GroupM’s essenceMediacom has won the hotly-contested Specsavers account, and will become the brand’s media agency across Australia and New Zealand from 1 March 2025.

The win extends essenceMediacom’s remit of the account; it has held the New Zealand business since 2010. Initiative was the incumbent in the Australian market.

“I’m so proud of the team and the work they have done in NZ. We all loved working on this pitch, it was an incredible and enjoyable process,” essenceMediacom CEO Pippa Berlocher said.

“It was amazing to see the team shine and engage so well with the awesome team at Specsavers from the beginning. I can’t wait to demonstrate that same level of passion and knowledge for the Specsavers business in AU.”

The four month-long pitch process began in April. Agencies across AUNZ were invited to submit an expression of interest.

“We want to acknowledge and thank all the agencies that took part in each stage of the pitch process from the initial RFI response to the chemistry sessions and finally, the shortlisted five agencies who took part in workshops to assess their ability to respond in a simulated live environment,” Specsavers director of marketing planning ANZ Shaun Briggs said.

“All agencies came with passion for our business and presented quality work which highlighted the strength of Australia and New Zealand’s media agencies.”

Briggs added that essenceMediacom showed “strategic thinking, media expertise, and data and tech capability” throughout the pitch process.

“They combined their intelligence with a passion for our business that really resonated with our team,” he said.

Briggs thanked Initiative, which held the account since 2016, saying the agency delivered “strong media buying and a collaborative partnership over the last eight years. We wish them all the best for the future.”

essenceMediacom will now work with Specsavers’ other agency partners including creative agency TBWA\Melbourne, with the account run out the agency’s Melbourne and Auckland offices.

News Corp’s national daily The Australian has marked the end of its heavily-promoted 60th anniversary celebrations by lifting its cover price, responding to the harsh realities of what current editor-in-chief Michelle Gunn has called its “challenged business model”.

People buying a copy of Monday’s paper needed another coin before they could exit their retailer. The weekday newspaper price jumped 12.5% from $4.00 to $4.50. From Saturday, weekend customers need more than a $5 note as the price climbs 10% to $5.50.

See also: Editor-in-chief Michelle Gunn on The Australian at 60 – Past, present and the future

Two years since the last cover price increase

As over-the-counter sales of print products continue to decline, publishers use price rises to make up for lost revenue. The Weekend Australian telegraphed the rises to readers last Saturday. 

The paper pointed out in its report about the impending increase – “Price rise but still great value.”

The increase alert also pointed out it’s not something that happens annually: “To ensure you continue to receive the high-quality journalism you have come to expect from us, we have had to increase the price of our print products for the first time in two years.”

How The Australian explained its Monday price rise

Adjusting the newspaper business model

Former editor-in-chief Chris Mitchell recalled recently how Rupert Murdoch noted in 2009 that cover price increases would have to replace some of the revenue lost by declining ad revenue. Mitchell was speaking to another former editor-in-chief, Paul Whittaker, on the Sky News documentary about the national broadsheet released last month.

Host of the special, Chris Kenny, pointed out in that documentary The Australian only started charging for online content two years later, in 2011. Up until then, those readers hadn’t been contributing to the bottom line.

Those digital customers now also get video and audio plus breaking news in addition to the curated morning feed delivered online or via print if they choose.

The increased price of the print product must help motivate some of the remaining regular readers across to digital packages.

That offer for a 12-month commitment is now:

$8 weekly for Digital
$9 weekly Digital + The Weekend Australian paper delivered
$16 weekly Digital + The Australian paper six days a week delivered

A bonus for all those packages is full digital access to The Wall Street Journal.

The front page of Monday’s newspaper had a memorable photo to help soften the blow of the extra 50c. Even Nine Radio’s 3AW was talking up how good page one was.

How far have print sales fallen?

In the Sky News documentary, Rupert Murdoch guessed print newspapers could have another 15 years before they disappear completely.

Finding out the exact decline in Australia is not possible. It’s been many years since print circulations were reported.

Newsagents are one guide as to how the print retail market is falling. In the most recent Newsagency Benchmark results for the first half of calendar 2024, print sales were down an average of 10% YOY across surveyed retailers. The survey comes from Mark Fletcher’s newsXpress, which accesses data from 121 newsagents.

Fletcher has detailed often how poorly newspaper sales contribute to the business model of a newsagent. His most recent summary included figures for News Corp’s Victorian daily:

Newsagents make between 10% and 12.5% of the cover price. For the Herald Sun Monday to Friday, that’s .375 cents a copy. @ 50 copies a day, that’s $18.75. Considering the weekend cover price and sales, a medium size newsagency, selling 50 copies of the title each day will make under $7,000 a year in gross profit. Labour cost for managing the title over the year in that size business will be at least $4,500 while retail space will cost at least $2,000 without considering a premium for better positioning in-store.

Our print media suppliers have management practices that are out of date, rooted in the days when our channel was tightly regulated. These poor practices cost us money. They think their products drive valuable traffic for us. They don’t. They think they make good money for us. They don’t.

Print price comparisons

Getting several printed newspapers a day starts to get expensive. At Nine Publishing, The AFR Weekend also costs $5.50. The weekday newspaper is $5.00.

The Sydney Morning Herald and The Age are $4.40 on weekdays, and $5.40 on Saturday.

The News Corp Australia metro dailies are a little cheaper, at $3 on weekdays and $4 on weekends.

Read Mediaweek‘s recent coverage of the 60th anniversary celebrations at The Australian.

Ed Jamison, head of marketing – craft and hospitality at Lion, has departed the beverage giant after 12 years, confirming he will take a short break “before writing the next chapter.”

