Fox Corp has reported financial results for the three months ended September 30, 2024.

The company reported total quarterly revenues of $3.56 billion (all amounts US$), an increase of $357 million or 11% from the amount reported in the prior year quarter.

Affiliate fee revenues increased 6%, driven by 10% growth at the television segment and 3% growth at the cable network programming segment.

Advertising revenues increased 11%, primarily due to higher political advertising revenues at the Fox Television stations, continued growth at Tubi, higher ratings and higher pricing in the direct response marketplace at Fox News Media, and the impact of the “Summer of Soccer” at Fox Sports, including the broadcasts of the UEFA European Championship and CONMEBOL Copa América.

The growth was partially offset by the absence of the prior year broadcast of the FIFA Women’s World Cup. Other revenues increased 47%, primarily due to higher sports sublicensing revenues at the national sports networks.

Fox Corp executive chair and chief executive officer Lachlan Murdoch commented:

“Fiscal 2025 is off to a solid start across our portfolio with strong audience growth at Fox News, record political advertising across the company, accelerating revenue growth at Tubi and a compelling start to our fall sports calendar. Collectively these contributions have combined to deliver particularly strong financial results in our fiscal first quarter led by notable top line revenue and earnings growth. Our strategy and our focus are delivering for our audiences, advertising and distribution partners, and the Fox shareholders.”

Cable network programming reported quarterly segment revenues of $1.60 billion, an increase of $210 million or 15% from the amount reported in the prior year quarter. Affiliate fee revenues increased $32 million or 3% as contractual price increases were partially offset by the impact of net subscriber declines.

Fox Corp advertising revenues increased $31 million or 11%, primarily due to higher ratings, higher pricing in the direct response marketplace and higher digital advertising revenues, partially offset by the effect of higher preemptions associated with breaking news coverage at Fox News Media. Other revenues increased $147 million, primarily due to higher sports sublicensing revenues at the national sports networks.

Cable network programming reported quarterly segment EBITDA of $748 million, an increase of $141 million or 23% from the amount reported in the prior year quarter, primarily due to the revenue increase noted above, partially offset by higher expenses. The increase in expenses was driven by higher programming rights amortization at the national sports networks and higher newsgathering costs, including costs relating to presidential election cycle coverage, at Fox News Media.

Television reported quarterly segment revenues of $1.95 billion, an increase of $173 million or 10% from the amount reported in the prior year quarter. Advertising revenues increased $98 million or 11%, primarily due to higher political advertising revenues at the Fox Television Stations, continued growth at Tubi, an additional NFL broadcast window, higher NFL ratings and the broadcasts of the UEFA European Championship and CONMEBOL Copa América at FOX Sports. These were partially offset by the absence of the prior year broadcast of the FIFA Women’s World Cup. Affiliate fee revenues increased $71 million or 10%, driven by higher average rates at the Company’s owned and operated television stations and increases in fees from third-party Fox affiliates. Other revenues increased $4 million or 3%, primarily due to higher third-party content revenues at Fox Entertainment studios.

Television reported quarterly segment EBITDA of $372 million, an increase of $21 million or 6%, primarily due to the revenue increase noted above, partially offset by higher expenses. The increase in expenses was driven by higher sports programming rights amortization, including an additional NFL broadcast window, and higher costs at Tubi.

See also: The Australian holds birthday event as Lachlan Murdoch welcomes Anthony Albanese and guests

ABC Statement in Response to Interim Independent Review Report into Line of Fire controversy.

In September, the Spotlight program on Seven reported on the ABC adding extra gunshots into a 2012 video clip of Australian troops firing from a helicopter in Afghanistan’s Helmand province.

ABC managing director David Anderson subsequently ordered former ABC editorial director Alan Sunderland to conduct a review of the 2022 stories on 7.30 and in an online article.

The ABC yesterday released the report and a statement from director of news Justin Stevens.

Justin Stevens statement

In September 2024 the ABC commissioned an independent review into concerns raised over three related stories published in September 2022, one online article and two 7.30 stories known as the ‘Line of Fire’ stories, which investigated activities by Australian commandos during a 2012 deployment in Afghanistan.

You can read the 33-page interim report here.

The stories reported on several matters of public importance.

While no specific Australian soldiers were named in the reports, they were identified as being members of the 2nd Commando Regiment. The three stories, comprising two broadcast on 7.30 and one online, included segments of ‘helmetcam’ footage that had been captured by the commandos and obtained by the ABC. Only one of the substantive public interest issues raised in the ‘Line of Fire’ stories, regarding two scenes of shots being fired from a helicopter towards a figure running and a figure in a compound, was the subject of public complaints and concerns.

The review investigated how editing errors introduced additional gunshot sounds in a video of helmetcam footage which was embedded in an online article and used during part one of the 7.30 broadcast. It also looked into concerns relating to how some parts of the vision were visually depicted; editing of an interview with former US Drug Enforcement Administration leader Bret Hamilton in one of the 7.30 stories; and why an email to the ABC about the editing of the helicopter footage almost two years earlier had not been acted on.

The review was commissioned by ABC Managing Director David Anderson and conducted by distinguished journalism leader Alan Sunderland. The ABC has committed to publicly releasing the review. We have received an interim report from Mr Sunderland. The ABC will provide an update once it receives the final report.

The review found that in the 56 second video clip in the online article five additional sounds of gunshots were inadvertently but inaccurately introduced into footage showing a commando firing from a helicopter. The review found additional sounds of gunshots were also inadvertently but inaccurately introduced into the 7.30 video, but at different points than in the online video.

Mr Sunderland said: “To be clear, I find no evidence that anybody, at any stage, made a conscious or deliberate decision to introduce additional gunshots. It appears to be an inadvertent consequence of attempts to create clean, accurate and effective sequences in the story (…)

“I have found no evidence to support the conclusion that any of this was done at the direction of the journalists involved or on the initiative of the video editor in order to doctor or deliberately distort the depiction of the events that occurred. On the contrary, what evidence there is suggests it was not a deliberate editorial decision to include additional gunshot audio in order to mislead or deceive.”

Alan Sunderland (Photo: ABC News)

The review said the errors were not picked up because “there was nothing about the two scenes of shots being fired from a helicopter … that led anyone to believe that there was an issue to review, or to consider that the sequences may have been edited in a way that introduced additional gunshot audio”.

There was “no evidence that anyone at the ABC … deliberately doctored, falsified, manipulated or distorted information, material or evidence in order to mislead audiences. On the contrary, there was significant care taken to ensure the stories were checked, discussed, reviewed and upwardly referred.”

