Capgemini ANZ is integrating The Works creative agency into its business, Mediaweek can confirm.

A Capgemini spokesperson clarified to Mediaweek that, contrary to media reports, The Works is not closing but being integrated into the agency. However, the existential implications for The Works, which has offices in Sydney and Auckland, remain uncertain.

The move has reportedly led to a series of redundancies affecting at least half the agency. Partner Douglas Nicol has confirmed his departure while creative partner Damian Pincus and managing director Julie Dormand are also said to have departed.

Nicol confirmed his departure in a statement on LinkedIn.

“After 18 wonderful years, I have made the decision to leave The Works,” he said.

“After selling the business to Capgemini in 2017 we have been bringing the various Capgemini skills closer and closer together to offer clients a wider range of services. This feels like the right time to hand over to the next generation of awesome young leaders in our business.”

Nicol stated that after a period of consulting for The Works two days a week, he plans to split his time on paid consulting work, and offering pro bono support to organisations he cares about.

Jerome Gaslain, who was recently promoted to The Works’ growth creation partner, will lead the remaining team.

“As we are in the process of integrating The Works into Capgemini AUNZ, we are preparing our organisation to ensure we meet the evolving needs of our clients and the market,” the spokesperson told Mediaweek.

“Jerome Gaslain will oversee the team as they continue to focus on delivering great outcomes to our clients.”

The Works was founded by Pincus and Kevin Macmillan in 2002 and was acquired by ASX-listed digital consulting business RXP in 2017 for $33 million. At the time, Pincus commented: “Thank goodness they didn’t sell to a multinational.”

In March 2021, Capgemini, a French multinational information tech services and consulting company, acquired RXP in a $95 million deal, expanding its operations in Australia and New Zealand. The deal brought Capgemini and RXP’s combined workforce to over 2,000 people in Australia.

Following the acquisition, Luc-Francois Salvador, executive chairman of Capgemini in Asia Pacific and the Middle East, said:

“This transaction will be a step change for Capgemini in Australia and illustrates Capgemini’s growth ambition in Asia Pacific.

“Both companies share similar values and vision of the role of technology and humanity in successfully transforming businesses and society. Our strengths will enable us to use insights, design and technology to create inclusive and sustainable futures for our clients.”

The fate of The Works and its remaining staff amid the integration is yet still unknown. Only last December, the agency announced the promotions of Dormand to managing director, Jen Hird to general manager of operations, Rosie Carey to creative project leader, Tim Brothers to creative lead, and Maria Nguyen to finance and HR admin director.

In September, Claire Stapleton was promoted to creative director.

More to come.

–

Top Image (L-R): Damian Pincus, Julie Dormand, Jerome Gaslain, Claire Stapleton

Paramount ANZ has been reportedly poised on the brink of signing a new TV deal for the Matildas.

The deal is speculated to be worth $200m, double the previous deal of $100m. Is that deal still worth $200m post-Paris 2024? This is just one, and perhaps the smallest, of a number of sports rights deals that have been signed that see sporting bodies reaping massive paydays.

Broadcasters have long seen live sports as the one surefire magnet for viewers. So much so that increasing amounts of budgets are being dropped on securing sports, often at the cost of other programming. However, that in itself is a story for another day.

Rupert Murdoch pioneered huge sports rights offers that shook up the broadcast market and were transformative for the broadcaster. His British football bid, with guidance from then BSkyB boss Sam Chisholm, won the rights to live Premier League football in a £304m five-year deal when the Premier League launched in 1992. It was seen as putting the subscription service on the map. (The recently completed deal for Premier League – four years starting 2025-26 – was worth £6.7b.)

A year later, Murdoch’s 1993 bid for NFL rights saw David Hill riding shotgun. Murdoch’s Fox Network easily outbid incumbent CBS for a rights package with a US$1.58b offer across four years. The amount was US$500m more than CBS had paid under their existing deal.