Tabcorp has become the first wagering company to back a proposed gambling ad ban, as the government looks to finalise its proposal. 

The Australian reports that in its submission to the parliamentary review into gambling advertising, Tabcorp said betting ads should only be shown in places where “people go to gamble, including pubs, clubs, or racetracks or on exclusive platforms dedicated to gambling events such as Sky Racing TV and radio.”

Its submission also highlighted that over half of Australians think there is too much gambling advertising.

Australians spend the most in the world, per capita, on legal forms of gambling, losing $25 billion every year. Australians also lose the most money to online gambling, per capita, in the world.

Detailing the impacts of gambling ads on local business, Tabcorp added that “foreign bookies have been targeting customers of pubs, clubs, and the local Australian state-based licensee with aggressive advertising and inducements, especially when retail venues were forced to close during the pandemic.”

Whilst the details of the government’s ad ban haven’t been finalised, Communications Minister Michelle Rowland has reportedly put forward a proposal that would see betting ads unable to air on TV, radio, and catch-up platforms an hour before and after live sport broadcasts.

The proposal also reportedly includes a cap of two ads per hour on FTA until 10pm, and a total ban on gambling ads on digital platforms and social media.

See also: Networks call for spectrum fee cut as gambling ad ban proposal finalised

This is a departure from the original proposal, put forward last year by the late Labor MP Peta Murphy, who led a review that ultimately recommended rolling out a total ban on gambling ads over a three year period. 

In January 2023, Tabcorp handed its brand and strategy account to Accenture Song and appointed Ogilvy to handle CX duties. Accenture Song succeeded incumbent creative agency M&C Saatchi, which declined to re-pitch after three years with the company.

Earlier this year, Tabcorp entered discussions with Foxtel’s Kayo Sports and Nine’s Stan Sports about putting feeds of its Sky Racing channels online. Negotiations came after Tabcorp secured the rights to the Melbourne Cup from the Victoria Racing Club, coming to a deal with Nine to sub-licence the race that stops the nation on a free-to-air network.

Optus has launched a seven-day network trial offer with a marketing campaign dubbed No Catch, created by creative agency Emotive and fronted by Delta Goodrem and Jason Donovan. 

Cam Luby, head of consumer marketing at Optus, said the work marks a change in the business‘ marketing approach. The telco is competing against Telstra’s well-received recent work, including the set of 26 stop-motion films and the simple ‘bars’ OOH.

“Optus is on the front-foot delivering the kind of innovation and energy consumers desperately need from this category. We’re proud of the product, proud of the work, and we had a lot of fun making it,” Luby said. 

The campaign features two hero films produced by production company Scoundrel, one for each talent. It playfully depicts that while the free trial might seem too good to be true, there really is no catch, like being Goodrem’s assistant or Donovan’s flatmate.

“I just want everyone to know that being my assistant is not bad at all (you can ask her) and that artichokes are, in fact, heartbreaking, because they do have hearts,” said Goodrem.

“I loved getting creative with the team and coming up with the campaign – no catch from Optus, other than the artichoke song likely getting stuck in your head.” 

Donovan added: “When Optus asked what the hardest part about being my flatmate would be, I said it would probably be living with my obsession and my shrine, and they said yes, that would be quite hard. Let’s make it the catch for our No Catch campaign – Australia will love it.”

The campaign is rolling out nationally across TV, Cinema, OOH, digital streaming, YouTube, TikTok, Instagram, OOH, and in-store. It includes two 60-second and two 30-second films, along with 15, 10, and six-second assets extending the story in social media. The films are supported by a suite of OOH, plus digital and retail comms by Optus’ internal Yes Agency.

Darren Wright, group creative director at Emotive, explained: “When an offer comes up that’s too good to be true, you can’t help but think ‘what’s the catch’. With The Optus Network Trial there isn’t one. A beautifully single minded idea.

“We’ve been working closely with Cam and his team that taps into its challenger spirit. And, with the help of Delta Goodrem, Jason Donovan, an artichoke, a wedding dress and the mighty Ariel Martin and Scoundrel crew we’ve done it in a really fun way that we think people are going to love.”

Last week, Emotive also enlisted Goodrem for an activation with Revlon to mark International Lipstick Day. The campaign, supporting the national cancer-support program charity Look Good, Feel Better, transformed Sydney’s Luna Park face through projection mapping and animated sequences, displaying five different makeup looks inspired by Revlon’s Super Lustrous lipstick shades.

KFC temporarily giving up Finger Lickin’ Good, Dove switching its focus from beauty to health, and Codral swapping Soldier On for Get Back To What Matters Most: These were just some of the brand platform changes brands made at the height of COVID.

Four years since the pandemic began, though, brands are returning to their original slogans. Codral has reclaimed Soldier On with a slight tweak to Solider On Sooner, made possible if you Own Your Cold, a new lead line accompanying the new-but-old messaging.

And Finger Lickin’ Good is back – first resurrected in a 2021 campaign, splashed across a cap to buy from the merch store, and as a landing page on the KFC website, although the landing page’s name is ‘Fried Gold’. One international campaign launched this year sidestepped the tagline so as not to isolate office workers looking for a non-messy lunch.

Victoria Berry, head of strategy at Futurebrand, told Mediaweek: “As the world continues to change, we would expect to see brand campaigns and the supporting elements change along with them.

“Whether that’s in response to the fact that the pandemic is not as top of mind as it once was, or it’s just an opportunity for those brands to get back to basics, it’s not surprising to us that some of these brands would be evolving. 