The ABC sincerely regrets and apologises for the editing errors in the video clips, including to members of the 2nd Commando Regiment. The video has been removed.

Mr Sunderland rejected complaints over a section of the footage being slowed down, zoomed in and highlighted, saying this wasn’t misleading, inappropriate or problematic.

He said: “To be clear, the only inaccuracy I have found relates to the additional sounds of gunshots. I do not consider any other aspects of the way the sequences were depicted to be materially inaccurate.”

The review found Mr Hamilton’s final comment in an interview that alleged war crimes should always be investigated was not in proper context and therefore did not accurately represent him as talking about allegations of war crimes in general rather than referring to any specific allegations. The review found this was potentially misleading. It found Mr Hamilton’s views were otherwise accurately represented.

ABC News sincerely regrets and apologises to Mr Hamilton as well as our audience members for this. That was not the meaning we intended to convey.

A correction will be published on the Corrections and Clarifications page regarding the editing errors and an Editor’s Note will be appended clarifying the context of Mr Hamilton’s comment.

Importantly, the review found the editing errors did not misleadingly alter the central focus of the ‘Line of Fire’ stories, saying the issues they raised were significant and the stories remained of public importance.

“The ‘Line of Fire’ stories covered issues of the highest importance, dealing with the behaviour of Australian troops in a conflict overseas,” the review said. “They were of public importance at the time the stories were published and broadcast, and they remain of public importance now.

Although no individuals were identified in the stories themselves, the issues raised … were significant and important.”

Reports five recommendations

• Editorial policies and guidance should be reviewed to ensure that the importance of maintaining the integrity of crucial source material is maintained, particularly in investigative stories.

• Training should be reviewed, in particular for non-editorial staff working in investigative areas, to ensure everyone is aware of key editorial principles, including the need to maintain the integrity of source material.

• Editing practices should be reviewed to ensure there is regular, timely and detailed face-to-face contact between editors, reporters and researchers during the editing process.

• When multi-platform stories are being prepared, consistent and equal scrutiny should be applied to all elements of the story across all platforms.

The ABC stands by the vital importance of its investigations into the alleged conduct of Australian soldiers. The editing errors, while deeply regrettable, do not weaken the value of the ABC’s reporting over many years on these crucial issues.

When errors occur we correct them and strive to ensure they are not repeated. In addition to Mr Sunderland’s recommendations I will be looking into any further actions we may need to take to ensure this does not happen again.

We must always continue to encourage our journalists to be brave in their pursuit of important journalism on matters of significant public interest that, if it weren’t for their work, would never otherwise see the light of day.

Mediaweek has been championing the Netflix drama Territory since it was released in late October.

The drama from production houses Ronde and Easy Tiger has been the #1 TV show for Netflix in Australia since its release. The drama has also been a hot property globally. Territory ranked #2 on the Netflix global chart this week and topped the daily global chart on a number of days since release.

Netflix is having a year to remember in terms of hit shows, so for Territory to make such a mark is a massive achievement. Overnight the streaming platform revealed so far, Territory has been viewed globally 6.3m times. The latest data indicates it is top 10 in TV in 74 countries on Netflix.

To celebrate the achievement, Mediaweek pulled co-creators Ben Davies (Ronde) and Rob Gibson (Easy Tiger) away from their next productions to get some insights into how they created and then pitched the series.

This follows on our recent interview with the director of Territory, Greg McLean.

See also:
How new Netflix original Territory is taking outback Australia to the rest of the world
Director Greg McLean a key ingredient in making this a major TV blockbuster.

Territory director Greg McLean with co-creators Ben Davies and Rob Gibson

When during the creative process did you feel you had something special?

Ben Davies: It was immediately exciting back in 2017. It didn’t start to become a thing until Rob and I started talking more about it. And then, it wasn’t until Netflix go, “We love it”, that we actually started to believe that it could actually turn into a show.

Easy Tiger has had a lot of wins lately, what is the secret to pitching shows?

Rob Gibson: “We do our prep. We always work with great storytellers. And Colly [Easy Tiger founder Ian Collie] and I are storytellers ourselves.

That’s sort of how it works here. The model is great producers, great writers – creatives coming together. That’s how you get great material that you then take out to the market and pitch.

Working with Ian is key. He’s the best in the biz as far as I’m concerned. That’s why I wanted to come and work with him.

I also had the advantage and the great joy of working at Stan for five years. Not only building the business, but seeing what it was like on the commissioning side from the very early days of streaming through to the point where it became mainstream in Australia.

Ben is just an excellent storyteller and has an incredible eye for story. We felt from very early on that it was going to be a pretty great partnership and it’s proven to be so.

Robert Taylor as Colin Lawson in Territory

Ben Davies moves from unscripted to premium drama

Ben Davies: The same principles apply. We’re always looking for worlds that we think audiences are going to be fascinated by. We then pull back the veil to reveal the codes and conventions of those worlds.

The key thing is delivering a really great story. With factual, you’re putting most of it together. You go out with very clear intentions of what you think you might get, but then you put it together in post.

With scripted, it’s the other way around. You’re writing it first. But the principles remain the same.

In this partnership I’m relying on Rob’s and Easy Tiger’s expertise in the scripted space.

Trying to add value by bringing the real world in. When we’re up there on the station we’re using real machines and real people and the storytelling is motivated by campfire stories.

There’s a really good crossover in this where the two of us work together and bring completely different skills, but they’ve meshed together really well.

Keeping it real

Rob Gibson: It’s in-camera filmmaking. There’s next to no CGI. There’s little bits here and there, but we’re not crafting whole scenes and they’re not owned by CGI.

There’s 3,500 cattle in some shots and we have real actors, world-class actors on horses with 1,500 head of cattle moving around them. There are real choppers. You can’t beat actually having those things, the material things themselves, in shot and the audience feel it because they know it’s not CGI.

If there is a really key ingredient to the success of this show, it was figuring out, which took us some time, how to put together the business of the station. The real business of a giant industrial cattle station like that with the scripted drama production model.

I just don’t know whether that would have been possible without having Ben’s experience in filmed storytelling in those real worlds as the guide for how to integrate our drama production model.

They’re all real operations. There’s nothing fake about them. If you can figure out how to plug into that world that’s there, it does all the work for you.

It’s very difficult getting there and it’s expensive because you’re so far from anywhere else.

Once you’re there, you turn on a camera and you’re just getting gold wherever you point it. But there was a lot of work in figuring out how to make that integration work.