Matildas starting 11 for the USA game in Paris.
Top: Matildas at the 2023 World Cup

What the Matildas mean to 10

It’s hard to see that the doubling of the cost for the Australian women’s soccer team will be a game changer for 10 and Paramount+. There’s not a lot on offer. Click on the fixtures tab on the Matildas page at Soccer Australia and you get the message “No upcoming fixtures found”. The new deal would include the 2026 Women’s Asian Cup and 2027 Women’s World Cup in Brazil.

What it does do is give 10 and Paramount+ international premium sport with an Australian presence. And it supplements other packages of football that Paramount ANZ has – from the FA Cup to the A-League.

The bidder for Matildas’ matches could rethink the deal after the team that finished fourth in the World Cup in 2023 failed to make the Paris Olympics quarter-finals. Of the 12 teams in competition, eight made it to the next round. Australia wasn’t one of them. It is also now without a head coach.

Australians can be harsh judges when a team fails to live up to expectations – at the Olympics or in other competition. In the Matildas’ case the re-evaluation seems justified.

Daily Telegraph columnist and former Socceroo Robbie Slater was consistent with his recent reviews. “An unmitigated disaster” was how he started one of his post-Games summaries.

10 possibly needs to pay above the odds for forthcoming matches though, given the lack of other options with all the major sports tied up in long-term deals elsewhere.

Other recent deals that have set new records

NBA deal: NBC has burst back onto the scene as a broadcaster of basketball after a long absence. The NBA recently announced Disney, Comcast (NBC owner) and Amazon will pay US $77 billion over the next 11 years. More than doubling the prices paid in the previous deal. That locked current rights holder Warner Bros Discovery (WBD) out of the deal and triggered a court challenge. WBD claims to have triggered the clause that allows it to match the winning bid. The NBA claims what they offered didn’t match the offer. The package that WBD is arguing over has been sold to Amazon. What the new deal does is give the NBA a lot more money, and NBC and Amazon get sports that round out their offerings to subscribers.

See also: Prime Video, NBA, and WNBA enter 11-year global media rights agreement

English football: Last December the Premier League agreed a new deal with Sky and TNT Sports worth £6.7b for four years of UK TV rights. It didn’t bring in a lot more money, with the Premier League deciding to work again with “trusted broadcast partners”. What was interesting was the Sky deal with the English Football League for coverage of teams playing in the second, third and fourth tiers of English football. Sky’s former deal was £119m annually for 243 matches in those lower leagues. Its new deal, which starts on Friday night this week, sees it paying £187m a year for over 1,000 games. While it secures Sky an incredible amount of football, it is being called transformative for the clubs which will receive between £2m to £200,000 additional each annually.

Patrick Delany and Peter V’landys in Las Vegas this year

NRL and AFL opportunities

Although the NRL has a deal with its broadcaster partners through until the end of 2027, it is reportedly sharpening the pencil of what it might be looking for in its next deal. Chis Barratt recently reported the NRL signalled to TV networks that it wants to open broadcast rights negotiations early. “[The NRL is] seizing on new anti-siphoning laws that pave the way for it to sell streaming rights to global players such as Amazon and Netflix.” Incumbent Australian rights holder Nine recently hosted League bosses Peter V’landys and Andrew Abdo in Paris to take in the Olympic Games. There’s already much speculation about what the next NRL packages might look like with potentially 10 games a week in a 20-team competition. V’Landys recently suggested the number of rounds could decrease from 24 to 19, opening up the option of a mid-season break for State of Origin.

AFL chairman Richard Goyder with Seven’s Kerry Stokes

The AFL has a new rights deal that doesn’t start until the 2025 season and runs until 2031. Even in the crazy world of sports broadcast rights, it’s too early to talk about what might come next. What is interesting though is the AFL’s plan to look at potentially introducing a “wildcard weekend”. That would see the teams who finish the home and away rounds ranked 7-10 playoff in two matches for a place in the AFL Final Series. The games would be played at the end of regular games on the weekend currently free of football in late August. It is thought the AFL would have to offer this new package to existing broadcast partners, Seven and Foxtel, but it could give other hopefuls like Nine, 10 or a streaming platform, a foot in the AFL door. SEN’s Dwayne Russell suggested recently this is on for next year. Longtime wildcard advocate Craig Hutchison is being credited as one of the driving forces for the change. Hutchy suggested this week the initiative should be called The Gauntlet.