“What’s more interesting is the fact that they’re going back to the way things were before rather than evolving to something new.”

Colleen Ryan, partner at insights and research agency, TRA, added that “there is a difference between changing to something new versus returning to something used before.”

“People like things that are familiar. They make us feel safe and confident – so the value of familiarity gets dialled up during times of uncertainty. COVID ticked all the boxes of uncertainty but people are moving forward, and they are tiring of bad news.”

In the case of Dove returning to its focus on beauty, Ryan said “soap was a must have during a pandemic, but we value beauty more than simple cleanliness. With the threat of contagion fading people want to hear about the positive value of brands like Dove.” This year, Dove has leaned in to focusing on the 20th anniversary of its iconic Real Beauty campaign.

Emma Waterman, Futurebrand’s strategy director, added that “COVID was such an exceptional moment in time,” telling Mediaweek, “the actions that brands took at that moment were probably out of step with what they would ordinarily do.”

“There is definitely a trend of going back to the past – it’s not just with the brands, we have seen it with fashion, culture, and music, really drawing on those elements of nostalgia and familiarity.”

For Ryan, this nostalgia is part of the “risk and gain when brands ‘go back’.” 

“Nostalgia is a strong pull so if you want to draw from the deep well of residual good will and positive brand memories then it is a powerful tool. However, nostalgia can also feed a sense of outdated or of another time, especially if that other time is not a positive territory for the category or the brand.”

Whether operating in a pandemic or not, Waterman said any risk in changing a brand’s slogan can be mitigated by “interrogating what it is that’s driving the change.”

“Is it about a change in cultural context or audience needs? Is it a change in the business? All of those are positive signals that a brand should indeed evolve and change, but where it becomes risky is if it’s just change for change’s sake.”

For Berry, having a solid understanding of a brand’s DNA – “who you are, what you want, and where you want to go as a brand” – is an “everlasting” advantage. 

“If you’re able to identify and surface those, they can be really powerful strategic assets for brands. 

“Being able to consistently apply those no matter what’s going on in the world or with competitors is a really powerful tool that brands draw on and rely on.”

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Top image: Emma Waterman, Victoria Berry, Colleen Ryan

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

What does being an Olympics partner mean for Toyota?

When the Olympics and Paralympics come around every four years, the whole nation gets behind the cause. As a local and global sponsor, the Paris 2024 Olympic and Paralympic Games provide a moment when the eyes and ears of the nation are firmly on our brand. It’s an opportunity to show Toyota’s support and tell everyone our stories in a highly relevant context.

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

At an overarching level, our Every Step Matters platform is a guiding principle that underscores the significance of each action, decision, and effort in the journey towards profound transformation. Toyota recognises that transformation is comprised of many purposeful steps. Each decision is aimed at enabling Australians to positively impact the future.

At Paris 2024, Toyota’s campaign idea is to recruit an exclusive team, comprised of absolutely everyone – ‘Team Everyone’. We’re not leaving anyone behind, because the journey to Paris is bigger than any of us. Bigger than the elite athletes striving for gold – it belongs to everyone.

Team Everyone is a powerful concept as part of this platform that recognises the collective potential of individuals, communities, and organisations to drive positive change in the world.

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

Overall, we aim to amplify stories of everything that goes into the Olympic and Paralympic Games – celebrating all levels from elite athletes to local communities. We are showcasing the many ways Toyota supports Australian Olympic and Paralympic Athletes on their journey to Paris to achieve their dreams, and how the communities back home benefit.

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

Toyota Australia’s media buy involves an entire ecosystem including broadcast, digital, audio, and publishing.

Is FTA TV coverage an important part of the campaign?

Despite the way audiences are changing their viewing behaviours, FTA TV has a role to play in storytelling to mass audiences.

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

We’re particularly proud of the support for all levels and aspects of the journey to Paris. From supporting our athletes and ambassadors in their strive for gold, involving all Australians in Team Everyone, and making a meaningful contribution through our Para Sport Equipment Fund and support for the Indigenous Coaching Scholarship.

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

The campaign is part of Every Step Matters, which is an overarching platform which will continue following Paris 2024. Every Step Matters helps Toyota unify future development, achievements and commitments that create a positive impact to society.

How does this campaign align with your broader marketing strategy?

The campaign aligns with Toyota’s goal of leaving no one behind in a period of transformation. Team Everyone embodies the belief that every person has a valuable role to play in shaping a better future. By coming together and leveraging our diverse strengths, experiences, and perspectives, we can tackle even the most complex challenges and create meaningful, lasting impact.

Spark Foundry Australia has promoted Sue-Ellen Osborn to the new role of national head of investment, while Cleo Lam steps up into Osborn’s former role as head of investment in Sydney.

Both Osborn and Lam will report to the agency’s chief investment officer, Lucie Jansen.

Jansen said of Osborn’s new national remit: “Sue-Ellen’s exceptional stewardship leading the investment function in Sydney has been transformative, making her the ideal leader to navigate the ever-evolving media landscape. Her outstanding ability to motivate teams and drive valuable outcomes with our media partners on behalf of our clients further solidifies her as the perfect fit for this important role.”

Osborn joined Spark Foundry Australia almost four years ago and has worked for Publicis Groupe for 20 years.

“Spark Foundry is an amazing place to work, and I am thrilled to be broadening by responsibilities across the entire activation and investment team,” Osborn said.

“The media landscape is so dynamic, the opportunity to lead the evolution of our strategic approach to investment and create innovative and effective client solutions is a privilege.”

Meanwhile, Publicis has also promoted Lam, as she returns from maternity leave, to fill the vacancy created by Osborn. She was previously group activation director.