Anna Torv as Emily Lawson in Territory

The original vision was for a big production

Ben Davies: The scale of it is exactly how we envisaged it and we were just fortunate that we had Netflix as a partner who was able to help us execute on that. Instead of someone trying to shrink it all down and asking, ‘Oh, can you tell the same story with less?’

It is exactly as we envisaged it and we just went in with the attitude that this is what we want to make and let’s go for it.

Without a Netflix, there may not have been a Territory

Ben Davies: It would have been much more complicated to finance it, that’s for sure.

Rob Gibson: And we probably would still have been working on the financing right now.

That was the joy of being able to get Netflix to fall in love with it straight away. Part of what they fell in love with was the scale of it. They knew it was the sort of series that could really make a mark on their Australian slate.

Casting Territory: Meet the Lawsons

Rob Gibson: Casting is tricky at the best of times. We love it, and it’s one of the most important parts of filmmaking. Greg McLean [director] certainly takes a very keen interest in casting. We had to start with our key character. Clearly that is Emily Lawson [played by Anna Torv], finding the right person for that role was going to be critical.

We brought on Anousha Zarkesh [casting director] early on, and she’s just fantastic. There’s nothing she can’t do in terms of bringing together fabulous ensembles and unexpected combinations that really work beautifully, and you can see it all on screen.

It was made more difficult than usual by the fact that there was a SAG strike on when we were trying to put it all together.

Anna Torv as Emily Lawson was the first person we started speaking about. Anna is so fantastic. I couldn’t think of anyone else who could hold that character. It’s a really difficult character to play because she is carrying something with her through the season while she’s doing everything else that she’s doing.

That includes being a total badass, taking on the pretty toxic patriarchy that Colin Lawson [played by Robert Taylor] has established on the station. Along with everything else that she has to carry. Even though we’ve seen the episodes a hundred times, I can sit there all day watching Anna play that role. She’s so fantastic.

Michael Dorman as Graham Lawson in Territory

It started with Anna, and then Mike Dorman [playing Graham Lawson] came very quickly after that. We had to chase him down hard. Like Anna, he’s a busy man.

He’s got work in the US. He’s living over there. But I think once we had those two in our sights, it became a little easier.

It was just a great process going through some of the other options for the other cast. Discovering new talent like Kyla Day. Sam Corlett had been working a little bit before, but to me, this is a total breakout role for him, for a lot of them, actually. Working with Sam Delitch and Robbie Taylor was great too.

In Robbie you couldn’t find a lovelier guy to play the nastiest man in the top end. He’s just a beautiful man and a brilliant actor.

The Netflix guys were really supportive of our choices.

Ben Davies: We made a big promise that there are going to be outback characters that you’ve heard about and never seen before. If we didn’t get it right, the whole conceit falls away pretty quickly. We were fortunate that we had a cast that nailed it.

Did the script alter much during filming?

Ben Davies: The plot was pretty well mapped out. There were minor modifications. Maybe a location change or something like that.

More broadly, we had a vision for a story, which is the one that we presented on screen. I went back not that long ago and looked at the pitch document that we presented to Netflix and read through it again and it’s pretty much the show.

Rob Gibson: That comes with great preparation. It is the usual part of drama production that you take your scripts and then when you get into pre pre-production you’re starting to accommodate the real world a little bit more. That can be easier or harder depending on your subject matter.

But we had cracked that model of integrating our production model into the station operations. Helped of course by the work Ben has done in telling factual stories in those environments. We had the relationships and we did the prep work.

We started pre pre-production very early and did a lot of recces with various departmental heads going up there and starting the conversations with the people who would become their counterparts on the station side.

If you do all the right prep, you then flick the switch and the magic happens.

Territory cast and crew at a preview screening

Ben Davies: Paul Ranford, the producer, was up on recce after recce. That gave us such solid footing that when the cameras started rolling we didn’t have to change much because it was well mapped out.

Rob Gibson: There were times when it was stressful. Working in 40 degree heat when making your schedule for the day is a big ask. We had an incredibly hard-working the crew and cast who delivered even at times in brutal conditions.

There was this incredible esprit de corps and just great sense of adventure in being out in the middle of nowhere making a big, epic show like this.

Will there be a second season of Territory?

Ben Davies: We’d be home drawn and cornered if we didn’t do it for the audience because they all want to know. There’s a few questions that remain unanswered. We’ve got answers.

What about a prequel to learn more about Daniel and Susie Lawson?

Rob Gibson: The Territory cinematic universe. Absolutely. Fantastic.

See also: Territory – Mediaweek TV Guide for hit Netflix family drama set in outback Australia

We are excited to launch the Mediaweek 100, celebrating the incredible diversity and innovation within Australia’s media landscape.

It’s been a turbulent 12 months within the media industry and these lists present a unique opportunity to recognise the resilience and creativity that have emerged.

With a new editorial team, Mediaweek has a commitment to a comprehensive, fair, and transparent evaluation process for the Mediaweek 100 list, the Media Agency 50 and the new addition to our list lineup, the Variety Australia Entertainment 50.

You can buy tickets for the lunch event on November 22 here

Together, we can highlight the incredible contributions shaping the future of media in Australia. As a result, we felt it important to share the criteria we use to curate the Mediaweek 100 to ensure a comprehensive, fair, and transparent evaluation.

Enter the Mediaweek 100 here

Mediaweek 100 criteria

Accomplishments and wins: We looked at the significant achievements of individuals and their companies over the past year. Success stories that demonstrate leadership and resilience were front and centre.

Innovation: The media industry thrives on creativity and new ideas. We assessed how these leaders have driven innovation, whether through new content strategies, technological advancements, or unique audience engagement approaches.

Cultural contributions: Beyond business metrics, we recognised those who have made meaningful contributions to the cultural landscape. This includes fostering diversity, promoting social causes, and enriching the broader media narrative.

Revenue and profit: While we aim to highlight influence beyond just financials, the ability to generate revenue and profit remains a key factor of a company’s impact in the industry.

Challenges faced: Whether it’s been a personal hurdle, or within an organisation, we understand it’s important to look at the background and the context many of our leaders work within and how they faced instigating change, navigating workplaces and facing confronting issues head on.

The result? A list that reflects not just the current state of play, but also the potential impact these individuals and their companies will have moving forward – highlighting those committed to fostering a media environment rooted in trust and accountability.

Mediaweek Agency 50 criteria

The Mediaweek Agency 50 awards are determined by a range of criteria designed to highlight the most influential agencies in Australia. Judging is based on agency size, reputation, and growth, with additional considerations for unique achievements and whether the agency operates independently.

