale for one of Australia’s leading financial institutions.

Eastcott will work closely with the agency team led by Mindshare Melbourne managing director Christian Solomon and GroupM to ensure NAB continues to benefit from world-class data, tech and analytics capabilities within the group.

Global consumer health company Haleon has appointed Nagraj Iyer as its new marketing director for Australia and New Zealand.

Iyer, a seasoned marketing executive with over 15 years at Haleon, steps into the role with a wealth of international experience. He has held senior leadership positions across North Asia, Singapore, and India, spanning sales, strategy, and marketing.

Iyer takes over from Cate Sefton, who has served as marketing director for the past five years and contributed 21 years to Haleon across two tenures. The company thanked Sefton for her significant contributions and wished her success in her future endeavours.

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.

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.

Robert Irwin and Julia Morris are busy putting the finishing touches on the I’m A Celebrity… Get Me Out Of Here! jungle camp, ready for the arrival of the new batch of celebrities.

Hosting can be such hard work, just ask one of the celebs packing her bags for South Africa! This TV host is trading the fame game for the fun and games of the jungle.

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

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

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

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

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

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

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

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

–

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

The Australia Traffic Network (ATN) has become the first publisher in Australia to undergo a comprehensive attention audit with Adelaide, revealing its premium content and accompanying ad placement ranks in the top four media channels for consumer attention.

Adelaide’s Attention Unit (AU) is an omnichannel media quality rating that predicts attention and subsequent impact. It has been proven to correlate strongly with meaningful brand outcomes, leading to lifts of up to 150% in brand awareness, 108% in purchase intent, and 2.9 times in sales*, making it a gold standard for advertisers seeking verifiable impact.

Based on Adelaide’s AU audit, ATN’s placements perform comparably to linear TV while outperforming podcasts by 7.5% and online video by 39.8% on average. The exclusive positioning of ATN ’s ads directly after traffic updates – where clutter is minimised and the content is informative – has contributed to its high AU benchmark.

Adelaide’s AU scores are powered by a machine learning model that processes eye-tracking data, exposure data, and full-funnel outcome data to provide a precise measure of media quality across platforms. The AU score is trusted by some of the world’s largest brands, including Coca-Cola, Audi, The Wall Street Journal, and The New York Times.

Karen Holmes, national sales director, ATN.

Adelaide’s AU audit also showed that ATN, which reaches 16 million people weekly^, commands three times the attention of Facebook, two-and-a-half times that of Instagram and display advertising, and twice the attention of TikTok.

The leading authority on traffic content across radio and television, ATN airs traffic reports on over 200 capital city and regional radio stations across major networks, and on the Seven and 10 TV networks. It has partnered with Adelaide and Kantar, both global leaders in media quality and insights measurement, for Australia’s first tripartite alliance to explore the true meaning of attention effectiveness.

Kantar’s research of 775 radio listeners found that 73% of listeners always pay attention to ATN content no matter what they are doing. Additionally, 83% consider ATN content an important and relevant part of their radio listening experience, and 87% trust the traffic information provided on the network, amplifying brand credibility^^.

Karen Holmes, national sales director, ATN, said: “ATN is a unique, high-attention media platform, which this exclusive research from Adelaide and Kantar confirms. Listeners actively lean into and enjoy the brevity of ATN’s ad format, which enhances trust and relevance. ATN’s mix of high attention and reach increases brand saliency and full-funnel outcomes.

“The success formula – high attention, trusted content, and concise messaging, multiplied by extensive reach – delivers measurable growth that makes brands stand out and achieves significant uplifts in awareness, trust, and purchase consideration.”

Marc Guldimann, CEO and co-founder of Adelaide, said: “We’re excited to welcome ATN as our first Australian publisher partner. Our comprehensive AU audit revealed that ATN’s inventory exceeded global radio benchmarks by 10 to 15%. This highlights their dedication to delivering high-quality ad experiences.”

Formerly the Australian Traffic Network, ATN recently rebranded to reflect the evolution and future direction of the business, which is part of the ASX-listed Global Traffic Network Group. With premium traffic content remaining at its core, ATN is integrating into other high attention content like news, weather, sport, fuel watch bulletins, and has announced a move into multicultural radio.

Digital agency Sod has been appointed to drive digital growth for Bakers Delight.

It will play a pivotal role in supporting the bakery franchise’s vision, focusing on digital strategies that align with the brand’s growth objectives.

