Yahoo unveiled new data and tools, its partnership with Afterpay to a commerce media network and a suite of AI-powered enhancements at The Collider event space for its Newfronts on Thursday.

John McNerney, managing director AUSEA for Yahoo DSP, presented the new announcements alongside Yahoo’s AUSEA executive team, director of data and insights AUSEA, Dan Richardson; director of commercial and platforms AUSEA, Andrew Gilbert; and head of commercial, Australia, Maddie Basso.

Mediaweek caught up with Mediahub’s Gerry Bowness, Ashleigh Carter from Atomic 212° Sydney and Avenue C’s Mark Zala.

John McNerney

Gerry Bowness, Mediahub’s head of digital, said that the “intimate” setting enabled a “more personalised approach for each of the holding companies.”

McNerney lead with Yahoo’s position as an Omni-Channel DSP and its recent award from Digiday for DSP of the year. Bowness praised Basso for energising the crowd and providing a teaser of what was to come in the session.

Gilbert delivered the 2025 punchlines, it’s data partnership with Afterpay, which boasts 3.5m customers in Australia and over $13.4B in total sales in 2023.

Gerry Bowness

“This is a welcome enhancement to their data stack and will only improve their product, especially with the current cost of living pressures; however there may be questions in the future on whether this data will be useful for brands targeting higher income consumers.”
 
Bowness noted big players teased to partner with Yahoo next year and the introduction to Yahoo DSP’s new AI engine, Blueprint.
 
“With other big tech companies investing heavily in AI powered solutions this is a smart move from Yahoo but ultimately proof will be in the outcomes.”
 
Gilbert rounded out the presentation with the introduction of Yahoo’s new dynamic creative suite – a tool that enables creative to be exported to other platforms such as Social media, which Bowness called: “another shrewd move that should increase usage.”

Ashleigh Carter

Atomic 212°’s Ashleigh Carter, head of client services, Sydney, called the presentation “punchy”, “to the point” and “covered some really significant points and developments that are poignant to daily conversations we are having both internally and with clients at the moment.”
 
“Yahoo’s solutions around simplifying how we plan and buy in the programmatic space thanks to Yahoo Blueprint and the additional partners in Are Media and Fetch TV (and another about to be announced) accessed within Yahoo Backstage show the expansion plans that Yahoo is bringing to life.”
 
For Carter the upcoming Afterpay media network launch was of significant interest. She said: “This will be a very interesting proposition for clients to be able to tap into the 3.5 million Australians who are currently using the Afterpay platform for both online and offline sales.

“Understanding search and browsing behaviour right through to purchase in offline environments, and to stitch that together with a closed loop measurement system, will be game changing for vendors in the retail space, and more broadly for clients wanting to try and tap audiences based on behavioural attributes or hard-to-reach younger people,” she added.

On what might move the needle on the amount advertisers spend, it was all about measurement for Carter.

She said: “With the Afterpay partnership, it will be very interesting to see how advertisers can more closely stitch together what’s working with a greater view of a customer and purchase ecosystem.”

Andrew Gilbert

“‘The ad tech of a walled giant but with the independence of a startup.’ I’m likely butchering the tagline (sorry team Yahoo) but that was one of the early slogans to open Yahoo’s New Front,” Mark Zala, digital director at Avenue C, said.

He called it a “catchy brand position” that draws comparisons to The Trade Desk, yet “balances the juxtaposition of assuring the market they’re a global giant that can carry their weight against, well obviously Google, while reaffirming their independence in the ad tech space and ensuring they’re thought of as a last bastion against big tech.”

Zala noted that while it was no Google, Yahoo’s stack “has always been impressive” and as “interoperable as any other DSP in market.”

“They were one of the first to pioneer omnichannel marketing and have extensively rich partner integrations. But they’ve probably lacked the wow factor or singular differentiation that makes an advertiser or agency think ‘ah you want to do X, you’ve got to use Yahoo for that’.”

“But after today’s announcement that might’ve changed,” he said.

Zala noted Yahoo’s partnership with Afterpay to create a global finance media network as “quite some feat” as the buy-now-pay-later platform commands two-thirds of the Australian market share, with research showing that its customers spend 54% more versus the average consumer; and can give advertisers a window into offline purchases as 40% of Afterpay transactions are in-store.

“This offers advertisers a wealth of opportunity to reach custom audiences based on browsing habits, search activity but more importantly transactions.

“FlyBuys and Cartology have FMCG locked down but no one’s really planted a stake in the ground and become the go-to for cross category transactional data (CBA and NAB may beg to differ). As we head into 2025, Yahoo may have just given advertisers and agencies alike a highly compelling reason to re-think their DSP mix.”

See also: Yahoo unveils new partnerships and tools at its 2025 Newfronts
 
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Top image: Gerry Bowness, Ashleigh Carter, and Avenue C’s Mark Zala

Uncomfortable Growth Uncut is a new podcast series author and business consultant Rowena Millward is launching in partnership with Mediaweek. Millward introduces the series:

Every piece of content from high-profile leaders today screams success. From the keynote stage. From the competitive business pitch. From LinkedIn.

Yet, when you get to really talk with them – the truth is anything but perfection. It’s gritty. It’s challenging. It’s a mosaic of the good, the bad, the ugly.

Uncomfortable Growth Uncut asks what happens when going gets tough

In all honesty – that’s what is truly interesting. It’s easy to talk about success (and these leaders are successful and impressive). But I genuinely want to know what they did when the going got tough. When they didn’t know the answer. When they wanted to give up.

As a leader, I’ve learned that it’s not the moments of success that define us but the messy, challenging crossroads where we’re forced to confront our deepest fears.

This new podcast Uncomfortable Growth Uncut is a space where we strip away the gloss and perfection, diving into the gritty reality of what it means to grow, lead, and live authentically. We explore the pivotal moments that test us to our core, the times when everything feels uncertain, and the only way forward is to dig deep and find the courage to keep going.

Which is why every guest on the Uncomfortable Growth Uncut podcast gets asked the same question: What is your Uncomfortable Growth story?

It’s unscripted. Unrehearsed. What they say is unknown (even to me – the podcast founder and host). It can be about anything: work, life, relationships, failures, business and family. It’s about the real story, and what they have learnt as they have navigated the twists and turns of real life.