Related content:

How to buy tickets for the Mediaweek 100

How to enter the Mediaweek 100

Key dates for the Mediaweek 100

Vudoo, an advertising commerce technology company, has named Ben Buckley to its board and appointed Sarah Lawson Johnston as managing director for Europe, the Middle East and Africa.

Buckley has significant experience in the media, technology and consumer marketing sectors and has held senior roles, including marketing director at Nike, executive director of content partnerships at Foxtel, managing director at ASX-listed technology-enabled services company COSOL, COO of the Australian Football League, CEO of Football Federation Australia and chair of the North Melbourne Football Club. He will provide strategic guidance and oversight to help navigate Vudoo’s rapid growth as the company expands internationally.

He will contribute product development insights to ensure Vudoo, the content commerce and in-stream checkout pioneer, remains a category leader in commerce media.

“We are thrilled to have Ben on Vudoo’s board. He’s a perfect fit as we continue to scale the company as he brings a wealth of experience from his roles in business and sport. We look forward to the exciting opportunities his expertise will bring to the table,” said Vudoo CEO and founder Nick Morgan. “Ben will play a pivotal role in Vudoo’s success and his counsel will be invaluable as we continue to help brands, publishers and agencies monetise static online, mobile and web content.”

Buckley said he was impressed with Vudoo’s growth, international expansion trajectory and market-leading product offerings.

“Having recently planted their flag in the Americas, Vudoo continues to grow from strength to strength, and Nick and team have been doing a fantastic job. I look forward to contributing to Vudoo’s success and helping it expand further. Vudoo’s solutions are second to none and I’m proud to represent a locally born company kicking goals globally,” said Buckley.

Lawson Johnston joins Vudoo with 30 years of experience in the advertising technology industry. Her leadership will be fundamental to the continued growth of Vudoo’s presence in EMEA.

Having most recently served as Covatic’s chief revenue officer, Lawson Johnston was part of the team that launched the company’s privacy-centric audience targeting solution in 2018. Prior to Covatic, she was EVP, managing director of Agency Partnerships for EMEA at enterprise media platform Hudson MX. She also spent over 20 years at advertising software provider Mediaocean, latterly serving as managing director for Europe.

“We are delighted to welcome Sarah to Vudoo,” said Morgan. “Her wealth of experience and deep expertise in the advertising technology sector will be invaluable as Vudoo seeks to continue on its trajectory. The region is a crucial growth sector for Vudoo, particularly as commerce media rapidly reshapes how brands engage with consumers and their evolving demands.”

The appointment of Lawson Johnston anchors Vudoo’s global expansion, just a year after the company launched its product into the international market. It comes a few weeks after Vudoo named Autonic founder Drew Perry as its new Asia Pacific managing director, alongside an alliance with youth publisher Val Morgan Digital. In early September, Vudoo announced the appointment of ad tech industry veteran Raj Chauhan as President, Americas. In July, Vudoo unveiled a global partnership with IPG Mediabrands’ KINESSO Commerce to power a new, always-on commerce media capability, enabling content to be shoppable at any time on the open web.

Vudoo has established partnerships with publishers including News Corp, Scroll Media, Are Media and New Zealand Media and Entertainment (NZME). Vudoo’s other global clients include Forever New, S&P Global and Kohler. Vudoo has facilitated executions in campaigns across brands like Hilton, Samsung, Moët & Chandon, Burberry, Dyson, Lexus, Hotel Clicquot and Sunday Riley.

Claxon has been appointed as the creative and media agency of record for the health and wellness supplement company, First or Nothing.

Jade Axford, chief growth officer of Claxon, said there is nothing quite like ending a year on a new business high by adding First or Nothing to the agency’s roster.

“First or Nothing is an ambitious company with a strong vision to positively impact the health and wellness sector, and we’re ready to help bring that vision to life,” she said.

“We will be using Claxon’s proprietary end-to-end, full-service ecommerce framework, Amplisync, to build brand awareness, foster an engaged online community and drive online sales for the brand.

“Amplisync is engineered to boost a brand’s ecommerce performance across every touchpoint, fueling growth through integrated solutions,” Axford added.

Jade Speight, marketing and partnerships of First or Nothing, said: “Claxon stood out as a growth and AI-focused agency capable of launching our brand to market and help to grow the business via advertising, so we can engage a community of like-minded health consumers.

“We are excited about the agency partnership and look forward to taking our advertising to market before the end of the year.”

Work on the strategy is already well underway with the digital, offline, social and creative assets expected in market before year-end.

The independent agency’s appointment to the First or Nothing account comes after it was recently wons Wideline Group’s media and creative account. Claxon was also named the media and creative agency of record for Celebrity Ink, and the digital media agency of record for Australian luxury brand Oroton.

Claxon also acquired Gold Coast-based creative agency Embark, which was founded in 2003 by brothers James and Phil Coulson. The acquisition was Claxon’s second in 15 months, following that of Growe Media last year.

See also: Claxon acquires creative agency Embark

The Mediaweek Agency 50 list celebrates the leaders and teams driving success across Australia’s biggest media agencies.

The annual event to announce the names attracts the industry’s most influential people as Mediaweek celebrates the immense talent across the country.

This year’s lunch to announce the names on the list will take place on Tuesday, 22 November, 2024 at the Pearl Ballroom, Crown Sydney.

You can buy your tickets here. 

Last year, CEO of GroupM Australia & New Zealand Aimee Buchanan took the #1 spot on the Agency 50 list, and in 2022, she came in at #2 place, just losing to OMG CEO Peter Horgan, who departed from the role this month.

Coming in #2 on last year’s list was Melissa Fein, who at the time was CEO of Initiative. Fein is now managing director, media at Accenture Song APAC alongside Sam Geer.

Included in the top 10 of 2023’s Agency 50 were Atomic 212°’s Claire Fenner (who also departed from the role this month), Zenith’s Jason Tonelli, Magna’s Lucy Formosa Morgan, Wavemaker’s Peter Vogel, OMD’s Laura Nice and Sian Whitnall, Mindshare’s Maria Grivas, IPG Mediabrand’s Mark Coad and Spark Foundry’s Imogen Hewitt.

See 2023’s full Agency 50 here.

CEO of GroupM Australia & New Zealand, Aimee Buchanan

You can view the full criteria and enter the Media Agency 50 here.

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

KEY DATES

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

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

Tickets are available here.

Youth publisher Val Morgan Digital is expanding BuzzFeed Australia’s reach by launching BuzzFeed Food FAST on 10 Play. This new, always-on food channel provides Australian audiences with 24/7 streaming of nonstop food content, catering to home cooks nationwide.