While Sod specialises in creating accessible and inclusive digital experiences, the agency will collaborate with Bakers Delight and its partners to bring exciting online features to life, including improvements to its e-commerce platform.

Known for its freshly baked bread and commitment to the community, Bakers Delight operates in over 700 locations across Australia, Canada, the USA, and New Zealand. With an ambitious growth strategy that expands its digital footprint through initiatives like click and collect, Bakers Delight is poised to further delight customers through enhanced online experiences.

“We’re so excited to work with an iconic brand like Bakers Delight,” Sod co-founder, Simon Blangiardo said. “Their commitment to quality and community mirrors our own values, and we’re excited to contribute to their digital journey as they continue to innovate and grow,” he added.

Bakers Delight’s digital experience manager, Francisca Schilling said: “Bakers Delight is thrilled to partner with Sod on this digital transformation journey. Over the last few years, we’ve focused on modernising the look and feel of our bakeries to create a more welcoming and contemporary in-store experience.

“Extending this vision to our digital presence was the natural next step. Our new website will not only reflect our refreshed brand positioning but will also prioritise inclusivity by achieving AA accessibility standards, ensuring that every customer can enjoy a seamless online experience.”

This client win comes after Sod was recognised at the 2024 Australian Web Awards with five awards, including the McFarlane Prize Site of the Year. Sod boasts a decade of experience in digital marketing, web design, and development and continues to demonstrate its ability to deliver impactful and inclusive digital solutions.

This Christmas Eve David Campbell and Sarah Abo return to present Vision Australia’s Carols by Candlelight presented by AAMI, live from the Sidney Myer Music Bowl on Tuesday, December 24, at 8.00pm on Channel 9 and 9Now.

Each year, Vision Australia’s Carols by Candlelight brings families together as a cherished Australian tradition, featuring some of the biggest stars in music and musical theatre, all donating their time to support Vision Australia.

This year’s lineup includes the award-winning vocals of Anthony Callea, the cast of Sister Act starring Casey Donovan, World music star Dami Im, star of TINA – The Tina Turner Musical, Ruva Ngwenya, ARIA Award winner Emma Memma, 2024 Golden Guitar nominee and Australian Idol winner Dylan Wright, plus Bonnie Anderson, entertainer Tim Campbell and many more.

The Carols family also returns, including Marina Prior, Silvie Paladino, David Hobson and Denis Walter.

Campbell said: “Vision Australia’s Carols by Candlelight is something I look forward to every year. It’s truly one of the highlights of the festive season. I’m thrilled to be a part of this incredible event once again, especially knowing that it supports such an important cause.

“Raising funds for people who are blind or have low vision through Vision Australia makes this night even more meaningful. It’s a chance to spread joy and make a real difference in the lives of those who need it most.”

Sarah Abo said: “I’m absolutely thrilled to be hosting Vision Australia’s Carols by Candlelight again alongside David in my home town of Melbourne. It’s such a wonderful night and I can’t wait to celebrate Christmas Eve with everyone.”

Carols by Candlelight is Vision Australia’s biggest annual fundraiser for children’s services, with 100 per cent of profits from ticket sales going directly towards supporting close to 2,000 families with children who are blind or have low vision.

Vision Australia’s Carols by Candlelight will be live on Tuesday, December 24 at 8:00 pm on Nine & 9Now.

The team behind tech companies Tracksuit and Ideally have launched New + Improved Ventures, a new studio capable of founding multiple new startups a year.

The venture studio is dedicated to developing new marketing technology business ideas, testing them, and bringing them to market before recruiting a team to take them forward.

New + Improved Ventures formalises several years of work between TRA (The Research Agency) and Previously Unavailable, with the formation of New + Improved Ventures allowing key staff to focus on building the next generation of martech success stories.

“Over the last 3-4 years of working together, we’ve learnt a lot about how to start and set companies up for success with the venture studio model and how to partner with venture capital to help these companies achieve meaningful scale,” Simon Pound, co-founder of New + Improved Ventures.

“We’re excited to be going deeper into partnership with this team to help make some more great companies, with some great people.’

New + Improved Ventures has $6m in investment from the founders of the new business, TRA, Previously Unavailable, and Icehouse Ventures. The investment will fund N+I to build 1-2 new startups a year, in what will be an ongoing dedicated venture builder.

Fellow co-founder Antony Ede says the business will be a proving ground for a fresh way of building businesses in New Zealand.

“We’ve raised investment to fund the operations of the studio and allow us to continuously build great startups. We’re focused on building a valuable portfolio of exceptional companies. If we are successful we believe that this could help strengthen the tech sector in New Zealand by seeding it with great startups and prove out a different model for company formation,” said Ede.

