Australian Prime Minister Anthony Albanese announced on Thursday that the government will introduce legislation to ban social media use for children under 16, calling it a world-first initiative.

“Social media is harming our kids, and it’s time to put a stop to it,” Albanese stated at a press conference.

The legislation is expected to be introduced in parliament this year, with the ban coming into effect 12 months after its passage. Notably, the policy will apply universally, with no exemptions for parental consent. “The responsibility will lie with social media platforms to show they are taking reasonable steps to prevent underage access,” Albanese said. “Parents or young people won’t bear this burden.”

Communications minister Michelle Rowland specified that the ban would affect platforms including Meta’s Instagram and Facebook, TikTok, and Elon Musk’s X (formerly Twitter). Google’s YouTube is also likely to be included under the new regulations.

Ray Hadley, a titan of Australian radio, has announced his retirement, concluding a career that began back in 1981 when he unexpectedly impressed a 2UE news director while working as a cab driver.

Since then, Hadley has become one of the most recognised voices in the nation, particularly through his top-rated show on 2GB. “December 13 will be my last day broadcasting,” he said live on air.

For over 20 years, Hadley has consistently dominated his time slot in Sydney, with his program syndicated across more than 30 stations nationwide, including Brisbane’s 4BC, Canberra’s 2CC, and several regional stations throughout NSW, Queensland, and Victoria. His reach and influence have cemented him as a pivotal figure in talk radio.

Hadley made his announcement on Thursday morning during his program, reflecting on a career that has spanned memorable milestones and changes in the industry. After catching the attention of 2UE’s Mark Collier in a chance encounter, Hadley joined the station full-time in 1983. He remained at 2UE for nearly two decades before making a move to 2GB in 2001 to cover weekend rugby league. By mid-2002, he was hosting the morning show—a role he held to great acclaim.

Hadley’s departure from radio will undoubtedly leave a void, as his voice has been a fixture for listeners across Australia for generations. His retirement not only marks the end of an era but also raises questions about the future of his coveted time slot and what lies ahead for 2GB. For his fans and peers, Hadley’s legacy as a broadcaster and community voice will be remembered as one of the most impactful in Australian radio history.

The Australian Traffic Network (ATN), today appointed of former Nine group business director, Heidi Sayers, as NSW sales director – a newly created role under national sales director Karen Holmes.

With more than 20 years of experience across leading media companies, Sayers will drive agency and direct sales in the key Sydney market ahead of ATN’s major relaunch later this month.

She joins from Nine where for more than four years she was group business director across TV, radio, digital, and publishing, developing high-performing teams and creating sales strategies. Prior to this Sayers held senior commercial roles at News Corp Australia, where she was national partnerships director and APN Regional Media.

Reporting to ATN’s recently appointed national sales director, Karen Holmes, Sayers rounds out ATN’s senior sales leadership team including Wade James, sales director for Victoria and South Australia, and Scott Day, Queensland sales director.

Homes said: “Heidi’s experience in driving sales teams across multiple media formats makes her the perfect fit to head up ATN’s NSW team. Her deep understanding of the media and advertising landscape and ability to leverage content-driven strategies will be instrumental in supercharging our direct and agency sales efforts in this key market. As we approach our brand relaunch, Heidi will help us unlock new growth opportunities for our clients and I’m delighted to welcome her to the team.”

Sayers added: “I’m excited to join ATN at such a dynamic time for the business. I have a deep understanding of formats that effectively capture real attention for brands, whilst engaging audiences at scale. I look forward to building on ATN’s strong foundation, extending our client partnerships and helping to drive the business forward.”

Thinkerbell has launched the new Nobody Beats Dan Murphy’s brand platform, which is the final collaboration between the creative agency.

The film follows a customer getting everything she needs for Christmas day at Dan’s, where she knows she’ll find great value. She even has enough left over to grab an extra bottle for those inevitable surprise guests with their somewhat eclectic tastes.

For over 70 years Dan Murphy’s has delivered vast range of local and international drinks, Lowest Liquor Price Guarantee, and expert staff, Nobody Beats Dan Murphy’s is a brand positioning that runs deep, not only through advertising, but through everything Dan’s does.

This work marks the final collaboration between Thinkerbell and Dan Murphy’s who will part ways this month following a pitch process earlier this year in which Thinkerbell declined to participate.

“Dan’s is the liquor destination for Aussie shoppers at Christmas,” Maija Bell, head of brand marketing, Dan Murphy, said. “In the current consumer climate it’s more important than ever that we remind them of what they already know: for all of their hosting, toasting and gifting needs for less, Nobody Beats Dan Murphy’s.”

Tom Wenborn, chief creative Tinker, Thinkerbell, said: “We’re incredibly proud of the work that we’ve been able to achieve with the Dan’s team over the past four, almost five years, and this work is no exception. A final festive bow for the Nobody Beats platform is a fitting conclusion to our rich and enjoyable partnership. We wish Dan’s and the entire Endeavour Group all the best.”

The integrated campaign is live across TV, BVOD, OOH, press, Social, Digital, Radio and in-store.

In July, Endeavour Group appointed BMF as its lead creative agency to work across its portfolio of brands, including Dan Murphy’s and BWS.

BMF is well-known for its role as creative agency of record for ALDI Australia. The agency worked with Ogilvy PR and Zenith Media to launch the supermarket chain‘s largest competition to date under its Good Different platform, ‘ALDIcore’.

Credits
Client: Dan Murphy’s
Agency: Thinkerbell
Media: Carat Australia
Director: Yianni Warnock

Production House: MOFA
Post and online: ARC EDIT
Sound: Rumble

See also: BMF wins Endeavour Group creative pitch

Fantastic Furniture has extended its partnership with Initiative as its media agency for another year.