Amanda Bardas, publisher at Val Morgan Digital commented “Val Morgan Digital reaches 9.1 million Australians every month and 1 in 3 Val Morgan Digital audiences watch FAST channels regularly, preferring to watch food-based shows, which is just one of the reasons we’re launching the BuzzFeed Food FAST channel.

“BuzzFeed is the engine that drives today’s food culture, and Gen Z and millennial audiences have an insatiable appetite for content. They’re spending almost two hours a day consuming social content alone and the demand for more material is higher than ever before – especially when it comes to food inspiration – with 48% cooking at home every day and 70% making a grocery list before shopping.*

“This industry-first solution will see the BuzzFeed Food FAST channel tap into the zeitgeist of today’s culture. These shows already have a strong audience following and now we’ll be able to deliver Australian audiences a 24/7 stream of non-stop food content.”

The BuzzFeed Food FAST channel will offer brands the opportunity to reach Val Morgan Digital’s
passionate audiences in a new environment.

Julia Willing, growth & partnership director, Val Morgan Digital added: “Through our research, we’ve found that being a ‘foodie’ is now a central component of the Gen Z identity, and 1 in 4 of our audiences are seeking recipe inspiration daily before they shop for groceries. This is a huge
opportunity for brands to tap into this hard-to-reach audience which our network is built to connect with.

“The BuzzFeed Food FAST channel drives inspiration to action and acts as a catalyst for commerce. We’ve created key sponsorships, custom product integration and prime time viewing opportunities for brands to reach their audiences and inspire their path to purchase.

“We’re excited to work with partners to launch new shows and bring to life episodes and segments of existing tentpoles.”

The programming for the BuzzFeed Food FAST channel will span over 200 hours of content and will be updated each month with new episodes. Highlights include Hot Ones, the Emmy Award nominated series featuring host Sean Evans interviewing A-list celebrities over a plate of increasingly spicy wings, Heat Eaters, The Burger Show, Snacked, Gochi Gang and Tasty.

Thinkerbell has launched the refreshed brand platform for Dare Iced Coffee.

The agency’s new work builds on the success of the long standing ‘A Dare Fix’ll Fix It’ brand platform, giving Dare an enhanced role as the voice of reason for everyday Aussies.

The campaign’s hero film, directed by Good Oil’s Dave Wood, follows attendant Ryan, whose uncaffeinated brain leaves the plane’s passengers looking for answers that only Dare can provide.

The creative agency’s work evolves the brand’s look and feel for a new wave of Dare drinkers alongside contextual OOH and digital.

“Dare has built a reputation on giving Australians mental clarity, and will reinforce this as the refreshing voice of reason when a brain fade takes hold, so that you can be at your best. Matt Gray, general manager – brand and innovation, BEGA Group, said.

“We’re excited to partner with the talented team at Thinkerbell to continue the evolution of our enduring brand platform, A Dare Fix’ll Fix It.”

Suzi Williamson, head thinker at Thinkerbell, said: “It’s all about being able to provide a timely moment of clarity when you need it most, wrapped up in that playful Dare tone that the brand is so famous for.”

“Our approach for this latest campaign was to launch with impact, maintaining Dare’s already high brand awareness, while continuing to build mental availability by associating the brand with contextually relevant formats and environments,” Millie Hawkes, account director at Starcom Australia, said.

“We’re thrilled to continue our ongoing partnership with Dare, and to have worked alongside Thinkerbell to bring this campaign to life.”

Tom Wenborn, chief creative tinker, Thinkerbell, said: “The team has absolutely loved the opportunity to extend the A Dare Fix’ll Fix It platform. It’s one of those iconic, enduring brand expressions that demands a certain type of creative idea.”

Credits
Client: BEGA Group
Creative: Thinkerbell
Director: Dave Wood
Production: Good Oil
Sound: Rumble Studios
Media: Starcom

Meg Mac joins Mini Australia as its newest brand ambassador, aligning with the launch of its ‘Next Generation’ Cooper.

As a ‘Friend of Mini’, Meg Mac’s artistic vision and commitment to authenticity will perfectly align with the brand’s ethos, highlighting it’s beloved charm, ‘Charismatic Simplicity’ design language – design features which highlight the model’s individual character; and steadfast commitment to sustainability.

Nikesh Gohil, Mini’s head of marketing for Australia and New Zealand, said: “Meg Mac’s artistic integrity and deep-rooted values align perfectly with the Mini Cooper’s strong legacy. We are excited to call Meg a ‘Friend of Mini’ and bring the Mini’s Next Generation range to life through her experiences.”

Meg Mac said: “Ever since I was a kid I haven’t been able to go for a drive without pointing out every Mini I see on the road, I’ve always been charmed by their classic design. To be joining this iconic brand and in the driver’s seat feels perfect.”

The Cooper is iconic to the brand’s heritage, moulding the brand’s traditional values with state-of-the-art technology, sustainability and an enhanced driver experience. Focused on celebrating individuality, Meg Mac will showcase her experiences with the Mini Cooper by curating dedicated social and digital content to profile her connection with the brand and its sincere significance to her own lifestyle.

The reimagined Cooper, available in Electric and Petrol, exemplifies the brand’s evolution, featuring advanced sustainability initiatives, seven ‘experience’ modes that offer customised sounds, lights, and digital visuals in the cabin, intelligent personal assistant and enhanced digital features.

Meg Mac joins interior design expert Neale Whitaker, who was named ‘Friend of Mini’ earlier this year and focused on the all-new Countryman.

At the time. he said: “MINI holds a special place in my heart – my family has driven the iconic car for generations. What I love about MINI is that it is committed to celebrating individual style with its ‘Big Love’ ethos and embracing the unique.

“The new MINI Countryman suits my urban to rural lifestyle perfectly and is such an amazing evolution of the brand in size, design and sustainability.”

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Top image: Meg Mac

By Shelley Friesen, founder and director – Melbourne Social Co.

As we head towards the pointy end of the year, one question is circulating more and more in the social media world: Is Instagram dead?

Instagram, once the crown jewel of Meta’s empire and the go-to platform for curated visuals and influencer culture, has been facing a significant challenge: TikTok. The rise of TikTok has been nothing short of meteoric, capturing the attention (and screen time) of millions worldwide, particularly amongst Gen Z.  

But does this mean Instagram is on the decline? 

For years, Instagram was the ultimate social media playground (one I was guilty of spending a LOT of time in!) Carefully curated feeds, perfectly staged photos, and the rise of influencers – it was heaven for the Millennials amongst us. But as social media culture shifts towards more authentic, less polished content, Instagram’s shine has started to dull.