Lam has been at Spark Foundry for nine years, and will now oversee the activation product in Sydney, crafting investment solutions, driving commercial outcomes for clients, and mentoring group activation directors.

“Cleo’s promotion is a testament to her results-driven approach, natural ability to nurture and inspire teams, and role modelling of diligence, rigor and professionalism,” Jansen said.
 
“Her curiosity and thirst for innovation in media investment will be instrumental in driving Spark Foundry forward with our offerings. I am so happy to see Cleo step into this role following her return from maternity leave, and excited to see her continue to grow with the agency.”
 
Lam added: “It has been an absolute pleasure to see Spark Foundry’s transformation over the last few years and I’m excited to expand my remit to work across Spark Foundry’s portfolio of clients across Sydney.

“I’m honored by the opportunity to lead our team of talented activation experts and can’t wait to deliver more exceptional work for our clients.”
 
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Top image: Sue-Ellen Osborn and Cleo Lam

Amy Bradshaw has started a new role at TikTok as head of partnerships following her recent departure from VaynerMedia.

“As a huge proponent of the platform for many years; seeing first-hand its power to build brand and drive sales for clients, I’m BEYOND excited to be joining this rocketship, leading an incredible team that enables advertisers to go bigger, better, more creative and more authentic for real impact,” she wrote on LinkedIn.

“Looking forward to re-connecting with lots of you in my new role.”

Mediaweek has contacted TikTok for comment.

Bradshaw recently announced her departure from the Gary Vaynerchuk-owned creative and media agency last month after a seven-year tenure.

She joined VaynerMedia in 2017, working in various leadership roles at the agency’s offices in New York and London, including as head of client partnerships.
 
Bradshaw relocated to VaynerMedia’s Sydney office in 2021 as head of Australia, where she oversaw the local vision and strategy, and built the business.

In her post at the time, she wrote: “Today I say farewell to this amazing company and the incredible people I work with.
 
“From New York, to London to Australia, it’s been a privilege to be a part of this special place and an honour over the past three years to build and establish our Australia presence and lead this incredible team.
 
“Enormously grateful to Gary Vaynerchuk for his belief in me and for all the support since day one. You’re an inspiring leader but an even more amazing person. The most empathetic, caring, in-tune boss one could ask for.
 
“To my rockstar team…thank you for letting me lead you. Every day you made me proud and I can’t wait to see you continue this incredible journey!! To our amazing clients, thank you for trusting and believing in us! You are in the very best of hands!”

Last week, TikTok promoted Serena Leith to head of global campaigns and programs.
 
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Top image: Amy Bradshaw

Australian heritage poultry company Steggles has launched the latest iteration of its long-standing Stegglers brand platform with a new campaign via M&C Saatchi Group.

The campaign features a heartfelt narrative aimed at connecting with its audience on an emotional level as part of Stegglers’ long-term brand-building objective. The hero film, set to Sonny and Cher’s I Got You Babe, depicts a fellow ‘Steggler’ recreating a beloved recipe to keep his family traditions alive, encapsulated by the tagline, ‘We’re Stegglers for Family.’

The ‘Steggler’ colloquialism, used throughout the platform’s history, celebrates people who care a little bit more about the things that matter to them, particularly the importance of traditions, mateship, and family.

“This initiative not only strengthens our brand’s core values but also fosters an emotional connection with our consumers,” said head of marketing at parent company, Baiada, Yash Gandhi.

“It’s more than just a marketing effort; it’s a strategic evolution of our brand that embodies the essence of what has made Steggles a beloved staple in Aussie homes for decades.” 

The integrated campaign includes TV, large format and retail digital OOH, online video, digital, and press. The campaign will further roll out across radio and social media, with different iterations celebrating the idea that every Aussie is a ‘Steggler’ for something.

“In some way or another, we’re all ‘Stegglers’ for something and this proposition not only reinforces the brand’s values but also evokes strong emotional connections,” said M&C Saatchi’s recently appointed CCO, Steve Coll.

“The effectiveness of an emotive approach is something being increasingly realised and a natural way for the Steggles brand to be part of consumers’ hearts and minds.”

M&C Saatchi has been Steggles’ agency of record for 15 years and secured the social account after a competitive pitch in 2022.

This work for Steggles follows the Australian War Memorial’s recent appointment of Resolution Design, part of the M&C Saatchi Group, to design and produce compelling stories and immersive experiences set to open to the public in early 2026.

See also: Australian War Memorial appoints M&C Saatchi’s Resolution Design

Credits: 
Steggles: 
Head of Marketing – Yash Gandhi
Marketing Manager – Shawn Stevens
Senior Brand Manager – Megan Rohrs
Brand Manager – Katie Tran

Creative Agency: M&C Saatchi Sydney 
Chief Creative Officer – Steve Coll
Executive Creative Director – Scott Dettrick
Group Creative Director – Sharon Edmondston
Senior Writer – Georgie Waters
Art Director – Billie Gurr
Art Director – Simon Dall
Group Head – Ben Greenslade
Senior Account Director – Jo Movizio
Account Executive – Ronan Horgan
Chief Strategy Officer – Nick Jacobs
Head of Content – Emma Parsons
Social Media Manager – Luca Franich
Senior Broadcast Producer – Lill Schroeder
Integrated Producer – Sam Blazevic

Director: Lucy Knox 
Production Company: Scoundrel 
Music: Stare Crazy 
Music Supervision: Level Two 
Sound Design: Massive Music 

Post Production: 
Offline edit: ARC EDIT 
Online: Resolution Design 

Photography: Cory White, Hart & Co 
Media: Havas Media

Editor-in-chief and creative lead of Missing Perspectives, Hannah Diviney, will step down from her role with the platform she co-founded with Phoebe Saintilan-Stocks.