The Mediabrands agency’s remit will continue to include all national and local broadcast media planning and buying, print OOH, radio, print, cinema and BVOD.

Jo McAlister, managing director, Sydney said the team was delighted to continue its work for Fantastic Furniture. “We set ambitious goals when we were appointed last year, promising Fantastic Furniture’s team that we would increase its brand presence, drive customer engagements and boost sales,” she said.

“Together, we have found a sweet spot, and we have more than achieved those ambitious goals by utilising our industry-leading tools to create new thinking and develop effective campaigns, that are a cut above Fantastic Furniture’s competitors.

“But the most exciting part of our reappointment is we simply love working with Fantastic Furniture’s marketing team and across the business. They are a brave and ambitious team, who are not afraid to try new channels and strategies, and it is this level of trust that we have in each other that has enabled Initiative to deliver best in class outcomes for the brand,” McAlister said.

Melissa Monneron, chief marketing officer of Fantastic Furniture, said: “We are thrilled to continue working with Initiative. Together we have shifted our brand metrics to new heights. They have brought a level of strategical and creative smarts to our business that has yielded excellent results, and we are excited about what is to come.

“Initiative started its tenure by undertaking an in-depth analysis of our business challenging us to think differently about our brands and our customers. This enabled us to set clear and sustainable long-term business objectives which are already achieving growth for Fantastic,” she added..

Initiative has delivered a new strategic audience framework and lead the rollout of several key campaigns, including ‘Find Your Fantastic,’ Black Friday and their annual Christmas Sale campaigns, since the agency’s appointment in August 2023.

The agency continues to play a pivotal role in Fantastic Furniture’s new store openings including Melton and Tweed Heads.

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Top image – Jo McAlister

Mediaweek first launched its list of Icons at the 2022 Mediaweek 100 lunch.

In 2024, we will be adding another name to this exclusive club, which includes the greats of the Australian media industry.

Here, we remind you of the nine Mediaweek Icons (below in alphabetical order) ahead of the announcement of its newest member.

Buy tickets to the Mediaweek 100 lunch event, 2024

Mediaweek Icons

Mikael Borglund

Mikael Borglund

In October 2022, production and distribution giant Banijay acquired Beyond International, a scripted and non-scripted multi-territory content group launched and still run by chief executive Mikael Borglund. “The original intent was just to make one TV show,” Borglund told Mediaweek. In 2024 it will be 40 years since the company was launched.

The original team with Borglund was three reporters who quit the ABC – Carmel Travers, Iain Finlay and Chris Ardill-Guinness – plus executive producers Peter Abbott and John Luscombe. Luscombe had previously worked on the ABC’s Towards 2000 and he came across after the ABC didn’t renew the show, and he still works alongside Borglund.

The team sold the Beyond program franchise to Seven in 1984 and the embryonic Beyond, originally called CIC Productions, was engaged to make it for them.

Beyond 2000 continued to be successful although it moved to Ten at one stage and then found its way back to Seven later with the name changing to Beyond Tomorrow. “It had a couple of interrupted runs,” Luscombe told Mediaweek.

Beyond has made much of its content for the US market, which has then been sold elsewhere around the world. One series was key in lifting the company’s fortunes – MythBusters.

Other key programs over the years included Just For The Record and Extra Dimensions for the Ten Network, and an Olivia Newton-John animal series called Human Nature which featured a young Tim Worner as the executive producer. Brad Lyons was on the payroll once too working on Invention. Kim Dalton also worked for Beyond, plus Brian Smith who was on camera and later worked internationally for National Geographic.

Ita Buttrose

Ita Buttrose

ABC chair Ita Buttrose revealed earlier in 2023 that she will not seek reappointment to the role when her term ends in March 2024, a position she has held since 2019.

Buttrose has held executive and editing roles for major Australian media companies including Australian Consolidated Press, News Limited and Fairfax Media, and has run her own media company, Capricorn Publishing. She has served on the boards of Australian Consolidated Press, News Corp Australia, and Television & Telecasters Pty Ltd. (Network Ten). She has worked in print, radio and television and has written 11 books. She was inducted into the Australian Media Hall of Fame in 2017.

Janet Cameron

Janet Cameron

One of Australia’s most reclusive “media barons”, Cameron took over the family radio business Grant Broadcasters which grew into a network of 55 mainly regional radio stations.

When Cameron finally allowed journalist Peter Saxon to interview her in 2017, he asked why she was always so reluctant to speak to the media. “What have I got to say? Nothing really. There are a lot more interesting people. I’m a relic.”

In late 2021, ARN announced its acquisition of Grant Broadcasters, giving advertisers the potential to reach over 90% of Australians nationwide. Cameron still worked in the business at that stage, along with her children Alison, Grant and Dugald.

The acquisition included radio and digital operations across 46 Grant stations.

The sale was worth $307.5m. Of that, 22.5% of the purchase consideration was delivered in ARN shares.

The business was not looking for a sale, with Alison telling Mediaweek if ARN wanted to make an offer she made sure they knew it had to be a good one.

“For 80 years Walter Grant, his daughter Janet Cameron and her family have been operating regional radio stations that serve local communities in regional Australia. We are so very proud of the connection the stations have with those communities and of our staff for continuing that commitment,” Alison said after revealing the sale.

Bruce Gordon

Bruce Gordon

Is there anybody who has navigated more twists and turns in the media landscape in Australia? From his days in the movie and TV distribution business, Gordon moved into regional TV, building WIN Corp and investing in other media businesses along the way. The recent loss of Nine as his regional affiliate partner and then winning it back as soon as Hugh Marks had left the building was among recent successes. Gordon is also a significant shareholder in Seven West Media and Nine Entertainment via his private investment company Birketu. A recent investment is $400m for the redevelopment of the Wollongong CBD.