Alongside Pound and Ede, Connon Bray, Chris Paykel, James Hurman, and Phoebe Devine have also joined as co-founders, formalising a venture studio working relationship that has existed for years amongst the group. The six founders bring a breadth of experience across brand, marketing, data, and company building.

In New Zealand, the concept of venture studios is relatively new, but New + Improved Ventures co-founders have already enjoyed industry leading success in the startups they have produced.

In 2021, they set into motion a new brand tracking company Tracksuit, which this year received $22m in new investment and reached hundreds of global customers, while a year on from the launch of Ideally, the company has raised $8m and rapidly added clients around the world.

Icehouse Ventures’ CEO Robbie Paul described the early trajectories of Tracksuit and Ideally as “two of the fastest growing SaaS companies New Zealand has produced.”

New + Improved Ventures intenteds to work with venture capital from the beginning, which underscores Icehouse Ventures’ investment in the venture studio.

Partner Barnaby Marshall: “We’re significant shareholders in both Ideally and Tracksuit, where it was immediately obvious how much both companies benefited from hitting the ground running with a product concept the world wants. The founders of New + Improved Ventures have developed a formula to test ideas and find early product market fit. Given the success of prior ventures they are attracting ever more high quality talent to join the companies they form, which we expect will increase the chances of future spin out’s potential.”

“Nothing is ever guaranteed in startup land, but we’re very confident in their ability to continue producing NZ’s highest potential, venture-ready martech startups.”

The studio is operational now, working on developing its first venture ideas, and the team is excited to be connecting with great talent in the SaaS operations and marketing spaces.

“Our mission is to make companies and products that will increase the impact and influence of marketing and marketers, and to do so in a way that brings the joy back into the space. Tracksuit and Ideally are two great examples of this in practice, and we can’t wait to help build out the rest of the future martech stack,” Pound added.

–

Top image: Tracksuit and Ideally team

Wednesday 27 November 2024: VOZ Total TV Ratings Overnight Top 30 – Programs ranked on reach

Total People TV Ratings

Nine’s 9News recorded a total TV national reach of 1,844,000, a total TV national audience of 1,109,000, and a BVOD audience of 91,000.

Nine’s A Current Affair recorded a total TV national reach of 1,424,000, a total TV national audience of 950,000, and a BVOD audience of 69,000.

Seven’s Seven News recorded a total TV national reach of 1,755,000, a total TV national audience of 1,113,000, and a BVOD audience of 59,000.

Also on Seven, The 1% Club recorded a total TV national reach of 1,253,000, a total TV national audience of 738,000, and a BVOD audience of 29,000.

10’s airing of Shark Tank recorded a total TV national reach of 759,000, a total TV national audience of 310,000, and a BVOD audience of 15,000.

People 25-54

Nine’s 9News:
• Total TV nation reach: 507,000
• National Audience: 278,000
• BVOD Audience: 46,000

Seven’s Seven News:
• Total TV nation reach: 438,000
• National Audience: 257,000
• BVOD Audience: 30,000

Seven’s The 1% Club:
• Total TV nation reach: 354,000
• National Audience: 188,000
• BVOD Audience: 15,000

10’s Shark Tank:
• Total TV nation reach: 271,000
• National Audience: 120,000
• BVOD Audience: 9,000

People 16-39

Nine’s 9News:
• Total TV nation reach: 190,000
• National Audience: 94,000
• BVOD Audience: 23,000

Seven’s Seven News:
• Total TV nation reach: 147,000
• National Audience: 80,000
• BVOD Audience: 15,000

Seven’s The 1% Club:
• Total TV nation reach: 136,000
• National Audience: 77,000
• BVOD Audience: 8,000

10’s Shark Tank:
• Total TV nation reach: 110,000
• National Audience: 45,000
• BVOD Audience: 5,000

Grocery Shoppers 18+ TV Ratings

Nine’s 9News:
• Total TV nation reach: 1,471,000
• National Audience: 908,000
• BVOD Audience: 73,000

Seven’s Seven News:
• Total TV nation reach: 1,429,000
• National Audience: 911,000
• BVOD Audience: 47,000

Seven’s The 1% Club:
• Total TV nation reach: 986,000
• National Audience: 585,000
• BVOD Audience: 23,000

10’s Shark Tank:
• Total TV nation reach: 588,000
• National Audience: 240,000
• BVOD Audience: 12,000

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.