Describing the decision as “incredibly difficult,” Diviney wrote on social media that she will “always be proud of the work I’ve done as Editor in Chief and of what Phoebe and I have built together over the last three years. We’ve transformed the media landscape and filled an outright chasm in representation and storytelling.”

Missing Perspectives is a media company that works to address the underrepresentation of young female reporters in the news industry and the inadequate coverage of issues impacting young women worldwide. 

Overseen by Diviney and Saintilan-Stocks, the company has built a diverse global network, reaching over 1 million people monthly across over 120 countries – making a particularly big impact during high-profile events such as the FIFA Women’s World Cup.

“Walking away breaks my heart and yet it’s become clear that’s what I need to do. The break I took earlier this year crystallised that as much as I wish it didn’t,” Diviney wrote.

“The growing I’m doing and the growing the business is doing aren’t in sync, so the best thing for me AND for the company is to go our separate ways.”

An established writer and disability advocate, Diviney added that her time at Missing Perspectives has “been one of the greatest honours and privileges of my life” and that she will “forever be grateful for your trust in me and for the opportunities I’ve been afforded, as well as the people I’ve met.”

Admitting she hasn’t “ironed out all the details of my next chapter” – but indicating it would involve being more present on screen, writing and creating more, and a possible return to freelancing – Diviney said she remains “committed to disrupting the media landscape and improving the representation of marginalised groups and making the world a more equitable place for all.”

See also: Missing Perspectives welcomes the appointments of Alicia Vrajlal and Natasha Gillezeau

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Top image: Hannah Diviney

The TV ratings for 9Network’s Sunday broadcast of the Olympic Games Paris 2024 (up until 2.00am Monday AEST) saw a National Total TV Reach of 9.651 million across Channel 9, 9Gem and 9Now.

As we head into the last week of TV ratings coverage from Paris 2024, coverage on Nine included the women’s cycling road race, water polo and equestrian dressage. Nine’s Sunday news bulletin did well with 1m viewers in metro markets.

Olympic Games Paris 2024 Day 9 Night Session (19:00-21:00) was Australia’s No.1 program with Total People and all key demographics. It registered a National Total TV Reach of 4.979 million, a Total TV National Audience of 1.972 million and a BVOD audience of 247,000. In this session, audiences were treated to the Equestrian Dressage Individual Grand Prix Freestyle Final, with Tokyo 2020 Australian Olympian Simone Pearce riding alongside Australian riders Jayden Brown and Will Matthew.

Olympic Games Paris 2024 Day 9 Night Session 2 (21:00-22:30) was Australia’s No.2 program with Total People and all key demographics. The broadcast, which saw tennis champions Novak Djokovic and Carlos Alcaraz battle it out for a gold medal in the Men’s Single Tennis Competition, secured a National Total TV Reach of 3.998 million, a Total TV National Audience of 1.603 million and a BVOD audience of 231,000. Viewers also enjoyed the beginning of the Women’s Road Race with Australian gold medalist Grace Brown back on the bike riding alongside teammates Ruby Roseman-Gannon and Lauretta Hanson.

Olympic Games Paris 2024 Day 9 Late (22:30-24:00) dominated its timeslot across Australia with Total People and all key demographics. It achieved a National Total TV Reach of 1.986 million, a Total TV National Audience of 727,000 and a BVOD audience of 111,000. As well as the remainder of the Women’s Road Race, viewers watched on as the Australian Women’s Water Polo team (The Stingers) stung Hungary, with a thriller win taking them to the quarter-finals.

9News was Australia’s No.1 bulletin in the TV ratings with all key demos and Total People. The combined national bulletins achieved a National Total TV Reach of 3.060 million, a Total TV National Audience of 1.666 million and a BVOD audience of 169,000.

The 9Network was the No.1 network across the 5 City Metro with Total People and all key demographics, with massive shares of 60.79% with People 25-54, 66.90% with People 16-39 and 50.13% with Total People.

9Now was the No. 1 CFTA BVOD platform across Australia with Total People and all key demographics, securing huge shares of 84.91% with People 25-54, 87.04% with People 16-39 and 83.12% with Total People.

Check daily TV ratings for each day of Paris 2024 here.

Enthral has been appointed as Mitre 10’s communications agency and will lead its public relations and influencer strategy.

The agency will work with the hardware store to manage all aspects of public relations for its key campaign periods, as well as the procurement of brand ambassadors and influencer partners.

Mitre 10, which is part of the Metcash group, is one of the largest players in the Australian home improvement and hardware industry, boasting a local retail network of over 300 Mitre 10 and True Value Hardware stores across the country.

Kath Carroll, Mitre 10 marketing manager, said: “Enthral has already proven to be a trusted partner in our business. Together, our goal is to show Australians that Mitre 10 is a customer-first hardware destination, ensuring our customers get the job done right, first time.

“Our local family stores are committed to helping customers with their DIY and trade needs, making us the preferred choice for hardware.”

Cameron Smith, founder and managing director of Enthral, welcomed Mitre 10 to its permanent client partner roster.
 
“Some of my earliest memories are going into the local Mitre 10 with my Dad as a child and buying tools for our farm,” he said.
 
“The store is still there as a part of Mitre 10’s extensive retail network and they are brimming with stories, tips and renovation tricks and we can’t wait to share them with the nation.”

Mitre 10 is the second Metcash brand to join Enthral’s portfolio of client partners. The agency has been retained in a PR capacity by IGA for several years.
 