David Leckie

David Leckie

A former chief executive officer of Seven West Media and the Nine Network, David Leckie passed away in June 2021. His wife Skye revealed he died at Mulberry Farm, Robertson after a long illness.

As chief executive officer of Nine Network from 1990 to 2001, he cemented its leading position in the television industry. Leckie worked in sales and management under Kerry Packer at Nine for 23 years before being hired by Kerry Stokes in 2003 in a move to rejuvenate the Seven Network. It worked. Seven soon became the #1 network in both ratings and revenue with its mix of news, sport and entertainment.

In addition to his expertise in sales, Leckie had a brilliant understanding of what Australians wanted to watch on television, a long track record of mentoring media executives, and a lifetime passion for rugby.

Rupert Murdoch

Rupert Murdoch

In September 2023 it was revealed that Rupert Murdoch was stepping down as chairman of the board of both News Corp and Fox Corp. Taking his place at the top of both companies after the next AGMs is his eldest son Lachlan Murdoch. Rupert Murdoch will be appointed chairman emeritus of each company.

Rupert Murdoch was executive chairman of 21st Century Fox, from 2015 to the closing of the merger of 21st Century Fox and The Walt Disney Company in March 2019. Murdoch served as CEO of 21st Century Fox from its inception as News Corporation in 1979 until 2015 and as its chairman from 1991 to 2015.

He inherited his father’s interests in the Adelaide newspaper The News in 1952, becoming editor, publisher and a member of the board of News Limited the following year. In 1954, Murdoch took control of News Limited and later moved into television. His company founded the Southern Television Corporation and pushed its newly licensed Channel 9 to be the first to air in 1959 in South Australia.

Global expansion under his leadership began as News Limited bought the Sydney-based Daily Mirror and Sunday Mirror in 1960, followed by the launch of The Australian, Australia’s first national newspaper, in 1964. The company gained control of the UK’s News of the World and The Sun in 1969 and subsequently acquired several publications in the US including the New York Post.

More details about the rest of Rupert Murdoch’s media journey here.

Barry O’Brien

Barry O’Brien

Founder and chairman of Atomic 212°, Barry O’Brien OAM, has a love for the media industry that spans more than 30 years and he has held the roles of CEO of media agency PHD (formerly known as TOTAL) and chief sales officer for Network Ten.

He is currently at the helm of Atomic 212°, the independent media agency whose mission is to make “marketing Smarter, Faster and Accountable.”

O’Brien has said his media journey hasn’t been easy and he has appreciated great support from the industry.

“I’m super proud of our incredible agency. I stand proudly as chairman of the number one media independent in the market.”

Kerry Stokes

Kerry Stokes

After initially being involved in construction and property development, at the age of 29 in 1969, Kerry Stokes invested in the development of GWN, a regional Western Australian television station. A decade later he began acquiring local television stations in Canberra, Adelaide and Perth, along with radio stations. In 1996 he acquired a stake in Seven Network stations in Sydney, Melbourne, Brisbane and Adelaide. Since 2006, the Seven Network has formed one arm of Seven West Media, which incorporates West Australian Newspapers, publisher of The West Australian. The Seven Network footprint expanded to cover all of Australia in 2021 with the acquisition of the Prime Network. Other investments include property, construction, mining and petroleum exploration. Over 40 years Stokes has built a collection of art, maps, rare books and artefacts and donated to institutions including the Australian War Memorial and the National Gallery of Australia, of which he was chairman for several years. The Stokes Collection, housed in Perth, has been called one of the world’s finest private museums.

Seven Group Holdings, the parent company of Seven West Media, announced recently that Kerry Stokes will step down as chairman after the company’s Annual General Meeting in November.

Stokes has indicated though that he will continue as chairman of the TV, digital and publishing business Seven West Media.

Brian Walsh

Brian Walsh

Brian Walsh was a special guest at the first Mediaweek 100 Power lunch in October 2022 and passed away in March 2023.

He had been part of the Foxtel management team since the business launched in 1995. Under his last contract with Foxtel, he was to continue his consultancy with the subscription TV platform. He planned to continue to work on local content strategy, industry relations and was to continue spearheading the Foxtel Originals drama division.

“This is my 27th year I’ve been involved with Foxtel,” Walsh told Mediaweek in 2022. “I was part of the pioneering management team in 1995 that launched the service. I joined the company back then as a consultant because I still had my own promotions business going.”

Brian began his career with ABC before going into feature film production and distribution at Palm Beach Pictures and promotions and publicity at Sydney Radio Station 2SM. After five years at Radio 2SM, Walsh joined Network Ten, where he launched major network events, including the acclaimed Kennedy Miller mini-series Vietnam, The Bangkok Hilton, and The Dirtwater Dynasty. Walsh was also credited with responsibility for the global success of the iconic Australian family drama series Neighbours and launching the careers of Kylie Minogue, Jason Donovan and Guy Pearce.

In subscription TV over the past two decades, he oversaw all scripted and unscripted commissions for the Foxtel Group. This included the series Wentworth, Upright, Deadline Gallipoli, The Kettering Incident, The End and most recently the award-winning and globally distributed series Love Me, Colin from Accounts and The Twelve.

ADMA director of regulatory and advocacy Sarla Fernando has announced news of her departure from the industry body in a LinkedIn post on Wednesday.

Fernando said it was an ‘incredible honour to serve and represent the data-driven marketing and advertising community in so many meaningful ways.’

“When I started, I was given a ‘blank slate’ and the freedom to approach regulatory and advocacy in the way I knew best. While it led to a less conventional approach, I’m incredibly proud of what ADMA has achieved during my time here. Over the years, I’ve had the privilege of representing the industry in government consultations, writing and teaching compliance courses, and creating regulatory resources for the marketing community.”