After Elon Musk told advertisers fleeing the platform to “go f*ck yourself” in November, X has filed an antitrust lawsuit against the Global Alliance for Responsible Media (GARM) and major brands for their “massive advertiser boycott”.

As well as GARM, X is taking action against the World Federation of Advertisers (WFA), and GARM members CVS Health, Mars, Orsted, and Unilever.

In an open letter posted to the social media platform by X CEO, Linda Yaccarino, she claims that “The illegal behavior of these organizations and their executives cost X billions of dollars.”

“The consequence – perhaps the intent – of this boycott was to seek to deprive X’s users, be they sports fans, gamers, journalists, activists, parents or political and corporate leaders, of the Global Town Square,” Yaccarino added.

Posting to his own account, Elon Musk added “We tried peace for 2 years, now it is war.”

Advertisers began withdrawing from the site at the end of 2023 after Musk posted his agreement with an antisemitic tweet, claiming Jewish communities were pushing “dialectical hatred against whites.” Combined with a reported rise in hate speech on the platform, the decision was made by several major companies that X was no longer brand-safe. 

In a December interview on stage in New York, Musk told interviewer Andrew Ross Sorkin “if someone’s going to try to blackmail me with advertising, blackmail me with money, go f*ck yourself.”

In June, Musk backtracked in an interview with Mark Read, chief executive of WPP, in a session at the Cannes Lions International Festival of Creativity in France. 

Insisting that his original message “was with respect to freedom of speech,” Musk said “Advertisers have a right to appear next to content that they find compatible with their brands. That’s totally fine… What is not cool is insisting that there can be no content that they disagree with on the platform.”

On Tuesday, Musk tweeted his encouragement for “any company who has been systematically boycotted by advertisers to file a lawsuit,” and added that “Everyone who has been boycotted should file a lawsuit in every country they’ve been boycotted.”

–

Top image: Elon Musk

Spotify’s new Podcast Comments feature is part of the music streaming service’s commitment to “giving podcast creators new ways to grow and build stronger relationships with their listeners.”

The new feature expands on functionality introduced in 2021 when Q&A and Polls were introduced to encourage engagement between podcasters and their fans. Podcast creators can now use Spotify for Podcasters to interact with listeners, check their latest stats, and track growth in real-time. Fans can now also directly comment on the podcast episodes they’re listening to on Spotify.

Prithi Dey, podcast lead at Spotify AUNZ told Mediaweek that podcasts have historically been a one-sided format, and the introduction of these new features will help creators “build powerful communities.”

“While we’ve offered other interactivity features like Polls and Q&A for some time, we’ve long heard from both podcasters and listeners alike that they want more ways to interact with one another,” she said.

“Now listeners can have a two-way conversation with their favourite podcast hosts on Spotify, while podcasts can get near-immediate feedback from their audiences, helping creators build powerful communities around their shows.”

Former head of growth at The Daily Aus and growth consultant Isaac Peiris says Spotify has “been making big moves” into podcasting and audiobooks on top of their foundation in music. 

“The updated comments feature on top of polling, the discovery feed, and Clips suggest a strategic shift towards facilitating social interaction,” he said.

“By incorporating these social features, Spotify is positioning itself as the place for community interactions that are currently happening on social platforms like Instagram and TikTok.

“[Spotify is also] transforming passive listening into active participation, encouraging users to engage more with the content, artists, and each other.”

Spotify’s 2024 Podcast Trends Report found that 63% of people trust their favourite podcast host more than their favourite social media influencer. Dey says this stat combined with the rollout of features that encourage two-way interactivity “will only help build these communities and trust between creators and their fans.”

“Video is also becoming core to the Spotify experience, and has been an area that we have been investing in in order to connect creators and fans in deeper ways,” she said.