This win for Enthral comes after the agency welcomed Mark Tompkins as its new creative director in May. Tompkins brings more than 20 years of experience to the agency, having worked in Australia and London with TBWA, DDB, Clemenger, and Ogilvy.

Smith said the decision to hire a dedicated creative resource for the first time was driven by broadening client briefs, which went beyond traditional PR and content. 

Wildstone, a company owning outdoor media infrastructure across the UK and Europe and expanding into Australia, has made two hires. The company has named Mitch Cook as commercial director for Australia and Amber Burbidge as a commercial executive.

Both previously worked for oOh!media, the region’s largest OOH advertising company with a network of more than 35,000 locations, co-founded by Noel Cook.

Cook was appointed managing director of Wildstone’s Australian operations in May.

Cook’s 18 years in the industry have been split between Australia and the UK, with stints at Ocean Outdoor in the UK and in the advertising team at London City Airport. His most recent role was product director for small format at oOh!media. 

At Wildstone, he will focus on leveraging partnerships between landowners and media partners, driving revenue growth, and progressing the company’s goal to further digitise Australia’s OOH sites.

He will work closely with Burbidge, whose 20-year career prior to Wildstone was at oOh!media. Her most recent role was senior commercial executive, where she was responsible for driving innovation and expansion, primarily in the realm of digital billboards. 

She will have a similar remit at Wildstone, and will also be involved in strategic planning and market analysis.

Wildstone announced its entry into Australia’s $1.07 billion OOH market in May as part of the company’s international expansion. The overseas drive follows growth across Europe, where the company has acquired and developed more than 5,000 static and digital OOH assets since 2010.

Damian Cox, founder and CEO, Wildstone said: “Our entry into the Australian market got off to a flying start when we secured Noel Cook as managing director earlier this year. We’re thrilled he’s now brought some of his most trusted and experienced former colleagues into the business.

“Mitch’s experience in both the UK and Australian markets will be invaluable as we work to replicate our European success in Australia. Meanwhile, Amber’s two decades of expertise gleaned from various roles across the sales, operations and commercial divisions of the OOH industry will significantly enhance our capabilities.”

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Top image: Mitch Cook, Noel Cook, Amber Burbidge

Paper + Spark has been appointed as the full-service digital marketing agency for Campbells Wholesale, the Australian wholesale distributor that supports independent retailers nationwide.

The agency will be tasked with overhauling the wholesaler’s digital ecosystem with a comprehensive remit spanning content strategy, content development and implementation, paid media campaigns, and ongoing analytics and optimisation.

Established in 1933, Campbells Wholesale is part of the Metcash Group and operates a network of 14 sites across the country. It is supported by over 40 sales representatives.

The wholesaler’s portfolio covers a wide range of food service and grocery to confectionery, convenience, and packaging.

Deanna Whiteford, senior marketing and digital manager at Campbells Wholesale, said: “After a rigorous selection process, Paper + Spark was chosen for their innovative approach, comprehensive service offerings, proven track record of delivering exceptional results, and their no-nonsense direct approach with a smile.

“We felt an immediate connection with Paul and the team. Paper + Spark will be managing all aspects of the digital ecosystem, including strategy, content strategy, media buying, and analytics.”

Paper + Spark will collaborate closely with the Campbells Wholesale team to transform its digital presence and drive business growth through strategic, data-driven marketing initiatives, the agency said.

“We are thrilled to be working with Dea, Anthony, and the wider Campbells Wholesale team,” Paul Everson, director at Paper + Spark, added.

“Their vision and energy for the brand, with its deep history in the Australian retail landscape, was and is infectious, and we are feeling it every day. It’s an interesting time in wholesale retail to do things differently, and we are collectively up for the challenge. Watch this space as we do great things together.”

This win for the agency comes after it was recently appointed as the brand strategy and communications partner for Australian hospitality group, Al Aseel.

See also: Paper + Spark wins Al Aseel’s brand strategy and comms account

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Top image: Paul Everson

TOP 5

1. Deadpool & Wolverine – $12,696,708 (1)

Walt Disney’s Deadpool & Wolverine continues to perform exceedingly well, hitting over $800 million in box office gross globally. This is the Merc with the Mouth’s first appearance in the MCU, which is now possible due to Disney buying Twentieth Century Fox in 2019. Aussie Hugh Jackman also returns as Wolverine. The film now has the eighth biggest opening weekend of all time globally. Coming in first place this week, Deadpool & Wolverine took $12,696,708 in its second week, averaging $14,107 over 900 screens.

Total Australian Box Office gross to date: $37,544,798

Synopsis: Deadpool’s peaceful existence comes crashing down when the Time Variance Authority recruits him to help safeguard the multiverse. He soon unites with his would-be pal, Wolverine, to complete the mission and save his world from an existential threat.

2. Trap – $951,924 (debut)

Warner Bros. Trap is the newest feature from M. Night Shyamalan, starring 90s heartthrob Josh Hartnett. The film, which depicts a game of cat and mouse between the FBI and a serial killer takes place at an arena concert, with the singer, Lady Raven, played by Shyamalan’s own daughter Saleka Shyamalan, who is also a singer-songwriter. Coming in second place this week, Trap took $951,924 in its first week, averaging $3,704 over 257 screens.

Synopsis: A father and his teenage daughter attend a pop concert, only to find themselves at the centre of a dark and sinister event.