There’s no denying that Instagram still boasts a huge user base, but user behaviour is changing. Many are growing weary of the ‘highlight reel’ effect Instagram is known for. It’s not just about showing the best parts of your life anymore—it’s about showing real life, and this is where TikTok has found its niche. 

From a data perspective, declining engagement rates are a real challenge on Instagram. For brands, we’re looking at average engagement rates of less than 1% across most industries in 2024. So for brands investing tens of thousands of dollars a year into the platform, it’s beginning to make little sense as a marketing channel.

TikTok: The Game Changer

TikTok’s success can largely be attributed to one thing: its authenticity. In a world that’s growing tired of perfection, TikTok has delivered exactly what users have been craving—raw, unfiltered, and, most importantly, real content. It’s a platform where creativity thrives, where people can express themselves without worrying about how it fits into a perfectly curated aesthetic.

But TikTok’s appeal isn’t just about authenticity; it’s about how content is consumed. The platform’s addictive algorithm serves up an endless stream of short, engaging videos, keeping users glued to their screens. Unlike Instagram, where the pressure to keep up with engagement rates and followers is front and centre, TikTok’s For You Page (FYP) creates a more personalised, less comparison-driven experience.

For Gen Z, TikTok has become the platform of choice. It’s fast, it’s fun, and it’s dynamic. This generation are not as concerned with likes, followers, or perfectly edited photos—they’re interested in entertainment, connection, and self-expression. Another interesting fact, Baby Boomers are the fastest growing demographic on platform, proving TikTok is incredibly popular across the generations.

Melbourne Social Co.’s Shelley Friesen

Meta’s Response: Can Instagram Keep Up?

Meta hasn’t been sitting idly by while TikTok skyrockets in popularity. In response, Instagram has doubled down on Reels, their version of TikTok’s short-form video. Reels have been integrated and prioritised on the platform in an effort to keep up with the growing demand for video-first content. But despite these efforts, Instagram still feels like it’s playing catch-up rather than leading the charge.

Why? Because Instagram, at its core, was built for a different era of social media. It’s a platform centred around static images, and despite introducing video features like Stories, IGTV, and now Reels, it’s hard to shake the identity that Instagram was built on. Users know Instagram for its aesthetics, and TikTok has carved out space as the go-to platform for quick, casual, and interactive content.

But Is Instagram Really Dead?

Let’s be clear: Instagram isn’t dead. But it’s certainly evolving — and fast. For brands and content creators, Instagram still offers value. Its visual-first nature makes it ideal for e-commerce, lifestyle brands, and influencers who want to maintain that picture-perfect feed. And let’s not forget that Instagram’s integration with Meta’s other platforms (Facebook, WhatsApp) gives it a level of ad-targeting and data analytics that’s hard to beat. If you’re a brand looking for pay-to-play conversions, Meta is still a great place to be in 2024 and into 2025. 

But if you’re updating your social media strategy for the new year – it’s time to add in TikTok if you’re yet to jump on board.

–

Top image: Melbourne Social Co.’s Shelley Friesen

We Are Social has been appointed as the social agency of record across the key brands of Volkswagen Group Australia (VGA).

The expansion of the socially-led creative agency’s role will build on the robust five-year partnership with Audi, during which We Are Social boosted the brand’s presence through innovative social-first content and impactful influencer partnerships.

Under the new agreement, We Are Social will be responsible for building the group’s social strategy across Audi, CUPRA, Škoda, and Volkswagen Commercial Vehicles. The agency will be tasked with elevating the brands’ presence through targeted channel management, creator engagement, and the execution of socially-led brand and model campaigns.

In choosing the agency, VGA was looking for an agency partner that could deliver best-in-class social thinking and execution at scale, to stand out in the competitive premium automotive sector.

Suzie Shaw, CEO of We Are Social Australia, said: “Building on our successful five-year partnership with Audi, we’re thrilled to expand the relationship with Volkswagen Group Australia.

“This win is a testament to our team’s commitment to innovation and our deep social expertise. Working with iconic brands like those within VGA’s portfolio inspires us to continually push creative boundaries to help drive growth across the portfolio.”

The creative agency’s social account win follows news of the recent appointment of Richard Parker as its chief strategy officer.

Parker joins the 60-person Sydney team and contributes to the creative agency’s ongoing investment in its strategic, research and media services for a growing number of clients.

He joins from independent creative agency Edge and has worked with some of the world’s most famous brands, including AAMI, Agent Provocateur, Amazon, ASOS.com, Bupa, Captain Morgan, ESPN, Estee Lauder, Johnson & Johnson, Moccona, and Optus.

His expertise spans brand, communications, digital, CX and content strategy—delivering award-winning work across multiple markets.

See also: We Are Social nabs Richard Parker as chief strategy officer

Taste.com.au has launched an AI virtual recipe assistant called TasteBud in the Taste app.

With the help of TasteBud, Australians can now easily find recipes based on available ingredients and specific dietary preferences to enhance their cooking experience. The AI feature leverages the intellectual property of the Taste brand and its curated collection of 50,000 triple-tested recipes.

News Corp Australia’s first consumer-facing AI feature offers Taste app subscribers an interactive way to explore Taste’s recipes through a custom-built conversational agent. The chat experience allows for follow-up queries, improving search results for a more personalised experience.

Managing director and publisher Free News and Lifestyle Pippa Leary said the launch of the new AI feature in the Taste app underscored the company’s commitment to helping consumers with straightforward solutions.

“Our digital food products are focused on enhancing the user experience and this is a great example of how we’re optimising our content and addressing the consumer need for efficiency to deliver them greater value,” Leary said.

“It also reinforces News’ commitment to being at the forefront of innovation. TasteBud leads the way for future AI developments, supporting our growth and market-first offerings for consumers and clients.”

Head of Food, Travel and Health Kerrie McCallum said: “TasteBud simplifies and personalized the recipe search process. It helps the Taste audience solve problems, finding recipes that match their cooking ideas, ingredients, and preferences to our world-leading and extensive recipe database.

“TasteBud goes beyond basic search functionality to deliver highly relevant suggestions, especially when contextual prompts such as ‘limited time’ are added. We are in the early phases of this exciting journey and TasteBud already has an impressive accuracy rate of 99 per cent, with ‘chicken’ being the most common query.”

The 2024 US election will see Vice President Kamala Harris go head-to-head with former President Donald Trump, in a race that will shape the global political landscape for years to come. But how can you watch the US election unfold in Australia?

While results from the election will start rolling in from the afternoon of Wednesday, 6 November in Australia, each network is set to have its own coverage with its own talent covering the crucial race.