Reflecting on her tenure with ADMA, she highlighted her work in compliance, collaboration with marketing and legal teams to ensure best practices, and supporting major projects around risk, compliance, and governance.

“It’s been a privilege to run hundreds of regulatory workshops and engage with some of Australia’s largest brands, helping to navigate complex regulatory issues along the way. I’ve enjoyed guest lecturing, participating in privacy debates, and delivering speaking engagements — all of which have been opportunities to learn and grow,” she said.

“None of this would have been possible without the invaluable support of the amazing ‘ARAWG’ (ADMA Regulatory and Advocacy Working Group) and the entire, exceptionally talented ADMA team.”

Sarla Fernando

She also extended her gratitude to ADMA Members, Clients, Advisory Committee Members, Privacy Advocates, Regulators, Consumer Advocates, and the broader marketing community.

“Every conversation, every (whiteboard) brainstorming session, and every challenge has enriched my experience and deepened my understanding,” Fernando added.

Looking ahead, Fernando said: “ADMA is in a strong position to lead the industry through upcoming regulatory reforms, and I’ll continue to support from the sidelines, cheering on the brilliant new team (announcement coming soon!). The industry is in great hands.”

Fernando also hinted that she would be stepping into a new role ‘that stretches my mind and comfort zone’. She said: “This new opportunity will allow me to apply my skills to help some of Australia’s best marketers balance compliance with delivering a great customer experience. And, on a personal note, I’ll finally get to build Lego without trying to find a way to work in a privacy or dark patterns lesson!”

ADMA CEO Andrea Martens thanked Fernando for her dedication to the role and Privacy and Compliance in the Australian marketing industry over the years, calling her a “powerhouse” and “instrumental” to championing responsible marketing to help build and retain customer trust.

“She has not only helped train thousands of marketers in privacy and compliance best practice, but has also forged vital relationships with regulators and key government organisations to help give the entire marketing community a real voice in the development of key legislation.

“Moreover, she is a real champion of the need for responsible marketing and her professional, patient, kind and humble approach has ensured everyone who has come into contact with her is better for it. She has always found ways to make what can be complex topics interesting and approachable for people at all levels in the industry and can be proud of the work she has done to raise awareness and standards across the board. While she may be moving on, she will continue to play a role within the ADMA community.”

Andrea Martens

Martens reaffirmed ADMA’s commitment to building on the work she has pioneered, driving the importance of responsible marketing, advocating on behalf of the industry and informing and educating marketers on best practice in compliance in Australia.

She noted that the industry body will do this by expanding its regulatory team with two new key team members, including a head of regulatory and advocacy, to be announced in due course.

“They will work together with Dr Rob Nichols (regulatory and policy manager) and Antonia Francis (ADMA content strategist), and be supported by the broader ADMA regulatory and advocacy working group led by chair Peter Leonard.

“With new Privacy Act reform imminent and the development of other key legislation impacting marketers currently underway, there has never been more of a need for the industry to have a voice in helping to form a framework that makes sense for Australian businesses while importantly protecting customer rights,” Martens said.

“Robust education on best practice in all areas of data-driven marketing is ADMA’s cornerstone and we are committed to continue providing this guidance for an ever-changing marketing landscape. Marketers in every organisation must lean in now to retain customer trust and avoid potentially costly mistakes in the future,” she added.

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Top image: Sarla Fernando

Nine’s coverage of the Lexus Melbourne Cup on 5 November attracted a National Total TV average Audience of 1.910 million viewers, marking an 11.3% increase compared to last year.

Last year’s broadcast on Network 10 recorded 1,110,000 viewers. 9Now’s BVOD audience of 371,000, up 80.4% on 2023’s streaming figures.

2022’s Race That Stops A Nation was also broadcast on 10 and recorded 1,024,000 viewers. At the time, this was down on the 2021 race, which was watched by 1,213,000. The 2020 race was watched by 1,410,000.

Following the 2024 race, the Melbourne Cup – Presentation held a National Total TV Average Audience of 1.586 million, up 23% year-on-year.

The Melbourne Cup – Mounting Yard segment recorded a National Total TV Average Audience of 1.347 million, a 21.5% rise from last year’s figures.

Across the entire day, Nine’s broadcast of the Melbourne Cup achieved a National Total TV Reach of 3.7 million, a 30.4% increase on last year’s broadcast.

The race itself saw an upset by Knight’s Choice, the 100-to-1 outsider, whose victory stunned the racing world. The horse was ridden by Queensland-based, Irish-born jockey, Robbie Dolan, who also appeared on The Voice as a contestant in 2022.

Brent Williams, director of sport for the 9Network, reflected on the success of the broadcast and the excitement of the event:

“This year’s Lexus Melbourne Cup brought viewers a truly unforgettable story with Knight’s Choice and Robbie Dolan’s extraordinary win. The incredible ratings highlight Australia’s love for the Melbourne Cup and Nine’s commitment to bringing the best live sports experience to fans across the country. We’re proud to have shared all the excitement and drama of Cup Day with our audience.”

Nine has the broadcast rights for the Melbourne Cup from 2024 until 2029, but some viewers were still left in the dark when 3:00 pm rolled around.

News.com.au reported on Wednesday morning that thousands of Aussies tuned in to watch the Melbourne Cup only to realise they were watching on the wrong network.

One Twitter user posted: “Been watching Channel 7 for three hours only to realise the bloody Melbourne Cup is on Channel 9. Missed the whole thing. Sums up the day really”.

Another posted: “It’s ‘The race that stops a nation’ (Until some of the nation realise too late they’ve been watching the wrong horse race meeting on Channel 7 instead of 9)”.

One user wrote: “I think Channel Seven should not be allowed to have a program called “Seven’s Horse Racing” on at the same time as the Melbourne Cup”.