“This has been embraced by podcast listeners and creators in a growing way, and there are now over 250,000 video podcasts on Spotify.

“The video format can add an additional layer of authenticity and connection for fans, and that’s why we continue to hear that audiences want the ability to not only listen, but also watch their favourite shows on Spotify.”

Spotify’s success with video is a sentiment shared by TikTok and Instagram, as the 2024 Digital News Report released in June found that three in four (75%) of Australians say they have watched shore online news videos.

This figure is followed by longer online videos (62%) and live online video streams (59%). 

The report states that the top source of online news videos for Aussies is news websites or apps (23%) followed by Facebook (18%) and YouTube (16%).

Peiris acknowledges that it’s still very early days, but if Spotify rolls these new features out to music artists as well as podcasts, things will “get very interesting.”

“If Spotify can keep audiences on-platform by facilitating social interactions, they can carve out a unique niche in the social media landscape and capture a share of attention, as well as the ad dollars that come with it.”

Foxtel is increasing prices for several of its subscription packages, effective from 1 September 2024.

Foxtel Plus rises by $3 per month; Foxtel Plus with Netflix packs (including Platinum Plus) will increase by $5 per month; 2024 Platinum with Netflix rises by $2 per month and Netflix Premium Add On will rise by $1 per month.

The price increases come off the back of already lifted prices, which were put in place on 1 July 2023.

The 2023 price increases saw the base packs (Essentials, Entertainment and Foxtel Plus) increase by $3 per month while the BYO Platinum HD package increased by $2 per month. Platinum Plus remained at $140 per month.

A Foxtel spokesperson told Mediaweek: “We’re committed to delivering the best entertainment experience. This change ensures we can continue investing in future technology, the most exciting sports and a diverse range of international shows and homegrown Foxtel Originals.”

The new price increase comes as Foxtel and Binge drop the BBC premium drama channel BBC First on 1 August. 

BritBox will now be the home of British drama on Foxtel, with the streaming service joining its suite of integrated apps on iQ set-top boxes, along with a line-up of new dedicated channels. These channels include The Outdoor Channel (ch.131); NatureTime (ch.134); Vevo pop (ch.806); Vevo Retro Rock (ch.809); Vevo ’90s (ch.808), and Vevo 2K (ch.807).

The base Foxtel subscription package, Foxtel Plus is now $70 per month on a 12-month plan, while Foxtel Now, the company’s subscription streaming service is $25 per month, making it Australia’s most expensive streaming service.

Australia’s cheapest service is Paramount+, with its basic, ad-supported tier at $6.99 per month. This is followed by Netflix’s standard, ad-supported tier at $7.99; Prime Video’s Monthly Plan with ads at $9.99; Binge’s Basic, ad-supported tier at $10.00; Stan’s Basic tier at $12.00; Apple TV Plus’ Monthly tier at $12.99 and Disney+’s Standard monthly plan at $13.99. 

Disney+, Apple TV Plus and Stan are the only main streaming services in Australia that do not have an ad-supported tier. 

Foxtel Media has revealed two new partnerships with Vodka Cruiser and Snaffle for the new season of the dating reality TV show, FBoy Island.

The show, popular amongst the 18-34 cohort, is home to Vodka Cruiser’s and Snaffle’s first BINGE collaborations.

The FBoy Island campaign is also Vodka Cruiser’s first-ever integrated partnership for a BINGE Original unscripted format. 

The integrated cross-platform campaign includes incidental product placement in the show, as well as new BINGE streaming sponsored assets, such as billboards and commercial playouts.

In another first for BINGE, the campaign also features a bespoke integrated television commercial shot on set during an elimination scene and a social media series featuring the cast of ladies looking for love – Krystal Thomas, Ally Woodfall and Nicole Mitrov.

Angelique Kyritsis, brand manager at Asahi, Vodka Cruisers’ parent company, said, “With the buzz and excitement surrounding the second season of FBoy Island, we knew BINGE was the ideal platform for Vodka Cruiser’s new Cola flavour. We’re excited to be partnering with BINGE on this initiative and to participate in the contestants’ journeys to finding true love while enjoying the experience, which is what Vodka Cruiser is all about.”