This first series invites 10 incredible, high-profile media industry leaders to share their Uncomfortable Growth stories. You will already know their names. Now you have the chance to hear their backstory, and how this has shaped them.

Series one: The Person Behind the Profile

1   Aimee Buchanan, CEO Group M: The Power of Resilience
2   Mark Coad, CEO Mediabrands: Uncomfortable Lessons
3   Imogen Hewitt, Chief Media Officer, Publicis: Leap of Faith
4   Peter Horgan, CEO, Omnicom Media Group: The Tensions of Leadership
5   Kurt Burnette, Previously Chief Revenue Officer, Seven West Media: Embracing Discomfort
6   Rose Herceg, President, WPP Aust / NZ: Crafting Corporate Culture
7   Daniel Willis, Chairman & CEO of Claxon: Rising From Ruin
8   Nat Harvey, CEO, Mamamia: Climbing the Corporate Ladder
9   Jessica White CEO, Kinesso, Mediabrands: From Insecurity to Quiet Confidence
10 Joanne Painter, Group Managing Director, Icon Agency: Embracing the Imposter Syndrome

In the first episode, we are kicking off the podcast Uncomfortable Growth Uncut with Aimee Buchanan, CEO of Group M.

• Listen to Uncomfortable Growth Uncut here or on Spotify here.

Buchanan opens up about the defining experiences of her childhood, including the loss of her mother at a young age and the responsibilities that followed, and how she now reflects on this time given her daughter is now a similar age. This candid disclosure sets the stage for how these early life events fueled her perception, ambition and shaped her values.

The conversation then shifts to Buchanan’s professional life, revealing the resilience and adaptability that have been the cornerstones of her success in the media industry.  She discusses the pivotal moments in her career, including the realisation that the skills that propelled her to the OMD MD role were not the same ones needed to excel as group CEO of Group M, especially when coupled with the uncertainty and extreme challenge of COVID-19.

Hear in her own words how these distinct trials and challenges across her life ultimately influenced her mindset, choices and behaviours to emerge as the impressive leader she is today.

Coming next on Uncomfortable Growth Uncut

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

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

Learn more about Uncomfortable Growth here.

Next week’s episode:

Episode 2: Marc Coad, CEO, Mediabrands – Uncomfortable Lessons

The Seven Network’s exclusive coverage of the 2024 AFL Grand Final captured the attention of the nation on Saturday, reaching 6.09 million Australians and becoming the most-watched program of 2024.

The Grand Final, which saw the Brisbane Lions take the 2024 crown in a dominant 60 point victory over the Sydney Swans, captured a total TV audience of 4.024 million, including 655,000 on 7plus Sport – the biggest ever audience for an AFL match on a streaming platform. Viewing on 7plus Sport was up 44% on 2023.

This year’s showdown was the most watched AFL Grand Final since 2021 and up more than 20,000 total TV viewers on the 2023 season closer between Collingwood and the Brisbane Lions.

The AFL Grand Final now accounts for two of top three programs so far in 2024, with the Grand Final at #1 and AFL Grand Final Presentations at #3 (total TV audience 3.39 million, national reach 5.11 million).

The Grand Final, Presentations, On The Ground and Pre-Match Entertainment were the four most-watched programs in all people, 25 to 54s, 16 to 39s and grocery shoppers on Saturday. 7NEWS ranked #5.

The 2024 Grand Final captured an 89.9% commercial audience share in its timeslot. From 6am to 6pm on Saturday, Seven had an 81.7% audience share. 7plus dominated BVOD viewing on Saturday, with 236.5 million minutes viewed, a 76.7% commercial share of live streaming and a 73.2% commercial BVOD share.

See also: TV ratings Football Finals 2024: Some predicted AFL Grand Final record – what happened?

Seven’s AFL Grand Final by the numbers

AFL Grand Final: National reach 6.09 million, national total TV audience 4.024 million, including 655,000 on 7plus Sport (up 44% on 2023)

AFL Grand Final Presentations: National reach 5.11 million, national total TV audience 3.39 million

AFL Grand Final On The Ground: National reach 3.77 million, national total TV audience 2.98 million

AFL Grand Final Pre-Match Entertainment: National reach 3.54 million, national total TV audience 1.37 million

AFL Grand Final Countdown: National reach 1.13 million, national total TV audience 504,000

AFL Grand Final Brunch: National reach 974,000, national total TV audience 386,000

Seven Network director of sport, Chris Jones, said: “Following one of the most unpredictable AFL seasons in recent memory, what a fitting finale it was. Chris Fagan, who is one of the best people in the industry, has overcome so much through his entire career and has now led his Lions to premiership glory.

“Congratulations to the players and thank you on behalf of our production team to everyone within the AFL who allowed us to tell their stories.

“As we finish the 2024 season, we have our sights set firmly on a bigger and better 2025 AFL Premiership Season with more programming and analysis than ever before. And like Saturday’s Grand Final, every game we cover live will be streamed for free on 7plus Sport. It’s going to be massive,” he said.

Gereurd Roberts, group managing director, Seven Digital, said: “The record-breaking number of people who watched the AFL Grand Final on 7plus Sport clearly demonstrates how the addition of AFL and cricket to 7plus will forever change the way Australians watch and engage with sport, and create unprecedented opportunities for our clients and agency partners.

“We’ve always said the arrival of AFL and cricket on 7plus would be a defining moment in the digital streaming revolution, and Saturday’s numbers prove that. With a massive summer of cricket to come, including five Tests between Australia and India, Australians can now watch every Seven sport, live and free on any device from anywhere in the country, at any time. And the weekend’s Grand Final shows just how important that is to them.”

Seven national television sales director, Katie Finney, said: “The AFL once again proved to be the #1 winter sport for audiences and brands. Seven’s AFL coverage reached 6.09 million viewers, offering unparalleled reach and engagement across all demographics and with AFL now streaming live and free on 7plus Sport in 2025, it’s set to grow even further.

“Free live sport is where brands can connect with audiences and cultural moments at scale, and the biggest events this summer are on Seven and 7plus Sport, including the upcoming Bathurst 1000 in two weeks and the Australia vs India Test match starting 22 November.”

Seven’s head of AFL and sport innovation, Gary O’Keeffe, said: “In a fantastic story for football in Australia’s northern states, we are thrilled to have captured every corner of the nation on Australian sport’s biggest day.