Kantar has today released its 10 key global trends for marketers for 2025. ‘Marketing Trends 2025’ predicts the forces that will shape the future of marketing, backed by extensive attitudinal and behavioural data. These are trends that represent not just incremental changes but a fundamental shift in how brands connect with consumers.

In announcing these trends, Kantar Australia head of culture, futures and strategy, Dan Robertson-Jones said: “2025 promises to be a seismic year for the Australian marketing industry and those who embrace these changes, prioritise data-driven strategies, and champion creativity and inclusivity will be best positioned for success.”

“Many of the emerging trends and forces that have been disruptive forces over the past few years will move into the mainstream. With it, they will define what successful marketing looks like.”

“Sustainability, inclusivity and ageing demographics, AI, Livestreaming and Retail Media Networks are just some of the trends that marketers will now need to understand and leverage to drive growth. But doing so will consign the market challenges and uncertainties of the last few, post-pandemic years firmly into the rearview mirror.”

“Kantar’s Marketing Trends 2025 details key trends and insights to get marketers back on the front foot and making the right decisions for the year to come and beyond.”

The marketing trends that will make a difference in 2025:

• Brands go woke and definitely not broke: While evidence that inclusion is a powerful engine of brand growth continues to mount, marketers are still underestimating its impact. Kantar data shows that a brand’s diversity and inclusion efforts influence the buying decisions of almost eight in 10 people worldwide. With major political, social and demographic changes set to make inclusion more personal for lots of people next year, it will become one of the most significant considerations for brands.
• The puzzle of slowing population growth: Products rely on populations getting bigger to drive sales. But global population growth is now under one per cent and is predicted to go negative by the end of the century. Forces like people marrying and having children later, and living in smaller households, will exacerbate this shift. So will ageing populations, who tend to spend less. This creates an urgency for marketers to predispose more people to their brand and to find new spaces in which to grow.
• Gen AI – safety will come first: Data provenance will be a big theme in 2025. Kantar research shows that more than two in five global consumers don’t trust ads that are AI-generated. As AI becomes more sophisticated, more people will be pushing for transparency in how it’s used. Whether they’re using Gen AI to inform data-led investment decisions or to help create ideas and content, marketers will need reassurance that the training data the models are based on are trustworthy, relevant, and reliable.
• Looking to livestreaming: Livestreaming platforms like Taobao Live, Douyin and WeChat reach half the Chinese population, and some forecasts put live-commerce sales at 20 per cent of total retail in China by 2026. Livestreaming ads can boost both short-term purchase intent and long-term brand affinity. Kantar’s experts expect established brands to look to livestreaming ads to build long-term associations, while medium and smaller brands prioritise increasing awareness and driving immediate interest.
• Demanding more from Retail Media Networks (RMNs): By collaborating with retailers on their first-party data, marketers can be more precise in targeting and personalising their marketing, which in turn means detailed consumer insights can be used to optimise ad spend and improve campaign effectiveness. But in 2025, there needs to be transparency about the challenges holding back marketers from investing in RMNs; improved data access, specific media measurement needs, and the ability to drive brand equity.
• Embarking on the voyage to total video: The line between broadcast and streaming TV is now all but invisible to viewers. Heavy investment into broadcast TV advertising will continue to be spread across the TV portfolio, and further into video advertising, predicts Kantar. Marketers that take a nuanced approach, testing and learning to find the right mix across traditional channels, SVOD, and AVOD platforms will be best set for success.
• Social media to innovate to recapture attention: Just under a third of people say ads on social media platforms capture their attention, a marked decrease over last year’s 43 per cent. This can’t simply be attributed to an attention deficit among younger audiences; disenchantment has struck every generation. Kantar expects to see more creative innovation and visual theatre attempt to capture people’s attention in 2025: experimental camera shots, cuts, and new ways of telling old stories.
• Sustainability set to become marketing’s job: 2025 is a big year for sustainability legislation ramping up in major economies, which will force businesses to see sustainability as an opportunity as well as a risk. Kantar analysis suggests that sustainability already contributes US $193 billion to the value of the world’s top 100 brands: by finding authentic ways to connect to the consumer, marketers will be able to turn sustainability initiatives into growth.
• Brands to tap into creator communities: The creator economy is booming, offering brands powerful opportunities to connect with engaged audiences and build trust. The tight-knit communities that creators bring together hold a great deal of power to predispose more people towards a brand. Collaborating with creators in a two-way relationship will be important for platforms aiming to grow their user base and ad revenue.
• Stretching the limits of innovation: Innovation will be a must for larger brands that can’t easily grow in other ways: brands which can find new space in which to operate double their chances of growth. Those with high penetration and a strong probability of growth then have momentum to reimagine what they’re in the business of and explore new revenue streams. In 2025, marketers can take inspiration from brands like Oreo and Ferrero which have pushed the boundaries through innovation.

The full Marketing Trends 2025 report is available here.

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.

Activation Union has promoted Bianca Ellershaw to the newly created position of head of live as the activation-led marketing agency growth trajectory continues.

In the role, she will drive production and live events capability, driving innovation and excellence in experiential marketing.

CEO James Neale welcomed Ellershaw’s promotion and said: “Bianca has been an integral part of Activation Union’s growth since we launched 1.5 years ago. This marks an exciting new era as we expand our divisions and our offerings. There’s no better leader than Bianca to take on this new role and really make it her own.”

Ellershaw said of her new position: “I am thrilled about this opportunity to lead our Live division. I look forward to collaborating with our talented team and clients to create unforgettable experiences that resonate with audiences.”

Stepping into Ellershaw’s previous role is KT Leslie has recently joined the agency as senior account director, where she will spearhead the Diageo account and oversee all retail marketing initiatives.