Snaffle, an e-commerce store with built-in consumer finance, will launch its first-ever public activation and partnership with BINGE. Utilising talent appearances, competition elements and a strategic social media campaign in collaboration with BINGE, the campaign promotes “getting what you want, when you want” with Snaffle, the “home of bite-sized payments”.

Paul Winslow, chief marketing officer at Snaffle, said, “The Snaffle Strut is an encapsulation of how you feel when you shop with us and get what you want, when you want, for bite-sized payments that still leave cash in your pocket to enjoy everyday life. We found an ideal fit with BINGE’s FBoy Island, which shows off people strutting in the way our customers might, and also hits our key demographic.”

FBoy Island’s second season kicked off on 5 August.

Credits:

Foxtel Media
Alexandra Hazelhurst
Chiara Attard
Dolly Herbert
Jim Wilson
Mack Rivett
Ivanna Brasnjovic

PHD
Elizabeth O’Dowd
Ryan Wahl

Habitat M
Sam Brownbill
David Ross

Are Media has appointed Megan Osborne as editor of Better Homes and Gardens, effective 14 August.

Osborne brings experience in brand, content and marketing strategy to the lifestyle title. Most recently, Osborne worked as digital team director, as well as lead on content strategy and creative direction with The Mint Partners communications agency. In her previous role, she worked with brands such as Archie Rose, Volvo, ArchiPro, Pernod Ricard, and Marriott International.

She has also previously worked with Hardie Grant Publishing and Woolworths as content director across numerous channels.  

Lisa Hudson, Are Media general manager – homes, said: “I’m very excited to welcome Megan to the Are Media team and can’t wait for her to start. She is very talented and experienced omnichannel content strategist and team leader, with a proven track record in thinking outside the box. Megan has a real passion for the Better Homes and Gardens brand and comes with exciting ideas to reach new audiences, build community and diversify revenue.”

Reporting to Hudson, Osborne will be responsible for all Better Homes and Gardens channels, which have a monthly reach of more than 2.2 million people.

Osborne said: “I’ve been amazed at just how effectively this brand has burrowed its way into the hearts of so many Australians.”

“It has the category ability to resonate across generations. This is something I particularly look forward to embracing alongside the talented team.”

Hudson added: “Megan has a real passion for the Better Homes and Gardens brand and comes with exciting ideas to reach new audiences, build community and diversify revenue.”

Hudson has been the general manager – homes since October 2023.

In May, Are Media announced two new digital marketplaces, delivering more than 14,000 products via The Australian Women’s Weekly and Home Beautiful brands.

The Australian Women’s Weekly marketplace has a focus on fashion, accessories, jewellery, shoes, homewares and gifts. The Home Beautiful marketplace focuses on home décor, kitchen, bed and bath, dining, and prints and art.

–

Top image: Megan Osborne

With the Paris Olympics heading towards the closing ceremony, News Corp Australia has reported a boost in audience numbers across its digital brands and platforms.

During the first ten days of the Paris games, News Corp’s digital news sites, video, social and audio content have resulted in 126 million page views for news.com.au, plus 18 million video plays – up 38% from the Tokyo games. The most popular video to date with 484,000 plays was Michael Phelps reacting to a swim star dominating in the pool. 

Lifting 10%, there have been 86 million page views of the digital print editions of The Australian, as well as state and regional mastheads – which include a daily Olympics wrap.

News’ daily Paris newsletters have been opened 420,000 times in the first ten days, and 670 articles have been filed so far by News’ journalists on the ground in Paris, twice the number from Tokyo. 

On social platforms, News Corp content has recorded 7 million video views, up 39%, 55 million content impressions, up 18%, as well as 4 million social engagements, up 30%.

There have been 160,000 downloads of the Matty & The Missile in Paris podcast so far, doubling the downloads of the Matty Johns audio feed week-on-week.  