“Footy is in our DNA, and Seven’s coverage showcase the entertainment and passion of the AFL competition like no one else. We thank the AFL, its players, Clubs and most importantly the fans whose passion for the game drives everything we do at 7AFL.”

October promises to be a monster month for Vogue Australia.

The new October edition of the magazine hits newsstands on Monday, September 30. It arrives off the back of the hefty annual September edition which this year delivered subscribers another chunky book running to 232 pages. (Including an impressive 50 pages of ads at the front of the book before the content starts.)

But for October a star, as in movie star, has aligned. That star is Kate Winslet.

The British movie icon has a movie released late in the month, Lee, in which she portrays the journalist and Vogue photojournalist Lee Miller.

Sensing an opportunity, the editors at Vogue Australia have secured a front cover plus interview and fashion shoot with the actress. In addition, Vogue Australia has also secured an audience with Winslet during an Australian visit to promote the movie just days before it hits cinema screens.

A poster for the movie on a London train station

Winslet will speak at a Vogue Australia event with editorial director Edwina McCann on October 21.

If all that’s not enough activity for the month, the annual Vogue Fashion’s Night Out will be held in Sydney on Thursday, October 17.

Vogue Australia’s connection with Kate Winslet

The connection between Kate Winslet and Vogue Australia goes much deeper than a promo for a movie.

The co-writer of the screenplay for Lee is former Vogue Australia editor Marion Hume who is also a friend of Winslet’s. Seizing the opportunity, the Australian edition of the famous fashion brand secured Hume to interview Winslet for their October cover story.

Marion Hume with Kate Winslet on the set of Lee Miller

In the new edition of Vogue Australia, Hume explains:

Kate Winslet is teaching me how to speak Australian. Which is ironic, given she’s an English rose and I’m a proud Australian citizen (though British-born and back in the UK). “Look. It’s in my throat like that. It’s really right there,” says this queen of accents, pointing to her larynx and sounding like a true blue Aussie. “Whereas,” her voice shifts, “if I’m doing New Zealand, it’s chewier, more nasal. See, the whole voice comes up into my face.”

Kate is not showing off. Instead, she is giving me a masterclass that is long overdue. I moved to Sydney to edit Vogue way back in 1997, yet could never, despite best efforts, pass for Australian-born. Kate, who I already knew, sounded like a local when she turned up to film Holy Smoke a year later. (She gives due credit for that transformation to dialect coach Victoria Mielewska, who also worked with her on the 2015 Australian film The Dressmaker.)

“Relax,” Kate prompts me now. “It comes from quite far back in, really soft, not that strong.” I do as instructed to utter my favourite-ever Kate Winslet opening line, spoken as Tilly Dunnage in The Dressmaker on her return to an outback town. Then Kate does it. Wipes the floor with my try. “I’m back, you bastards.”

The Kate Winslet Vogue Australia feature was photographed by Annemarieke Van Drimmelen and styled by Kate Phelan.

See also: Sydney shopping spree: Vogue Australia and American Express celebrate Fashion’s Night Out

News Corp Australia’s client partnerships division has announced three newly created leadership roles within its client growth and experience team.

Under the direction of general manager, Renee Sycamore, the client growth and experience team helps clients link the company’s suite of assets including content, commerce, digital, data, and product, as well as News’ commercial content agencies Medium Rare, Suddenly and Storyation.

The new roles will lead the commercial strategies across sectors including Retail, Travel, and Health, Wellness & Beauty. These roles will work closely with industry bodies and brands to build strategic partnerships between News and key clients.

Renee Sycamore

“Our clients tell us we have great assets. Our team creates solutions that bring those assets together seamlessly, and identifies new opportunities beyond the traditional media-buy,” Sycamore said.

“By aligning our leadership with specific sectors like Retail, Travel, and Health, Wellness & Beauty, we will provide more focused and effective support, helping clients navigate the evolving market landscape. Our goal is to drive measurable results that not only benefit individual businesses but also contribute to the broader growth and innovation within these industries.”

National head of digital, Jessica Gilby, has been promoted to national head of retail & digital growth. She will specialise in leveraging the company’s digital ecosystem to capture relevant reach and drive consumer engagement. She will develop client solutions across the key pillars of content, commerce and data to deliver measurable growth for retail partners.

Group sales director, Emily Ross, has stepped up to national head of travel. She will strengthen News’ overall value proposition for advertisers across its Travel Network, with titles including Escape, news.com.au Travel and Travel+Luxury. She will focus on innovations in video, data and commercial content to support the business growth of clients.

Client solutions director, Brittany Daniel, has been elevated to group industry lead for Health, Wellness & Beauty. She will strengthen News’ proposition for advertisers and create bespoke partnerships. She will share industry and market feedback and drive national revenue growth within the category.

Pictured above [L-R]: Jessica Gilby, Emily Ross, Brittany Daniel

QMS has announced that the results of its global-first research on the role human attention plays in out-of-home (OOH) environments will be unveiled at SXSW Sydney 2024.

The research has been two years in the making and has been conducted by audience measurement company, Amplified Intelligence. 

It has measured attention across QMS formats to deliver greater accountability and audience understanding.

The results will be presented in an exclusive presentation on Wednesday 16 October by QMS chief strategy officer, Christian Zavecz, and Dr Karen Nelson-Field, CEO and founder of Amplified Intelligence.

The presentation will be followed by a media and marketing panel discussion including Suncorp Group executive manager, media & marketing, Greg Kearney, and OMD national head of communications planning, Thad King. The panel will discuss the real-world implications and applications of the global-first OOH Attention study.

Zavecz said: “Attention has well and truly positioned itself at the forefront of modern media metrics. Our ongoing work with Amplified Intelligence is designed to help our clients prepare for the next era of OOH and is a significant step forward in understanding the various dimensions that need to be considered for OOH planning and buying.

“We hope the findings will challenge the industry to think beyond traditional metrics like reach and re-evaluate how the data can be used to drive greater campaign effectiveness.

“Our work with Amplified Intelligence is the latest example of QMS’ market-leading research and data initiatives. There is no question the future of advertising will lean on attention as a more sophisticated and accurate way of planning and evaluating client campaigns and we are excited to drive this innovation for the global OOH industry.”

Nelson-Field said: “Understanding attention in OOH will provide a significant development not only for Australia, but on the global stage. To understand human attention for OOH, we had to build a world-first model to capture real-time data.