How to watch the US election on Australian TV

ABC

ABC will have live coverage on 6 November across ABC TV and ABC iview. Viewers can also watch explainers on the key issues and news from the campaign trail at the USA Votes collection on ABC iview.

The ABC News website and the ABC News app will also have the latest news and analysis. On the day, ABC will have interactive results explainers that will help readers understand which states helped win the White House.

Nine

Nine’s coverage will start at 10:00 am AEDT, immediately following an extended edition of Today.

Channel 9’s host and analysts include: Karl Stefanovic, Liz Hayes, Charles Croucher and US political analyst Laura Schwartz, reporting live from Washington, DC. Croucher will offer Australian audiences insights and accessible analysis.

Nine’s US correspondents Jonathan Kearsley, Alison Piotrowski and Lauren Tomasi, along with 60 Minutes correspondent Amelia Adams, will report directly from key battleground states, giving audiences the latest, on-the-ground updates. Additionally, with its partnership with CNN, Channel 9 has access to developments from both Democrat and Republican headquarters.

Seven

Seven’s coverage will feature analysis and commentary from its team of journalists and experts live on Channel 7, 7plus, and across 7NEWS.com.au and social platforms.

7NEWS Spotlight will broadcast a special one-hour live US Election edition on Sunday night from 7:00pm AEDT on 7 and 7Plus, featuring an interview with former White House communications director under the Trump administration, Anthony Scaramucci.

Hosted by Michael Usher, Spotlight’s Sarah Greenhalgh and Liam Bartlett, as well as 7NEWS US Bureau Chief David Woiwod, will cut through the spin to deliver an election breakdown ahead of the final showdown between Trump and Harris, also featuring interviews with commentator Piers Morgan, former Australian Ambassador to the US Joe Hockey, and former consultant to the Clinton administration Barbara Heineback.

From Monday, Sunrise will be live from 5:30 am every morning, live to Natalie Barr on the ground in Washington, D.C.

On Election Day, Seven’s all-day live coverage begins with a special edition of Sunrise LIVE from 5.30 am AEDT, then Michael Usher and Angela Cox, alongside Barr in the US, will steer 7NEWS rolling coverage from 11.30 am AEDT.

They’ll cross to Woiwod and 7NEWS US correspondents Tim Lester and Mylee Hogan in key battleground states across America, while 7NEWS foreign editor Hugh Whitfeld will be joined by special guests in the studio, as they unpack results in real-time and explain what it all means for Australia.

Broadcast times on 7 and 7plus
Wednesday 6 November

Sydney, Melbourne
5.30am Sunrise
9.00am The Morning Show
11.30am 7NEWS Presents: America Decides 2024
4.00pm Seven’s Afternoon News
5.00pm The Chase Australia
6.00pm 7NEWS

Brisbane
5.30am Sunrise
9.00am The Morning Show
11.30am 7NEWS Presents: America Decides 2024
3.00pm The Chase UK
4.00pm Seven’s Afternoon News
5.00pm The Chase Australia
6.00pm 7NEWS

Adelaide
5.30am Sunrise
9.00am The Morning Show
11.30am 7NEWS Presents: America Decides 2024
3.30pm Border Security
4.00pm Seven’s Afternoon News
5.00pm The Chase Australia
6.00pm 7NEWS

Perth
5.30am Sunrise
9.00am 7NEWS Presents: America Decides 2024
4.00pm Seven’s Afternoon News
5.00pm The Chase Australia
6.00pm 7NEWS

10

Network 10’s coverage will include Hugh Riminton, national affairs editor, and Waleed Aly, co-host of The Project, reporting live from Washington, and US Correspondent, Katherine Firkin, following the Trump campaign in Florida.

Coverage starts at 10am with rolling reports, special 10 News First bulletins, an extended edition of The Project and a wrap up of the day in 10’s Late News at 10.40pm.

10 News First will also post quick digestible social media stories across all channels and platforms including TikTok, YouTube and Instagram, with the latest news on election results, rolling updates and live content at multiple points throughout the day.

10’s coverage on 6 November (All times are AEDT):

10.00 – 17.00: America Decides: Election Coverage

17.00 – 18.00: 10 News First

18.00 – 19.30: America Decides: The Project

22.40 – 23.05: 10’s Late News

Sky News

On election day, Danica De Giorgio will start it’s coverage with a special edition of First Edition: America Decides. Sky News Washington correspondent Annelise Nielsen will be live from Washington DC.

See also: USA Election: Sky News’ Annelise Nielsen on working the Washington beat and talking to voters

First Edition anchor Peter Stefanovic will report live from Trump headquarters in West Palm Beach, while AM Agenda Anchor Laura Jayes will bring all the latest updates from Harris headquarters.

Sky News Australia’s coverage across the day will also include former Australian Ambassador to the United States Joe Hockey, former Deputy Press Secretary to President Bill Clinton Jim Kennedy, former White House chief of staff to President Donald Trump Mick Mulvaney, former White House Press Secretary for President Trump Sean Spicer, foreign editor at The Australian Greg Sheridan and Sky News US analyst Michael Ware.

Sky News chief news anchor Kieran Gilbert will be joined during the day by political editor Andrew Clennell, Sky News political contributor Chris Uhlmann, anchor of The Kenny Report Chris Kenny, anchor of The Bolt Report Andrew Bolt, anchor of The Rita Panahi Show Rita Panahi and host of Afternoon Agenda Ashleigh Gillon will be live from a watch party in Perth.

Sky News coverage will also be carried live on Sky News regional and FAST channel Sky News Now, and through Sky News Radio on DAB+ in Sydney, Melbourne and Brisbane.

SBS

From 10:00 am, SBS will broadcast an SBS World News special hosted by Janice Petersen, featuring exclusive live coverage of the US election from SBS’s American partner, PBS News.

The PBS News Election 2024 special will be broadcast live from Shirlington, Virginia on Tuesday 5 November. It will feature continuous coverage from every jurisdiction as polls close for the Presidential, Vice Presidential, House of Representatives and Senate elections.

More on the US election, 2024:

Newspaper editor Bevan Shields still believes in an election editorial stance

ABC’s Carrington Clarke on Trump, Harris and the campaign trail

Sky News’ Annelise Nielsen on working the Washington beat and talking to voters

In this episode, we peel back the layers to reveal ‘The Person Behind the Profile’ with Rose Herceg – President of WPP, Australia and NZ

Rose challenges the status quo with her small business sensibilities and commitment to transparency, kindness, and servant leadership. Tune in to learn how Rose is navigating the corporate giants with an entrepreneurial style, and why telling the uncomfortable truth is the key to her success.