News Corp Australia Olympic Editor Mick Carroll said “For the first time, News has brought its entire business together under one umbrella. This whole-of-business approach has allowed us to produce more content, across more platforms, while reaching new audiences. 

“From print to digital, video to podcasting and newsletters to social, we have every angle covered. This is one of the most ambitious projects we have undertaken and it is clearly resonating with our audiences.” 

Speaking to Mediaweek about News Corp’s Olympic coverage, Tim Morrissey, national deputy sports editor and sports commercial editor, said the company has several key commercial supporters for Paris, including Harvey Norman, Woolworths, Omega, and Asics.

“We are able to help our partners stand out in a traditionally cluttered environment by creating tailor-made solutions giving clients much more meaningful integration, ensuring unrivalled visibility, reach and engagement,” said Morrissey.

See also: CMOlympics: Tim Morrissey on News Corp’s advertisers, games hub, and unified Paris team

Cartology has renewed its long-term Retail Out of Home partnership with Mirvac, including the addition of Sydney’s Broadway Centre for the first time.

The agreement will see Cartology own, manage, and operate over 230 small and large format retail out-of-home screens within nine Mirvac centres across Australia’s eastern seaboard including Birkenhead Point, Broadway Sydney, Greenwood Plaza, Moonee Ponds, Orion Springfield and more.

Broadway Centre is located on the fringe of the Sydney CBD and hosts over 11 million annual customer visits. It is home to over 140 local and international brands and is ranked #2 in Australia for annual turnover per square metre, reaching customers from fashion and home goods to electronics, dining, and grocery.

Tom Windeyer, general manager of commercial development and new business at Cartology expressed his enthusiasm for the expanded partnership with Mirvac.

“This partnership broadens our Retail Out of Home scale, enabling both FMCG and non-FMCG brands to forge meaningful connections with their target audiences at the right moments during their shopping journeys.

“Fueled by our robust customer insights, we can connect brands to the right customers and deliver more relevant and impactful experiences in-centre.”

Mirvac’s general manager – retail, Alison Flemming said Mirvac’s partnership with Cartology “has been a fantastic collaboration to date.”

“Our aim is to create engaging and relevant experiences for our customers across our retail centres and we are confident this partnership with Cartology and the Woolworths Group, will help us achieve that goal.”

The partnership renewal follows Cartology’s retail out-of-home growth with Vicinity Centres nationwide, bringing its total retail out-of-home offering to over 3,400 screens.

Australia’s largest shopping centre, Chadstone, is among the first to have been impacted by the partnership with Cartology. Chadstone receives over 20 million annual visits.

See also: Cartology and Vicinity Centres partnership to set 1,000 digital screens live
See also: Coca-Cola, Nestlé, Peters, Vittoria Food & Beverage score at Cartology retail media awards

Carat Western Australia, a dentsu company, has been appointed to the Harvest Road Group, a family-owned West Australian integrated Cattle, Beef and Aquaculture business that houses WA brands Harvey Beef and Leeuwin Coast.

Carat will be responsible for media strategy, planning, and buying services across the Harvest Road Group portfolio.

Monica Slack, Harvest Road brand manager said: “We are thrilled to be entering into a strategic partnership with Carat. Carat will help us connect with even more West Australians, to tell our unique and compelling brand stories.

“We were very impressed with the level of strategic thinking that Carat displayed, and we believe they have the right mix of agility, expertise, and resources to support us.

“They clearly demonstrated their proficiency in data insights, media strategy and have a team who are committed to supporting our charge for growth.” 

Andrew Forrest acquired meat processing company Harvey Beef in 2014, with the Harvest Road Group growing to concentrate on three core areas: meat, aquaculture and plant-based.

Carat’s client lead Michelle Testa said: “It’s exciting to add a premium brand to our roster and partner with a powerful West Australian business looking to achieve accelerated growth across the country.”