“After working on this study for over two years, we look forward to showcasing to the world the true power of the medium and to understand its strength within a broader omnichannel ecosystem.”

“We are thrilled to be working with QMS to help advertisers better understand how Attention data in OOH can drive greater effectiveness and we cannot wait to share our findings at this year’s SXSW Sydney,” she said.

The session will be presented at 11.45 am on Wednesday 16 October at the Sydney ICC.

—

Top image: Christian Zavecz & Dr Karen Nelson-Field

IPG Mediabrands Australia has appointed Harry Preston, the current national general manager of Hogarth, as managing director of MBCS Australia.

This announcement follows the appointment of Olivia Warren, managing director MBCS Australia, as global managing director of Traverse32 IPG’s independent development and production studio headquartered in New York.

Mark Coad, CEO of IPG Mediabrands Australia, said: “It’s always gratifying to see our home-grown talent being tapped on the shoulder to take on global roles.”

“Olivia was the driving force behind establishing the MBCS brand in Australia on the back of several incredibly successful client campaigns. We know that she will continue that forward trajectory at Traverse32.”

Preston returns to IPG Mediabrands Australia to assume the role of managing director MBCS with more than 20 years of multi-national industry experience leading media and technology across multiple categories, including former roles within the IPG network.

Coad added: “We are very excited to appoint Harry Preston as the new Managing Director of MBCS Australia. With his passion and expertise for driving brand commerce Harry is perfectly positioned to lead our efforts in creating breakthrough experiences for our clients, connecting brands with consumers in meaningful ways.”

“I am honoured to take on the role of Managing Director at MBCS Australia, Preston said of his new appointment. “Some of the fondest memories of my career were spent at IPG Mediabrands so I’m excited to return and build on the amazing legacy Olivia leaves.
 
“It’s an exciting time for the business, and a fantastic opportunity to work with such a talented group of people to push the boundaries of what we can achieve in the content space.”
 
Preston will be based in Sydney and will report to Mark Coad CEO IPG Mediabrands Australia. His position is effective 1 November 2024.
 
See also: Mediabrands Content Studio MD Olivia Warren joins Executive Leadership Team

Leaders from Australia’s media organisations gathered at Nine’s North Sydney headquarters on September 20 for the second Media Diversity Australia industry round table.

The event brought together the CEOs, managing directors, and senior representatives from MDA member organisations to continue discussions about a more sustained path to industry-wide improvement, as well as the challenges and opportunities facing the sector.

Assistant minister for citizenship and multicultural affairs The Hon Julian Hill MP was joined SBS’s James Taylor, Nine’s outgoing CEO Mike Sneesby and chief people officer Vanessa Morley, Seven’s chief people and culture officer Lucinda Gemmell, ABC’s chief people officer Deena Amorelli and AAP’s editor Andrew Drummond.

The Guardian’s deputy editor Gabrielle Jackson was also present alongside, Women’s Agenda publisher Angela Priestley, Junkee Media’s editor in chief Alice Griffin, ARE Media’s general counsel & DE&I lead Veronique Maury, Hachette Publishing’s CEO Louise Stark & Netflix’s Clare Walker, director business and legal affairs.

MDA’s members also include The Daily Aus, The Conversation Group and the National Indigenous Times whose representatives were unfortunately unable to attend in person.

The event included industry representatives from a range of organisations including representatives from Federal and State Government as well senior representatives from Google, Meta, Free TV, the Walkley Foundation, the Kennedy Foundation, Public Interest Journalism Institute PIJI, the AFL, Diversity Arts Australia, the National Ethnic and Multicultural Broadcasters’ Council, WGEA Workplace Gender Equality Agency, Women in Media, Women on Boards, the Australian Human Rights Commission, Deloitte, Telum Media and many more.

The first part of the event featured introductory remarks from Nine’s CEO Mike Sneesby and a keynote address by assistant minister Hill. He spoke about the “real concerns that diversity is still not adequately reflected in Australian mainstream media.”

“Your presence here today indicates that, like me, we think that needs to change,” he said. “What’s said and seen on screen, on air and in print, shapes cultural and societal norms and challenges biases and perceptions,” said Assistant Minister Hill in a subsequent statement on social media.”

This was followed by panel, moderated by Nine’s Sarah Abo featuring AFL DEI executive Tanya Hosch, Nine’s chief people officer Vanessa Morley and MDA’s CEO Mariam Veiszadeh.

Julian Hill MP

The second part of the event featured a closed round table discussion for MDA members and provided a platform for an honest and robust discussion around inclusion practices, talent pipeline, cultural safety, retention, navigating lived experience and impartiality, and opportunities for further industry collaboration.

Since the inaugural round table held at SBS in July 2023, there have been seven working group meetings held and an agreement from th of MDA’s largest employers to share their DEI Survey questions with a view to working towards adopting uniform metrics and language to enable a ‘comparing of apples with apples’.

The group has collaborated with MDA to develop a school program which MDA is currently seeking funding for. MDA Working group meetings will commence in the next quarter to keep building on the momentum for industry collaboration.

Mariam Veiszadeh, CEO of Media Diversity Australia said the event providesa launchpad for shifting the dial on industry-wide change.

“MDA has been described as a necessary agitator, an external independent body that can help bring the key media players together to help accelerate change in an industry that has faced its share fair of challenges. Our role at MDA is to ensure that when the media turns to us for diverse talent through our TalentHub offering, that we support those candidates not just to land a job but to have a thriving career, free from discrimination, ensuring that they feel culturally safe and that media companies are empowered with the tools to support their growth and upward career trajectory.

“While it’s vital for each media organisation to take individual action, achieving meaningful, lasting change requires collaboration and scaling up our efforts collectively. We must also engage in open and honest discussions about the obstacles our industry faces as we strive for genuine representation and, most importantly, inclusion.”