Leslie brings over ten years of experience in client servicing across Australia to Activation Union. She has collaborated with major brands and agencies, including Woolworths, CommBank, M&C Saatchi, and WPP.

Leslie also brings a wealth of integrated campaign marketing expertise from her previous roles in London.

Managing partner Rosie Carter called the appointments a “pivotal moment” for Activation Union. She said: “With the addition of KT to the team and Bianca’s promotion, we are poised for exciting growth. Our commitment to delivering unforgettable experiences and exceptional work is stronger than ever, and we’re excited to see where this journey takes us.”

James Neale

Neale launched Activation Union last year with key business divisions live, retail, experiential and loyalty, supported by creative, design and tech.

At the time he said: “The activation space has traditionally been very transactional. We strongly believe we can change that through great creativity and, most importantly, accountability.

“I am excited to launch a new agency with some amazing skillsets and exceptional talent as we drive impact and interaction through incredible – and measurable – experiences in both the real and digital world.

“Our approach is reflected in our name – Activation Union brings together specialists and defined skills to deliver measurable experiences that ultimately lead to action and purchase,” he added.

See also: James Neale launches his activation-led agency Activation Union

–

Top image: KT Leslie, Rosie Carter, Bianca Ellershaw

Over The Back Fence podcast inspires life-changing transformations

The Over The Back Fence (OTBF) podcast, hosted by Sydney friends and next-door neighbours Di Edwards and Nicola Dale launched 18 months ago with a mission to inspire “women of a certain age” to embrace new beginnings.

Among those inspired is listener Leanne Nicol, a former school principal who credits the podcast with sparking her shift into a new career as a certified coach.

“I was feeling unfulfilled in my work when I started listening to OTBF,” says Leanne, who has since become a certified Master Practitioner and founded Fierce Hearts, a flourishing coaching business. “After spending time with Di and Nicola, I signed up for a coaching qualification.”

Nicola and Di

“We’re incredibly proud to see OTBF making such a real difference,” says Nicola. “Knowing that our podcast is helping listeners and guests like Leanne embrace new paths and reach for their best lives—it’s the reason we started this.”

“Stories like Leanne’s show us that we’re building something meaningful,” adds Di. “It’s amazing to see how the connections we’re fostering can ripple out and create positive change.”

This week, Leanne returns as a special guest in a bonus episode of OTBF, sharing the full story of her transformation and the pivotal role the podcast played in helping her launch a career focused on empowering others. In this candid conversation, Leanne discusses her journey from feeling unfulfilled to creating Fierce Hearts, a business dedicated to helping others reach their potential.

Since launching in April 2023, their lineup of guests has included psychic and spiritual guide David the Medium; bestselling author Kathy Lette; Ronni Kahn, founder of the food rescue charity OzHarvest; renowned art dealer Tim Olsen; actress and singer Tottie Goldsmith; comedian and writer Wendy Harmer; hospitality entrepreneur and advisor Chip Conley; motivational speaker and author Lewis Howes; psychotherapist and relationship expert Terri Cole; and self-compassion researcher Dr. Kristen Neff.

Over The Back Fence was also a finalist in the best audio category at Mediaweek’s 2024 Next of the Best awards.

[Listen here]

Michael Clarke, Aaron Finch lead big names as ESPN’s Around The Wicket returns

Returning to the crease for another summer of discussion and debate are former Australian cricket captains Michael Clarke, Aaron Finch and Lisa Sthalekar, along with Test and One-Day International Callum Ferguson, ESPN CricInfo Insider Alex Malcolm and host and journalist Neroli Meadows.

Special guests will also join the team throughout the summer, which is headlined by Australia facing India in a historic five-Test series for the Border-Gavaskar trophy.

‘Around The Wicket’ returns to ESPN on Wednesday November 6 at 6pm AEDT.

A first for its kind for ESPN in Australia and New Zealand, the program is a multi-platform extension of ESPN Cricinfo in the Australian and New Zealand markets and super serves cricket fans with absorbing insights and fascinating analysis with some of the biggest names to have played the game.

Around the Wicket’s marquee talent lineup brings big opinions, unique insight and game leading analysis across 14-weekly episodes throughout the summer of cricket.

The team will tackle the current One Day Series between Australia and Pakistan, the race for David Warner’s replacement at the top of the Australian batting order, plus set the stage for the opening Test of the series between Australia and India, which begins November 22 in Perth.

Around The Wicket will be available each week on ESPN, as well as ESPN Australia’s YouTube and as an audio podcast. Returning will also be a bonus digital only ‘PowerPlay’ segment, available across ESPN’s social media accounts.

[Listen here]

Rules Don’t Apply: The Battle for Creativity: AI vs. Humanity with Futurist Brian David Johnson

As part of its presence at SXSW Sydney in 2024, The Growth Distillery hosted a series of 10 vodcasts (a podcast with video) hosted by Dan Krigstein and branded Rules Don’t Apply.

Second guest on the series was futurist Brian David Johnson. Krigstein, director of News Corp’s The Growth Distillery & The Growth Intelligence Centre, introduced his guest for the episode:

BDJ, as he is affectionately known, is a man that has made the future his business. From 2009 to 2016, he was the Intel Corporation Futurist in Residence. Currently, he is the professor and futurist in residence at Arizona State University Global Futures Lab and currently the director of ASU’s Threat Casting Lab.

He explained BJD is one busy person: He is prevalent in private practice across a huge range of groups including government, military, corporation, non-profit, and done a whole bunch of stuff with NATO as well. He holds 40 patents, is a best-selling author of both science fiction and non-fiction books including a threat casting textbook. Future You, War Wizards and Robots, and 21st Century Robot. He’s a frequent commentator on the BBC, Bloomberg, PBS, Fox News, the Discovery Channel, and has been featured in the Scientific American, Forbes, Inc., and Popular Science. He has also directed two feature films, is an illustrator and a commissioned painter.