TrinityP3 has unveiled senior promotions and appointments to the marketing management and pitch consultancy in response to the rising demand for advanced data, analytics, and ad tech expertise.

Anton Buchner has been promoted to business director, as Dr Kate Gunby and Adrian Treahy join to help the consultancy.

“Every day, we are talking to marketers challenged by their tech stacks or adtech,” said Darren Woolley, founder and global CEO of TrinityP3. “They have often invested millions in ensuring they have a deep data capability or analytic tools to help them drive growth but then quickly realise that they are only using a small percentage of that capability – often at a significant cost.

“The appointment of Kate and Adrian and the promotion of Anton are a major expansion in TrinityP3’s deep capacity in this space. We work with major brands every day to ensure they are getting the most out of their data/tech investment and often help them to ensure that multiple systems are working in alignment to ensure they are getting the most out of their marketing investment. Critically, we provide an independent market perspective with no vested interest in vendors or suppliers.”

Buchner will step into the role business director at TrinityP3 to help drive the expanded data, analytics and technology offering. He has been involved with consultancy for almost 14 years and, before that, held senior roles at Loud and STW/Ogilvy.

Marketing effectiveness expert Dr Gunby joins TrinityP3 after completing her PhD at the University of Sydney, where she lectures in marketing research and analytics. She is a former general manager of Annalect and has also worked in data analytics roles at Merivale.

Treahy returns to TrinityP3 after six years with Infosys. He has extensive experience and expertise in developing and implementing ad tech and martech solutions for major businesses.

The appointments come after the recent hiring of Nic Christensen as a senior consultant. Christensen is a former head of corporate communications for media companies Nine and SBS and joins the consultancy as a fractional chief communications officer.

–

Top image: Anton Buchner, Dr Kate Gunby, Adrian Treahy

Orchard has won the digital account for the Royal Agricultural Society of NSW (RAS).

The strategic partnership will see the digital creative agency lead RAS’ digital innovation across key divisions, including the Sydney Royal Easter Show, Sydney Royal Wine, Dairy & Fine Food Shows, and the Sydney Showground.

In addition to working across RAS’ portfolio of brands, Orchard has been selected to support the RAS Foundation, which helps build sustainable and resilient rural and regional communities in NSW, by providing scholarships for education and training, and grants for community development.

“Orchard’s proven expertise in digital innovation and their deep understanding of our mission made them the perfect partner for us,” Frances Jewell, head of marketing at RAS, said. “Their ability to merge creativity with strategic thinking and invent better outcomes will help us further our innovation and digital customer experience while supporting our efforts to build sustainable rural communities.

“We are confident that Orchard’s forward-thinking approach will drive future growth, in particular the Sydney Royal Easter Show and our diverse portfolio of brands.”

Wai Kwok, CEO of Orchard, said: “We are incredibly honoured to be chosen as the Royal Agricultural Society of NSW’s digital partner. This partnership presents a unique opportunity to leverage our expertise in digital transformation for one of Australia’s most iconic institutions.

“We’re excited to collaborate with the RAS team, driving innovation across their brands while celebrating and supporting their commitment to sustainability and community development in rural Australia,” Kwok added.

This win comes after Hannah Bissex was promoted to the newly-created role of managing partner – health to support and strengthen Orchard’s healthcare offering earlier this year.

As managing partner – health, Bissex will be responsible for setting the vision and growth for Orchard Health, expanding its footprint into medical education, and working with industry-leading brands to design and build connected medical experiences.

See also: Orchard promotes Hannah Bissex to managing partner – health

Monday 4 November 2024: VOZ Total TV Ratings Overnight Top 30 – Programs ranked on reach

Total People TV Ratings

Nine’s The Block recorded a total TV national reach of 2,167,000, a total TV national audience of 1,192,000, and a BVOD audience of 178,000.

Nine’s 9News recorded a total TV national reach of 1,932,000, a total TV national audience of 1,164,000, and a BVOD audience of 94,000.

Seven’s Seven News recorded a total TV national reach of 2,110,000, a total TV national audience of 1,303,000, and a BVOD audience of 63,000.

Also on Seven, My Kitchen Rules recorded a total TV national reach of 1,628,000, a total TV national audience of 946,000, and a BVOD audience of 86,000.

Last night’s MKR Ultimate Instant Restaurant round saw Simone and Viviana serve their most ambitious menu yet. A rollercoaster of dishes saw their scores range from four to a perfect 10.

Dessert saved the day, and the modern Italians landed safely at the top of the leaderboard with a total score of 68 out of 100.

The menu included Prosciutto and Melon Cheesecake or Crostini di Polenta for entrée, Pappardelle with Duck Ragu or Risotto with Scampi and Stracciatella for main, and Tiramisu or Sfogliatella Ricca (pastry shell filled with custard) for dessert.

10’s airing of Matlock recorded a total TV national reach of 976,000, a total TV national audience of 514,000, and a BVOD audience of 12,000.

People 25-54

Nine’s The Block:
• Total TV nation reach: 813,000
• National Audience: 501,000
• BVOD Audience: 108,000

Seven’s Seven News:
• Total TV nation reach: 567,000
• National Audience: 331,000
• BVOD Audience: 33,000

Seven’s My Kitchen Rules:
• Total TV nation reach: 513,000
• National Audience: 272,000
• BVOD Audience: 46,000

10’s Matlock:
• Total TV nation reach: 275,000
• National Audience: 133,000
• BVOD Audience: 6,000

People 16-39

Nine’s The Block:
• Total TV nation reach: 366,000
• National Audience: 220,000
• BVOD Audience: 62,000

Seven’s Seven News:
• Total TV nation reach: 205,000
• National Audience: 115,000
• BVOD Audience: 16,000

Seven’s My Kitchen Rules:
• Total TV nation reach: 196,000
• National Audience: 108,000
• BVOD Audience: 23,000

10’s The Project:
• Total TV nation reach: 113,000
• National Audience: 43,000
• BVOD Audience: 4,000

Grocery Shoppers 18+ TV Ratings

Nine’s The Block:
• Total TV nation reach: 1,690,000
• National Audience: 943,000
• BVOD Audience: 144,000

Seven’s Seven News:
• Total TV nation reach: 1,682,000
• National Audience: 1,061,000
• BVOD Audience: 51,000

Seven’s My Kitchen Rules:
• Total TV nation reach: 1,304,000
• National Audience: 754,000
• BVOD Audience: 69,000

10’s Matlock:
• Total TV nation reach: 788,000
• National Audience: 421,000
• BVOD Audience: 10,000

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.