All MDA members (including those members not in attendance) have endorsed the following commitments:

1. Annual Round Table: MDA members will convene annually for a round table to maintain ongoing discussions, agree on actions, and track progress.
2. Working Group Representation: Each member organisation will nominate a representative to participate in MDA’s working group meetings, held at least four times a year, to actively advance the collective agenda.
3. Uniform Metrics for DEI: Members have agreed that MDA plays an important role in creating best practice DEI survey questions for its members to consider adopting within their organisations. In support of this, three of the largest broadcasters have confidentially shared their DEI demographic survey questions to help accelerate these efforts.
4. Supporting Future Talent: Members are committed in principle to supporting MDA’s Media Mavericks Schools Program to help build a diverse talent pipeline, pending external funding.
5. Focus on Cultural Safety and Retention: While recognising that progress has been made in individual DEI efforts, members acknowledged the challenges faced by the industry and the need for continued collaboration to sustain a diverse and inclusive workforce, with a focus on cultural safety and talent retention.

In the first episode of Shaun Micallef’s Origin Odyssey, Micallef joined comedian Aaron Chen as he travelled to China for the first time. They visited places where Chen’s father and grandfather lived and worked, in an effort to learn about their rich heritage and the stories of the generations who came before him.

Featured in other episodes are Lizzy Hoo, Michael ‘Wippa’ Wipfli, Dilruk Jayasinha, Nina Oyama and Arj Barker.

Micallef spoke with the TV Gold podcast hosts Andrew Mercado and James Manning about his new SBS series.

Below are highlights from the interview. Listen to the complete discussion here.

Watch Shaun Micallef’s Origin Odyssey on SBS and SBS On Demand.

How many TV series have you made?

I haven’t done an audit lately. I haven’t checked.

I’ve been very lucky because it’s been 30 years since I decided to enter the world of showbusiness from my previous job as a lawyer.

The first show I did was something called Theatre Sports many years ago. That was in 1987. I reckon I’ve probably done about maybe 10 series.

You’ve been on all networks – Seven, Nine, 10, ABC and SBS

That’s true. I mean, it’s harder to hit a moving target. That’s always been my philosophy in my career.

I’ve recently stretched my tentacles overseas because I appear in a couple of episodes of an AppleTV+ production Time Bandits that was on recently.

Before this, I made Newstopia for SBS and also Stairway to Heaven.

The approach for Origin Odyssey came from David McDonald, who used to work for Fremantle, and is now with EndemolShine.

When I first met David I’d been doing Newstopia. We wanted to work together and it’s taken David 15 years to find something that he thought I might like to work on.

The basic premise was me and the younger comedian with ancestral heritage in another country go back and see what life might have been like had that ancestor not come to Australia.

Generally, we concluded that the life of a comedian probably would have been very different. There’s something about the comfort of Australia, the middle class, where we can live our lives that makes things like comedy a viable profession.

If Wippa had stayed in Switzerland, or if Aaron Chen had ended up in China, comedy just wouldn’t have been considered a viable option.

Aaron Chen with Shaun Micallef

Were there any challenges in finding your comedians?

There was a lot of interest from a lot of comics. We were blessed with interest from the very beginning.

Arj Barker was the only comedian who decided that he wanted to do a stand-up act in the country of his ancestral heritage.

In the last episode of the season we see Arj getting ready to put on a show in Delhi, which is where his father comes from. His father is a Sikh and Arj had never performed in India.

Tell us about making the series

We had two camera people, two DOPs, we had one soundie and we had two production assistants, the director, me and the guests.

These are six episodes of Origin Odyssey. Each episode was shot in four days.

We had a total of six weeks to shoot six episodes.

We did miss planes. We did find ourselves in an airport for 12 hours longer than we should one day.

Was it difficult filming in China with Aaron?

In terms of saying what we wanted, or saying what needed to be said, or using the words that we wanted…yes, it was.

We had to find another way to tell the story other than just to be frank and have a conversation. Every other country we went to had different sorts of challenges.

I wanted to do justice to Aaron’s story, which was as much a story about his father as it was about anybody else we talked about. His father lived through the Cultural Revolution and had put in abeyance his ambitions and dreams as a young man.

We found it difficult to be frank about history with those around us listening in. We found another way to tell that story, which I think we did.

Was there a favourite place you hadn’t been before?

I did have a special place in my heart for a particular destination in Switzerland. I wasted a whole day of shooting, going to Geneva to visit Charlie Chaplin’s house.

His house is on Lake Geneva, and it’s been turned into a museum.

There’s great stuff everywhere, it’s a goldmine, if you’re love silent films.

I’m going around saying look at this, and we’re filming it and everything. I turn around and Wippa is just scrolling through messages on his phone, not interested at all.

See also: Shaun Micallef to leave Mad As Hell after latest season

Listen to the TV Gold podcast with Shaun Micallef here.

Some had predicted a record audience for the AFL Grand Final this year. We publish that figure today as we update our list of all 2024 AFL and NRL finals…so far. There is just one game to come next weekend.

As a comparison, we also have the TV ratings for the five previous AFL Grand Finals.

We have a separate list for AFL and another for NRL. Seven is the FTA broadcaster of AFL matches. Nine is the FTA broadcaster of NRL games.

Please note the figures are for Total TV National Average viewing. The data for the NRL includes BVOD via 9Now.

AFL Grand Finals

Did the one-side Lions demolitions of the Swans impact the audience numbers? Maybe, but the game still had the second-best audience of the past six AFL Grand Finals.

2019: Tigers v Giants 2,940,000
2020: Tigers v Cats 3,878,000
2021: Demons v Bulldogs 4,110,000
2022: Cats v Swans 3,060,000
2023: Magpies v Lions 4,003,000
2024: Lions v Swans 4,024,000
(The 7plus BVOD audience included in the total was 655,000)
Total TV average national audience

Headline numbers Footy Finals 2024

Biggest NRL TV Final: Sharks v Cowboys 1,171,000

Biggest AFL TV Final: Liona v Swans 4,024,000

NRL Final Series 2024 TV ratings

Finals Week 1
Friday 13 September
Panthers v Roosters 776,000

Saturday 14 September
Storm v Sharks 572,000
Cowboys v Knights 723,000

Sunday 15 September
Bulldogs v Sea Eagles 825,000

Finals Week 2
Friday September 20
Sharks v Cowboys 845,000

Saturday September 21
Roosters v Sea Eagles 821,000

Finals Week 3
Friday September 27
Storm v Roosters 1,171,000

Saturday September 28
Panthers v Sharks 1,156,000

Grand Final
Sunday 6 October
Storn v Panthers

AFL Finals Series 2024 TV ratings

Finals Week 1
Thursday September 5
Port v Cats 832,000

Friday September 6
Bulldogs v Hawks 972,000

Saturday September 7
Swans v Giants 718,000
Lions v Blues 887,000

Semi-Finals
Friday September 13
Port v Hawks 1,082,000

Saturday September 14
Giants v Lions 922,000

Preliminary Finals
Friday September 20
Swans v Port 1,183,000

Saturday September 21
Cats v Lions 1,322,000

Grand Final
Saturday September 28
Swans v Lions

See also: As AFL and NRL head towards finals, Foxtel Media reveals 2024 audience growth

The last home and away AFL matches of season 2024 were played in front of massive audiences. Data supplied by Foxtel Media tells just how many tuned in to the last match of the season which helped decide the shape of the final series.