[Read more]

Rules Don’t Apply: Unmasking Reality – Navigating Truth in the Age of AI with Noelle Russell

As part of its presence at SXSW Sydney in 2024, The Growth Distillery hosted a series of 10 vodcasts (a podcast with video) hosted by Dan Krigstein and branded Rules Don’t Apply.

The third guest in the series was Noelle Russell, the chief AI officer at the AI Leadership Institute.

Dan started the interview introducing his guest: Noelle is an award-winning technologist who specialises in helping companies with data, cloud computing, conversational AI, generative AI, and LLMs. She has led teams at NPR, Microsoft, IBM, AWS, Amazon Alexa and is a globally renowned champion for data and AI literacy.

She is the founder of the I Heart AI community teaching responsible AI for everyone. She has been awarded Microsoft’s MVP, Most Valuable Professional.

Noelle is frequently LinkedIn’s top voice in AI as well as LinkedIn’s top voice in executive coaching.

She manages all this as well as having six kids!

[Read more]

Occasional food, beverages and quick service restaurants continue to be major players in advertising and targeting younger, digitally savvy audiences.

Nielsen’s 2024 Food and Beverage Report delivers a comprehensive look at the evolving landscape of occasional food and beverage advertising and consumer sentiment in Australia over the last decade.

It highlights how the industry’s top players, including fast food giants and emerging health-conscious brands, have adapted their strategies over the last ten years to stay competitive in a rapidly changing media and consumer environment.

Covering a range of key insights, the report sheds light on the significant growth in ad spend by major advertisers, the diversification of media channels, plus shifting consumer attitudes towards food choices and marketing.

Rose Lopreiato, Nielsen Ad Intel’s Australia commercial lead, said: “Occasional food, beverages and quick service restaurants remain as major players when it comes to advertising, targeting younger, digitally savvy audiences while capitalising on the broad reach of traditional media, like TV. Their ability to seamlessly blend TV, out-of-home, and social media campaigns has been a key factor in their success and in sustaining market share.”

The firm’s report also also revealed the media landscape continues to evolve, digital platforms have become a central focus for food and beverage advertisers, with digital ad spend in the sector surpassing traditional formats in 2023, with social media leading the charge.

“Digital media is driving the future of advertising, particularly as consumers demand content that is more personalised and relevant,” Lopreiato added. “The rise of social media spend shows that brands are keen to reach their audiences where they spend most of their time.”

Alongside the fast food heavyweights, health-focused brands like Marley Spoon and Hello Fresh have increased their advertising to cater to the growing demand for more convenient, healthier meal options. This reflects a broader shift in consumer behaviour, as health concerns continue to influence purchasing decisions. This trend was accelerated by Covid, with consumers seeking out meal solutions that strike a balance between health and convenience.

While digital platforms are rapidly gaining traction, TV and Out of Home remain valued mediums for advertisers looking for broad reach. Nielsen’s data shows that despite a decline in metropolitan TV ad spend from $269.5 million in 2014 to $202.3 million in 2023, TV continues to be a channel for building brand awareness, with Metropolitan TV Target Audience Rating Points (MTV TARPs) remain a  key metric for advertisers aiming to capture a wide audience.

Additionally, the report also highlights increasing consumer awareness around the impact of food and beverage advertising on health. By 2023, more than half (51.1%) of consumers agreed that advertising plays a role in contributing to unhealthy eating habits in children, up from 48.2% in 2014. This growing concern offers brands an opportunity to reshape their messaging, especially as public health policies continue to advocate for healthier food choices.

Glenn Channell, Nielsen’s Pacific head of advanced analytics, said: “As consumers become more health-conscious, the food industry is being pushed to rethink how it markets its products. Brands that can deliver on convenience without compromising on health are well-positioned to meet the evolving expectations of Australian consumers.”

DoubleVerify has launched of DV Attention for Publishers. The company says the solution sets a new standard in the industry for performance measurement and optimisation, empowering publishers with actionable insights to maximise the value of their inventory.

As the digital advertising landscape increasingly prioritises attention as a key metric to evaluate campaign success, DV Attention for Publishers empowers publishers with essential data and metrics to measure and optimise their inventory based on trusted, third-party verification.

This new offering delivers expansive inventory and campaign insights for attention, including more than 15 metrics across over more than 10 dimensions of inventory. Furthermore, DV first received accreditation from the MRC in 2023 for its DV Authentic Attention metrics in DV Pinnacle across desktop, mobile web, and mobile apps.

This combination of expansive, impression-level attention data and rigorous accreditation reviews strengthens a publisher’s ability to deliver impactful campaign outcomes and build trusted, results-driven advertiser partnerships.

“With attention growing in popularity, publishers need actionable insights into inventory performance to maintain their competitive edge,” said Steven Woolway, executive vice president of business development at DoubleVerify. “DV’s attention offering equips our publisher clients with the data they need to understand how attention impacts campaign outcomes, leading to stronger partnerships with brands based on privacy-friendly metrics.”

Key features of DV Attention for Publishers:

• Granular Campaign and Inventory Metrics: Publishers can access granular attention data across their open web and in-app campaigns and inventory, broken down by key dimensions such as ad unit, device type, media type, advertiser, order, line item, and more.

• Performance-Driven Optimisation: By analysing attention metrics across various campaign dimensions, publishers can take action to boost campaign performance beyond traditional metrics such as viewability and click-through rates.

• Advertiser Vertical Attention Benchmarks: DV provides attention performance benchmarks based on specific advertiser verticals, allowing publishers to assess how their inventory performs in relation to industry standards, and optimise accordingly.