3. Twisters – $836,762 (2)

Warner Bros. Twisters is a spiritual successor to the 1996 film, Twister and is directed by Lee Isaac Chung. Starring Daisy Edgar-Jones and Glen Powell in the leading roles, the film currently holds a favourable 80% on Rotten Tomatoes. Coming in second place this week, Twisters took $836,762 in its fourth week, averaging $2,817 over 297 screens.

Total Australian Box Office gross to date: $10,845,343

Synopsis: Haunted by a devastating encounter with a tornado, Kate Cooper gets lured back to the open plains by her friend, Javi, to test a groundbreaking new tracking system. She soon crosses paths with Tyler Owens, a charming but reckless social-media superstar who thrives on posting his storm-chasing adventures. As storm season intensifies, Kate, Tyler and their competing teams find themselves in a fight for their lives as multiple systems converge over central Oklahoma.

4. Inside Out 2 – $707,140 (3)

In June, Inside Out 2 became the first film since Barbie in 2023 to hit a worldwide gross of $1 billion. The film introduces a new array of emotions for a now-teenage Riley, including Anxiety voiced by Maya Hawke and Envy voiced by Ayo Edebiri.

Inside Out 2 is now the 2nd highest-grossing animated film of all time, passing Shrek 2 and sitting slightly behind The Super Mario Bros Movie.

Coming in fourth place this week, Inside Out 2 took $707,140 in its eighth week, averaging $2,389 over 296 screens.

Total Australian Box Office gross to date: $53,227,150

Synopsis: Joy, Sadness, Anger, Fear, and Disgust have been running a successful operation by all accounts. However, when Anxiety shows up, they aren’t sure how to feel.

5. Despicable Me 4 – $685,787 (4)

Despicable Me 4 now sits as the highest-grossing film in the Despicable Me franchise and 2nd highest-grossing in the overall Minions/DM franchise, trailing only 2022’s Minions: Rise of Gru. Steve Carell returns to voice Gru and this time is joined by fellow funnyman Will Ferrell who plays the villain Maxime Le Mal. Coming in fifth place this week, Despicable Me 4 took $685,787 in its seventh week, averaging $2,432 over 282 screens.

Total Australian Box Office gross to date: $40,886,962

Synopsis: Gru welcomes a new member to the family, Gru Jr., who’s intent on tormenting his dad. However, their peaceful existence soon comes crashing down when criminal mastermind Maxime Le Mal escapes from prison and vows revenge against Gru.

Top 6 – 10

6. Longlegs
7. Successor
8. Daaru Na Peenda Hove
9. The Fabulous Four
10. Fly Me to the Moon

ThinkNewsBrands and the Australian Marketing Institute (AMI) have partnered to address the gap in media knowledge among Australian marketers, providing media education and leadership in the news publishing sector.

Vanessa Lyons, CEO of ThinkNewsBrands, said: “The collaboration with the AMI, which advances the education and understanding of News Publishing media within the marketing community, is a critical step forward. Just like news publishing media, the AMI is highly credible and respected, and this collaboration will provide invaluable resources and opportunities for marketers to enhance their skills and knowledge in media.”

The partnership stems from marketing professionals often outsourcing their media planning, restricting their understanding of the media landscape and the factors that drive success.

As well as upskilling, news publishing webinars and education initiatives from the partnership will allow marketers to accrue points for the AMI Certified Practising Marketer (CPM) accreditation.

Launching the ThinkNewsBrands-AMI partnership will be the first Perspective Series event, held in Melbourne on 29 August.

CEO of Australian Marketing Institute Bronwyn Heys added: “The Perspectives Series and other initiatives will offer our members and the broader marketing community access to cutting-edge insights and expertise in News Publishing.”

These events will feature industry leaders and experts, helping marketers increase their knowledge of news publishing.

Marketers can register to attend the event via the Australian Marketing Institute website.

Earlier this year, ThinkNewsBrands addressed the fact that media coverage of the University of Canberra’s 2024 Digital News Report had painted a bleak picture of the Australian news industry, despite the report showing the opposite to be true.

The organisation said the coverage focused on a rise in “news fatigue” and in people who “avoid the news” and while the results are understandable “given the febrile nature of the world in recent years”, they are at odds with the expressed behaviours the report reveals.

See also: ThinkNewsBrands: ‘Australians’ engagement with news is very healthy’ despite reports

Foxtel Group has scored its third straight year of record viewership for the Suncorp Super Netball season, as the Adelaide Thunderbirds defeated the Melbourne Vixens to become back-to-back champions over the weekend.

Foxtel’s streaming platforms Kayo Sports, Foxtel Now, and Foxtel Go contributed to this growth, with 63% of netball audiences using these services.

The grand final recorded over 9 million minutes of streamed content across Foxtel Group’s streaming services, the business said.

“This Suncorp Super Netball season has been the biggest yet, and we have seen significant growth in viewership across Foxtel and Kayo Sports,” said Netball Australia CEO Stacey West.

“This season’s record viewership is a testament to the strength of the competition and the incredible broadcast experience delivered to fans each week.”

Executive producer of Fox Netball Erin Ferreira added: “We supercharged the Kayo Sports experience this season with the introduction of 4K. We’re also thrilled that the Kayo Freebies audience continues to grow, giving more people easy access to the sport. Congratulations to the team and league on another brilliant season.”

As part of Foxtel Group’s broadcast and streaming rights deal for the 2024 season, Kayo Sports subscribers were able to access all games.

Helping the audience growth was two games per round and every match of the 2024 Final Series being available via Kayo Freebies.

The third year of Foxtel Group and Netball Australia’s partnership came amidst a challenging offseason, with significant board turnover within Netball Australia and a long-running pay dispute.