The NRL season started with record viewers watching the Vegas games and the numbers stayed high across the season.

The final AFL round marked a minor sports rights milestone. The games that featured Seven commentary and were screened on Fox Footy via Foxtel and Kayo were the last regular season games from the expiring rights agreement. From the start of the 2025 season, Seven commentators will no longer be heard on Foxtel Group coverage.
[Read more]

JCDecaux, QMS, oOh! Media, Val Morgan and Torch Media have generously donated $1.2 million of advertising space across multiple formats in support of promoting the MFA’s pioneering industry-wide purpose of ‘We Are The Changers’.

This includes billboards, street furniture, bus and tram shelters, cinema advertising, and posters in office buildings in Sydney, Melbourne, Brisbane, Perth, Canberra, and Adelaide as part of a campaign targeting media agency office locations.

‘We Are The Changers’, launched in early 2022, has been wholeheartedly embraced by MFA member agencies, which employ close to 5,000 people, shining renewed focus on the industry’s ability to influence change for clients, the economy and for society at large. It aims to unite the industry while fostering pride, inspiration and motivation among media agency employees.

The two-month campaign was timed to coincide with the recent MFA EX, a day of change-making inspiration, and MFA Awards, the ultimate proof point of ‘We Are The Changers’.

All placements are strategically located near and within media agency offices to engage agency employees during their commute and continue to drive awareness of ‘We Are The Changers’.

EssenceMediacom chief strategy officer Sophie Price, who led the strategic development of ‘We Are The Changers’, said: “For the past two and a half years, our industry’s purpose has been a powerful force, sparking inspiration and driving motivation for everyone working in media agencies. Our goal with this campaign is to maintain the momentum and awareness, especially as fresh talent joins our ranks.

“We want to remind every media agency employee that, day in and day out, they are agents of change, making a real impact for their clients, for broader society and the economy, for the agencies in which they work, and for their own careers,” Price added. 

MFA chief executive officer Sophie Madden, added: “I’m truly encouraged by the way our industry has embraced our purpose, proudly recognising and celebrating media agencies’ capacity to influence change. A major goal was to reduce employee churn, which had been at 17%. I’m proud to share that with the most recent figure at 13%, we’re already seeing the powerful impact of ‘We Are The Changers’.
 
“We’re thrilled to have the support of our good friends in out-of-home to help us continue to reinforce the Changer mindset as we all show up for work.”

See also: ‘Creating and inspiring change’: MFA EX Sydney sparks effective, challenging and inspiring industry conversations

Orange Line has announced a partnership with Skyscanner to consolidate the growth of the global travel app across the APAC region.
 
The independent digital marketing agency’s immediate remit is to improve Skyscanner’s SEO in APAC.

This follows the agency’s previous work with the brand, undertaking a comprehensive technical SEO audit that delivered successful results.

Bruno Rodriguez, head of organic at Orange Line, said: “We’re thrilled to be re-engaged by Skyscanner and to continue our collaboration. This renewed partnership is testament to the expertise of our SEO team and the value we can bring to global brands.

“We’re eager to build on the success of our previous work and drive even greater growth for their platform,” Rodriguez added.

Orange Line’s partnership with Skyscanner underscores the agency’s unique ability to offer comprehensive international SEO services via its team of experts in Australia, the USA, and Europe, who specialise in providing multi-country and multi-lingual SEO solutions for global businesses.

This win for the independent digital marketing agency comes after the appointment of Adam Donnelley as head of strategy earlier this year.
 
Donnelley is a highly experienced strategist and the former senior director of client strategy and innovation at Capgemini.

  
In the past, he has also worked at leading digital consultancies and agencies in Australia, and the US, including chief strategy officer of ASX-listed RXP Group, managing partner of DDB Sydney and executive vice president strategy at MRM/McCann in New York.

David Klein, co-founder and director at Orange Line said: “We are delighted that someone with Adam’s extensive experience and reputation is joining Orange Line as we continue to evolve the business to meet the needs of our clients. His insights will be invaluable to ensure we are delivering the best digital strategic consultancy for our clients.”
 
See also: Orange Line welcomes Adam Donnelly as head of strategy

Uber Eats has released the latest iteration of its ‘Get almost, almost anything’ campaign during the AFL Grand Final via Special featuring actor and comedian Jason Alexander.

The latest instalment, titled “Canned Laughter”, humorously explores the chaos that can arise when the idea of having everything at our fingertips becomes a little problematic.

Following successful collaborations with Kris and Kendall Jenner, Tom Felton, and Nicola Coughlan, this fresh ‘Get almost, almost anything’ campaign is another self-deprecating admission that there are some things Uber Eats doesn’t deliver – demonstrated through the chaos that would ensue if some of our innermost desires were in fact available on the app.

Alexander’s comedic journey begins when the funny man can’t land a joke at a dinner party. Frustrated, he turns to Uber Eats to order ‘canned laughter’, and his problems seem solved…until it becomes clear that there are some situations where laughter is less than ideal, ultimately leading to unexpected—and hilarious—consequences.

The world of Alexander’s comedic desire continues in a series of social spots which further illustrate the array of items available on Uber Eats – from retail, grocery, alcohol, convenience and of course, restaurant cuisine.

“There’s always been a special part in my heart for comedy and the iconic tropes of television of yesteryear,” said Jason Alexander. “Working with Uber Eats in a way that was a self-deprecating homage to these elements and why they perhaps don’t hold true today was genuinely great fun.”

Channa Goonasekara, brand lead, Uber, ANZ, said: “This campaign would not have worked with anyone else in the world. We were over the moon to be able to partner with Jason on this new iteration of our brand platform. His comedic calamity is instantly recognisable and his performance is brilliantly nostalgic as it builds throughout the hero brand film.