Sophie Park, Harvest Road client manager said: “The team is beyond thrilled to be working with such an iconic Australian brand. We put dentsu’s proprietary planning and geo-mapping tools to the absolute test on this new business approach and were able to demonstrate our capability and new thinking as a result.”

For Carat WA, the appointment follows from the agency securing a partnership with Summit Homes to handle media strategy, planning and buying services in 2024.

“The WA building industry is a dynamic and hugely competitive sector; we look forward to leveraging the agency capability and Carat’s unrivalled understanding of consumers to help Summit Homes Group win in market,” Carat WA managing director Jim Groves, who joined the agency last year, said.

The appointment is effective immediately.

Maven PR has secured the PR account for Tinybeans, the private family photo-sharing platform. 

Tinybeans offers a private space for parents to capture and share their children’s milestones. By partnering with Maven PR, Tinybeans states it aims to enhance its brand presence in Australia, deepen engagement with its audience, and expand its market reach.

Sophie Muir, founder and director of Maven PR said: “Tinybeans is a cherished resource for families, and we are excited to contribute our strategic insights and creative prowess to help them connect with even more parents across Australia.

“Our team is passionate about supporting brands that make a positive impact on everyday lives and with everything we see in the news on a daily basis around deep fakes and the mis-use of images of minors, there’s never been a more vital time for an app like Tinybeans.”

Maven PR will implement a comprehensive PR strategy for Tinybeans, focusing on media relations and creative campaigns. Maven PR states it aims to generate compelling, newsworthy stories that highlight Tinybeans’ unique offerings and values.

“We are excited to work with Maven PR to elevate our brand in Australia,” said Zsofi Paterson, CEO of Tinybeans. “Their innovative approach and dedication to storytelling align perfectly with our mission to foster love, not likes, by helping families capture, share and treasure their everyday moments privately and securely. We look forward to achieving great things together.”

Tinybeans’ PR announcement comes off the back of James Warburton, former managing director and CEO of Seven West Media, joining the board of the photo-sharing app as a non-executive director. His tenure began on 1 July.

Speaking of his new role, Warburton said “I’m excited about the opportunity for Tinybeans. It is a business with incredible potential to grow and scale given the issues of privacy that will continue to be at the forefront of people’s minds.

“My interactions with the chair Chantale Millard and chief executive Zsofi Paterson have been impressive, and I look forward to proactively assisting to maximise the return for all shareholders.”

See also: James Warburton confirms new role after leaving Seven

The 9Network’s Monday TV ratings for the broadcast of the Olympic Games Paris 2024 (up until 2.00am Monday AEST) saw a National Total TV Reach of 8.913 million across Channel 9, 9Gem and 9Now.

Olympic Games Paris 2024 Day 10 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 4.721 million, a Total TV National Audience of 1.855 million and a BVOD audience of 243,000. This session saw Australian pole vaulter, Kurtis Marschall jump his way through the Men’s Pole Vault Final.

The evening session numbers have recovered in the past few days after dipping last week. Here is the summary of the TV ratings 7-9pm primetime total average national audience so far:

Saturday 27 July 1.817m
Sunday 28 July 2.512m
Monday 29 July 2.058m
Tuesday 30 July 2.034m
Wednesday 31 July 1.892m
Thursday 1 August 1.706m
Friday 2 August 1.577m
Saturday 3 August 1.636m
Sunday 4 August 1.972m
Monday 5 August 1.885m
7-9pm daily. Source: OzTAM/VOZ Tortal TV Total People National Average + BVOD
For more detail on each day, visit Mediaweek’s TV ratings portal.

Noemi Fox winning Gold

More Monday Olympic TV Ratings

Olympic Games Paris 2024 Day 10 Night Session 2 (21:00-22:30) was Australia’s No.2 program with Total People and all key demographics. In this broadcast, viewers watched on as Australian athlete Rose Davies ran the Women’s 5000m Final. It secured a National Total TV Reach of 3.616 million, a Total TV National Audience of 1.359 million and a BVOD audience of 205,000.