When the season returned in April, Kayo Sports executive director Cate Hefele said: “We are seeing more fans coming to Kayo to watch netball, with viewership growing nearly 15% last season, and this year we are looking for even further growth as we welcome a new team, new rivalries, and the fierce world-class competition that Super Netball delivers.”

See also: Fox Netball returns this weekend to cover new season of Suncorp Super Netball

Sunday 4 August 2024: VOZ Total TV Ratings Overnight Top 30 – Programs ranked on reach

Total People TV Ratings

Nine’s Olympics 2024 Day 9 – Night recorded a total TV national reach of 4,979,000, a total TV national audience of 1,972,000, and a BVOD audience of 247,000.

Nine’s NRL – Bulldogs v Raiders recorded a total TV national reach of 1,634,000, a total TV national audience of 536,000, and a BVOD audience of 66,000.

The Bulldogs v Raiders game saw the Bulldogs down the Raiders, winning the game 22-18 at Belmore Sports Ground in Sydney.

Seven’s Dancing with the Stars recorded a total TV national reach of 1,876,000, a total TV national audience of 780,000, and a BVOD audience of 34,000.

On Dancing With The Stars, all 10 couples came together to dance through the decades in a special ‘step back in time’ episode. With a double elimination on the cards, it was Julie Goodwin and Nova Peris who failed to impress, with both stars sent home.

The final leaderboard for the night:

· Samantha Jade and Gustavo Viglio: 39
· Lisa McCune and Ian Waite: 39
· Nikki Osborne and Aric Yegudkin: 35
· James Stewart and Jorja Freeman: 34
· Adam Dovile and Jess Raffa: 32
· Shane Crawford and Ash-Leigh Hunter: 29
· Ant Middleton and Alex Vladimirov: 27
· Julie Goodwin and Andrey Gorbunov: 27
· Ben Cousins and Siobhan Power: 21
· Nova Peris and Craig Monley: 19

10’s airing of 10 News First recorded a total TV national reach of 623,000, a total TV national audience of 319,000, and a BVOD audience of 11,000.

People 25-54

Nine’s Olympics 2024 Day 9 – Night:
• Total TV nation reach: 2,016,000
• National Audience: 798,000
• BVOD Audience: 147,000

Nine’s NRL – Bulldogs v Raiders:
• Total TV nation reach: 599,000
• National Audience: 191,000
• BVOD Audience: 39,000

10’s The Project:
• Total TV nation reach: 213,000
• National Audience: 100,000 
• BVOD Audience: 6,000

Seven’s Dancing with the Stars:
• Total TV nation reach: 482,000
• National Audience: 169,000
• BVOD Audience: 15,000

People 16-39

Nine’s Olympics 2024 Day 9 – Night:
• Total TV nation reach: 1,031,000
• National Audience: 368,000
• BVOD Audience: 84,000

Nine’s NRL – Bulldogs v Raiders:
• Total TV nation reach: 289,000
• National Audience: 84,000
• BVOD Audience: 23,000

10’s The Project:
• Total TV nation reach: 84,000
• National Audience: 39,000 
• BVOD Audience: 3,000

Seven’s Dancing with the Stars:
• Total TV nation reach: 168,000
• National Audience: 57,000
• BVOD Audience: 7,000

Grocery Shoppers 18+

Nine’s Olympics 2024 Day 9 – Night:
• Total TV nation reach: 3,698,000
• National Audience: 1,498,000
• BVOD Audience: 194,000

Nine’s NRL – Bulldogs v Raiders:
• Total TV nation reach: 1,246,000
• National Audience: 404,000
• BVOD Audience: 51,000

10’s 10 News First:
• Total TV nation reach: 503,000
• National Audience: 253,000 
• BVOD Audience: 9,000

Seven’s Dancing with the Stars:
• Total TV nation reach: 1,507,000
• National Audience: 645,000
• BVOD Audience: 28,000

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.

The National Institute of Dramatic Arts (NIDA) has warned that the development of a multi-tower, five-building complex within metres of its front door threatens the future of the institution. 

NIDA said the proposed University of NSW development will force the closure of several teaching theatres, music and sound studios, block vehicle and pedestrian access, and require the relocation of five floors of specialised performance spacers during the four-year construction period.

The Sydney Eastern City Planning Panel, headed by former NSW Government Minister Carl Scully, is expected to approve the development at a meeting on 6 August despite Randwick Council refusing it this week on the grounds that it was “inconsistent with the existing and desired future character of the locality”.

The council received 449 objections to the development proposal from residents, students, and community members.

NIDA CEO Liz Hughes has called on the Sydney Eastern Planning Panel to defer its decision and refer the development application to the NSW Planning Minister Paul Scully for further consideration to protect the viability of NIDA.

“NIDA is facing a grave and serious threat to its future if this development goes ahead in its current form,” she said.

“We have tried, and failed, to have the UNSW listen to us and now we implore the Sydney Eastern Planning Panel to consider the damage this development will do to one of Australia’s most respected and valued educational institutions.”

NIDA said UNSW have or will receive a $168 million payment from property giant Iglu for a 99-year lease of the site, which is directly next door to NIDA and is currently used as a car park. The proposed development includes student housing and commercial and retail premises.

Hughes said the impact of the proposed development on its operations is estimated to cost NIDA $11.4 million in the first 12 months.

“The future for NIDA is dire if this development is allowed to go ahead,” she said. “We are a not-for-profit organisation that is dependent on the revenue we generate from our classes, courses and performances.

“The damaging impact of this development will hurt our students, our staff and the 100,000 members of the community who visit NIDA each year. We recognise the need for student housing however it can’t be at the expense of NIDA’s ability to operate.”