“He was the perfect custodian to build on the work of Kendall and Kris Jenner, Nicola Coughlan and Tom Felton to remind Aussies and Kiwis that you can get almost, almost anything on Uber Eats these days.”

James Sexton, creative director, Special, said: “It’s been great working alongside director Mark Molloy and Jason, to bring this sitcom trope to life, as well as bring back Jason’s very distinct brand of misery. It’s not only a fun brand statement, but feels like a reward for his fans.”

“Jason Alexander’s life being ruined by canned laughter feels like a great continuation of Uber Eats’ now well known self-deprecating tone and open admissions that they don’t deliver everything, said creative director, Special, Harry Neville-Towle. “It’s also more entertaining evidence you really really don’t want us to .”

The hero film premiered during the halftime show of the AFL Grand Final, complemented by a series of audio ads and social spots rolling out across various platforms.

The ‘Get almost, almost anything’ campaign platform has been exported globally to Taiwan, Spain, Mexico, the United States, Canada, Chile, Sri Lanka and Portugal.

Campaign Credits:

Uber Eats
Senior Director of Marketing, International: Lucinda Barlow
Senior Director of Marketing, APAC: Andy Morley
Head of Marketing, ANZ: Nicole Bardsley
Brand Lead, ANZ: Channa Goonasekara
Brand Marketing Manager: Rebecca Macciolli
Brand Marketing Associate: Holly Dover
Global Executive Creative Director: Danielle Hawley
Creative Director, APAC: Adam Ledbury
Associate Creative Director: Yessy Downs
Director Communications, ANZ: Peta Fitzgerald
Head of Delivery Communications, ANZ: Nick Vindin
Media Lead, ANZ, Rob Maddison
Strategy Lead, APAC: Josh Pickstone
Sr. Marketing Manager, NZ: Olivia Sykes
Talent and Legal: Cameron Loughlin, Jessica Shao

Special
Partners/CEO: Lindsey Evans & Cade Heyde
Partners/CCO: Julian Schreiber & Tom Martin
Creative Directors: James Sexton & Harry Neville-Towle
Lead Creatives: Joe Ranallo & Will Winter-Irving
Creatives: Hannah McCowatt, Laura Grimshaw & Toby Kennedy
Managing Director: Lauren Portelli
Team Leads: Rachel McEwen, Laura Little
Business Director: Claire Emery
Business Manager: Oscar Kennedy
Head of Strategy: Celia Garforth
Strategy Director: JJ Bender
Head Of Film Production: Sevda Cemo
Executive Producer: Wendy Gillies, Paul Johnston
Integrated Producer: Will Sealey
Head Of Stills: Nick Lilley
Stills Producer: Danielle Senecky
Head Of Design: Adam Shear
Designer: Maggie Webster, Cameron Morris
Finished Artist: Jen Bailey

Exit Films / Smuggler Films
Director: Mark Molloy
Cinematographer: Robert Elswit
Executive Producer: Leah Churchill-Brown
Producer: Alexandra Taussig
Producer: Luigi Rossi
1st AD: Peter Kohn
Casting Director: Jodi Sonnenberg

Chee Productions
Executive Producer: Tamiko Wafer
Executive Producer: Matt Chee
Photographer: Christopher Tovo
Digital Operator: Jake Lowe
Retouching: Cream Studios

The Editors
Editors: Stewart Reeves
Managing Director: Nicoletta Rousianos
Executive Producer: Rita Gagliardi
Lead Flame Artist: Eugene Richards
Colourist: Fergus Rotherham

Rumble Studios
Lead Sound Designer: Tone Aston
Sound Designer: Daniel William
Sound Executive Producer: Michael Gie

BTS Press
Tony Gardiner ACS
Media Agency: EssenceMediacom
Retail Agency: Hatched

Domino’s will gift its customers with limited edition Conversation Cards to encourage them to check in with their loved ones in anticipation of Mental Health Awareness Month this October.

The cards have been designed by Domino’s in-house PR and marketing team with headspace as a tool to help initiate important conversations around mental health, anxiety and overall well-being. It includes prompts that align with the theme for Mental Health Awareness Month ‘Let’s Talk About It’:

• If you could share a pizza with anyone in the world, who would it be?
• Who is someone you admire and why?
• What are you grateful for?
• What is the best advice you have received? 

The Conversation Cards are a part of Domino’s wider Minds & Meals charity network, created to support youth mental health. Minds & Meals partners with mental health organisations to support young people to thrive including headspace in Australia.

Kerri Hayman, Domino’s ANZ CEO, said: “As an employer of choice for thousands of young Aussies and Kiwis, it’s important that we care.

“This campaign aims to raise awareness about the importance of mental health, as well as encourage our customers to engage in conversations about mental health with their loved ones.

“After all, no matter who you are or what you’re going through, pizza has a way of making things better. We’re big believers that pizza brings people closer!”

Christine Bryant, Domino’s Minds & Meals general manager, said: “Pizza has a way of making things better. it can be there for you and those you care about faster than you can say, ‘extra cheese please!’

“While it won’t solve everything, a warm meal and a supportive conversation with a loved one can be a powerful ally in navigating life’s greatest challenges, especially when there’s comfort and connection baked into every slice.”

Simon Dodd, headspace national clinical advisor, said the Conversation Cards are an excellent tool to encourage one another to check-in.

“Strong relationships play an important role in promoting our wellbeing and helping us to cope with tough times,” Dodd said

“Sharing a meal with family and friends can also be a great way to connect, check in, and offer support. We can use these cards to start conversations and learn about each other. Connecting with others on a regular basis can give us a sense of belonging, help us to relax, and boost our mood.”

The cards will be given away in Domino’s Australia stores from Wednesday 2 October and will be available while stocks last, in recognition of Mental Health Awareness Month.

See also: Domino’s appoints Sling & Stone for PR across AUNZ

Creative agency The Ministry for Communication & The Arts debut a harrowing exhibition with The Australian Cancer Research Foundation (ACRF) at Sydney’s Carriageworks.

Emily, 31, from Victoria, was diagnosed with a rare, aggressive cancer with an average prognosis period of just six to nine months. She has auctioned off pieces of her time to the public for the exhibition called Time to Live, which saw members of the public pay for one-on-one interactions with her.