Olympic Games Paris 2024 Day 10 Late (22:30-24:00) dominated its timeslot across Australia with Total People and all key demographics. The broadcast which saw Japan defeat Australia in the Men’s Water Polo tournament, achieved a National Total TV Reach of 1.915 million, a Total TV National Audience of 684,000 and a BVOD audience of 112,000.

Olympic Games Paris 2024 Day 10 Afternoon (15:00-18:59) dominated its timeslot across Australia with Total People and all key demos. It achieved a National Total TV Reach of 2.838 million, a Total TV National Audience of 727,000 and a BVOD audience of 90,000. The Afternoon session saw Australian canoeist Noemie Fox win gold in the Canoe Slalom Women’s Kayak Cross, becoming the first ever Olympic champion to win in that event.

9News was Australia’s No.1 news bulletin of the night in TV ratings across all key demos and Total People. The combined national bulletins achieved a National Total TV Reach of 2.835 million, a Total TV National Audience of 1.550 million and a BVOD audience of 180,000.

Karl and Sarah hosting Today in Paris

Today in Paris had an average Total TV Audience of 702,000. The breakfast TV show coming from Paris had a National Total TV Reach of 1.956m.

The 9Network was the No.1 network across the 5 City Metro with Total People and all key demographics, securing huge shares of 58.72% with People 25-54, 65.27% with People 16-39 and 48.81% with Total People.

9Now was the No. 1 CFTA BVOD platform across Australia with Total People and all key demographics, recording the following massive shares of 80.64% with People 25-54, 83.04% with People 16-39 and 78.43% with Total People.

Monday 5 August 2024: VOZ Total TV Ratings Overnight Top 30 – Programs ranked on reach

Total People TV Ratings

Nine’s Olympics 2024 D10 – Night recorded a total TV national reach of 4,721,000, a total TV national audience of 1,855,000, and a BVOD audience of 243,000.

Seven’s The Chase Australia recorded a total TV national reach of 1,460,000, a total TV national audience of 762,000, and a BVOD audience of 36,000.

Also on Seven, Home & Away recorded a total TV national reach of 1,161,000, a total TV national audience of 808,000, and a BVOD audience of 108,000.

On Home & Away, Eden’s friends pushed her in the right direction, Mackenzie gave Mali a talking to and Perry was ready to run.

10’s airing of Have You Been Paying Attention? recorded a total TV national reach of 892,000, a total TV national audience of 566,000, and a BVOD audience of 25,000.

Have You Been Paying Attention saw Anne Edmonds, Tommy Little, Claire Hooper, Ed Kavalee and Sam Pang all compete to see who’s been paying attention the most with host Tom Gleisner and guest quizmaster Chrishell Stause.

People 25-54

Nine’s Olympics 2024 D10 – Night:
• Total TV nation reach: 1,874,000
• National Audience: 703,000
• BVOD Audience: 144,000

Seven’s Home & Away:
• Total TV nation reach: 351,000
• National Audience: 237,000
• BVOD Audience: 60,000

10’s Have You Been Paying Attention?
• Total TV nation reach: 335,000
• National Audience: 223,000
• BVOD Audience: 15,000

People 16-39

Nine’s Olympics 2024 D10 – Night:
• Total TV nation reach: 950,000
• National Audience: 337,000
• BVOD Audience: 84,000

Seven’s Home & Away:
• Total TV nation reach: 140,000
• National Audience: 104,000
• BVOD Audience: 37,000

10’s Have You Been Paying Attention?
• Total TV nation reach: 123,000
• National Audience: 89,000
• BVOD Audience: 7,000

Grocery Shoppers 18+ TV Ratings

Nine’s Olympics 2024 D10 – Night:
• Total TV nation reach: 3,549,000
• National Audience: 1,404,000
• BVOD Audience: 190,000

Seven’s Home & Away:
• Total TV nation reach: 945,000
• National Audience: 653,000
• BVOD Audience: 87,000

10’s Have You Been Paying Attention?
• Total TV nation reach: 722,000
• National Audience: 467,000
• BVOD Audience: 20,000

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.