Each interaction was set against the backdrop of a giant projected timer, counting down each participant’s three-minute visit. The raw, intimate and fleeting encounter underscored the emotional and psychological weight of living with or being connected to someone with a terminal diagnosis.

The exhibition marked the debut work for The Ministry for Communication & The Arts, the creative studio founded by former Droga5 New York creative directors and Hawke’s Brewing co-founders, Nathan Lennon and David Gibson.

Mediaweek yesterday reported comments made by Singapore-based James Gibbons (pictured above), president APAC for Warner Bros Discovery (WBD), about the launch of Max in Australia.

“We can confirm we’ll be launching our direct service in Australia in the first half of next year; that’s definitely happening,” said Gibbons.

If WBD owns Max, who will own Foxtel?

Comments made by Gibbons about the partnership with Foxtel have triggered renewed speculation that Max will replace Binge in the market here. It is expected that Warner Bros. Discovery will own Max. But who will own Foxtel?

Gibbons said yesterday: “We have had a longstanding and really important relationship with Foxtel and I think the time has come for us to expand that into the DTC space.

“Partners are really important for us, and in fact, if I think across the region, the discussions we’ve either announced or the discussions that are happening, in every case we continue to work with our key partners to roll out direct-to-consumer streaming. I think that really says a lot about our view of what streaming is in today’s world, and it also says a lot about how partners and aggregators are looking at the business.”

Gibbons made the comments at the APOS conference in Bali yesterday. Also attending APOS this year is Foxtel Group chief executive Patrick Delany.

Gibbons was asked at APOS about bundling and aggregation in the region:

“There has always been a sense of when will aggregation happen, how long can you ask people to choose between so many services and tackle their billing. There is always a question of when that will happen.

“In several markets, the structure of the market makes it difficult to see how that’s going to come together – obviously the US being a great example. In the last 12 months there’s been a number of experiments.

“In the US we’ve done direct streaming bundles now with Disney and Hulu. That’s a signal that the consumer is expecting more simplicity, and whether that is done through more imaginative ways of working with our partners in distribution, or working with other streamers, it’s become clear that everyone is trying to solve the same challenge.”

Max as the Trojan Horse for building WBD consumer brand

While there is plenty of understanding among consumers about the powerful brands that sit inside Warner Bros Discovery, having them showcased on Max in Australia opens up other opportunities for the group.

Gibbons spoke about engaging with fans. “When you have a route to market and you have amazing content and IP that you’ve either built or you’ve worked with others to bring to market, and then you’ve got a fan base, those fan bases consume across a number of touch points. When you add together the value of interaction between a fan and IP, there is more value outside video.

“That means it is so important for us to build on that value. Consumer Products is one, there is an expansion and that’s a big growth area for us in many markets but especially in Japan and China where it’s products, its apparel, it’s characters and all of that.

“One really interesting area is experiences. We traditionally have not operated directly in parks or anything on the ground in that sense, however, that is changing.

Harry Potter Studio Tour in Tokyo

“We launched the Harry Potter Studio Tour in Tokyo last year, which was the first studio tour outside of London, and it’s just blown us away. It’s packed out, there are millions of people going to see the movie sets of the Harry Potter movies, and it’s added a huge dimension to our business in Japan and especially nurtured our fan base, and helped us to grow that Harry Potter fan case and serve them with something new.

“We intend to invest in that and to continue to grow that, and not only with the studio tour; we also have a Harry Potter event coming to Singapore in the fourth quarter.  Outside of Harry Potter we’ve got DC – we are doing Batman day this month, we have the DC reboot coming, and we’ve got a lot of activity in those areas as well as potentially with some of the HBO properties.

“We don’t have a lot of detail today but that is an extremely important third pillar and as our go-to-market plans are put in place it will essentially create a bigger base for us to develop a true experiences business.”

Thursday 26 September 2024: VOZ Total TV Ratings Overnight Top 30 – Programs ranked on reach

Total People TV Ratings

Nine’s A Current Affair recorded a total TV national reach of 1,395,000, a total TV national audience of 940,000, and a BVOD audience of 73,000.

Nine’s 9News recorded a total TV national reach of 1,721,000, a total TV national audience of 1,056,000, and a BVOD audience of 87,000.

Seven News recorded a total TV national reach of 1,906,000, a total TV national audience of 1,182,000, and a BVOD audience of 64,000.

Seven’s Home & Away recorded a total TV national reach of 1,415,000 and a total TV national audience of 746,000 and a BVOD audience of 97,000.

10’s airing of Dogs Behaving (Very) Badly recorded a total TV national reach of 972,000, a total TV national audience of 393,000, and a BVOD audience of 13,000.

People 25-54

Nine’s 9News:
• Total TV nation reach: 477,000
• National Audience: 257,000
• BVOD Audience: 45,000

Seven’s Seven News:
• Total TV nation reach: 480,000
• National Audience: 281,000
• BVOD Audience: 33,000

Seven’s Home and Away:
• Total TV nation reach: 466,000
• National Audience: 236,000
• BVOD Audience: 54,000

10’s Dogs Behaving (Very) Badly:
• Total TV nation reach: 301,000
• National Audience: 106,000 
• BVOD Audience: 7,000

People 16-39

Nine’s 9News:
• Total TV nation reach: 192,000
• National Audience: 110,000
• BVOD Audience: 22,000

Seven’s Seven News:
• Total TV nation reach: 187,000
• National Audience: 107,000
• BVOD Audience: 17,000

Seven’s Home and Away:
• Total TV nation reach: 206,000
• National Audience: 116,000
• BVOD Audience: 32,000

10’s Dogs Behaving (Very) Badly:
• Total TV nation reach: 116,000
• National Audience: 46,000 
• BVOD Audience: 3,000

Grocery Shoppers 18+ 

Nine’s 9News:
• Total TV nation reach: 1,349,000
• National Audience: 836,000
• BVOD Audience: 70,000

Seven’s Seven News:
• Total TV nation reach: 1,531,000
• National Audience: 956,000
• BVOD Audience: 52,000

Seven’s Home and Away:
• Total TV nation reach: 1,127,000
• National Audience: 594,000
• BVOD Audience: 78,000

10’s Dogs Behaving (Very) Badly:
• Total TV nation reach: 752,000
• National Audience: 302,000 
• BVOD Audience: 11,000

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.