• Global Scale Backed by Proven Methodology: DV’s framework has been trusted by DV’s expansive list of advertiser clients since 2021, and it will now serve as a tool for publishers to find clear, actionable paths to improve campaign results.

By Melanie Williams, CRO director of Resolution Digital

In today’s fiercely competitive digital landscape, Conversion Rate Optimisation (CRO) has emerged as an essential strategy for marketers—not just as a performance enhancer but as a critical tool to maximise Return on Investment (ROI). The significance of CRO cannot be overstated, particularly when every click and digital interaction holds the power to shape business outcomes.

Melanie Williams, CRO director at Resolution Digital, explains why CRO is a crucial element of the marketing puzzle, how it aligns with overarching business objectives, and how avoiding common pitfalls can lead to substantial returns.

For context: A conversion rate is determined by dividing the total number of conversions by the total number of website views. For instance, if you receive three conversions from 100 visitors, your conversion rate is 3%. Generally, a good website conversion rate falls between 2% and 5%, with anything above 5% considered strong by industry standards for conversion rate optimisation (CRO).

Aligning Objectives with Business Goals

The humble business website has dramatically evolved in the past decade, from a nice to have digital presence, to an essential lead generation powerhouse. Not so long ago, store presence was the leading sales platform for many businesses, whereas now, potential customers are willing to buy even a brand-new car online.

This makes the continuous refinement of your customer’s online experience a critical element in the marketing portfolio. The most impactful strategies are those directly aligned with the company’s broader business objectives. This alignment ensures that every test, adjustment, and optimisation effort contributes to overarching goals, such as increasing market share, enhancing customer lifetime value, or boosting profitability.

Ensuring the CRO strategy is closely aligned to business goals will mean that every optimisation initiative will contribute to improving business results.

The Importance of Clear Objectives

CRO involves continuously testing, refining, and optimising the user experience to boost conversions. Williams emphasises that the establishment of clear, measurable objectives is fundamental to a successful Conversion Rate Optimization (CRO) strategy. In their absence, initiatives may become fragmented and yield suboptimal outcomes.

A robust CRO strategy starts by identifying the Key Performance Indicators (KPIs) most relevant to the business, whether that’s lead generation, sales, or customer retention. Once you understand the steps the user needs to take to increase these KPIs, you can then understand what metrics you need to improve to make this journey more effective.

“Too often we see clients focusing on the broad objectives – I want to increase sales – without understanding the importance of drilling down to examine the journey a user takes to get there. Yes, CRO aims to increase those end-point conversions, but more often than not, it is the fine tuning of the user journey that makes the biggest impact.”

Each test or optimisation initiative should simply the user journey, making it easier for them to complete the final transaction. Can you remove a form field to make it easier to complete a lead form? Do you get more sales from customers who visit the product information page before adding to cart? If so, how can we get more visitors to go to the product page first?

In alignment with Resolution Digital’s Evolution framework, effective CRO strategies embody the pillars of Maximise, Adapt, and Evolve. By maximising the impact of each optimisation through data-driven insights, adapting strategies to meet evolving user behaviours, and continuously evolving the approach based on real-time results, businesses can achieve sustained growth and exceptional ROI.

“We partnered with a leading university to transform their customer journey through a comprehensive CRO strategy. By leveraging our evolution model, we identified key areas for optimisation, implemented advanced analytics, and personalised user experiences. This strategic approach not only enhanced user engagement but also significantly improved conversion rates, aligning with our commitment to driving measurable business outcomes for our clients.”

Common Mistakes and How to Avoid Them

Despite its potential, CRO can be mishandled, leading to missed opportunities. Williams notes that a frequent mistake is treating CRO as an ad-hoc task, rather than part of an iterative, data-driven process. Certain organisations engage in Conversion Rate Optimisation as a series of sporadic, isolated experiments rather than embracing it as a comprehensive, structured process. This fragmented approach often yields minimal results and can lead these businesses to underappreciate the substantial benefits that effective CRO practices can offer over the long term.

Another common pitfall identified by Williams is the lack of adequate resources or expertise assigned to optimisation efforts. True optimisation success requires a multidisciplinary team, including UX designers, data analysts, developers, and digital strategists. Without the right talent and tools in place, organisations may struggle to see real results, those that come from, not only the “Winning” tests, but also extracting and utilising insights that come from so-called “failed” initiatives.

In Summary

As the digital landscape continues to evolve, so too must the strategies employed by businesses. CRO is no longer a “nice to have” but a critical component of any effective digital marketing strategy. By setting clear objectives, aligning them with business goals, and avoiding common pitfalls, organisations can unlock the true potential of CRO to drive significant ROI.

–

Top image: Melanie Williams

Westfield has unveiled its 2024 Christmas campaign, ‘Feels Like Christmas’, an emotive series of films shining a light on the moments that evoke the feelings of the festive season.

The three nostalgic films portray real stories from the community about the wonder of Christmas: Dasher the Daggy Reindeer; an old favourite Christmas ornament, The First Slice; a love story about Nonna’s panettone, and Scissors-A-Gliding; a cheerful story of an annual gift-wrapping tradition.

‘Feels Like Christmas’ will appear in Australia and New Zealand across OOH, radio, Spotify 3D audio, social, online video and the Westfield media ecosystem, including in-centre SmartScreens, social and digital channels. It will be amplified by an earned campaign that uncovers the wellbeing benefits of Christmas, offering some insight into the science behind them and aiming to prompt a cultural conversation about how we all get more this Christmas by tuning into the festive warm fuzzies.

Amy Copley, head of marketing, brand and content, Scentre Group said: “Christmas is a time to feel – joy, togetherness, excitement and gratitude. Our Westfield campaign spotlights personal stories that feel universal, reminding us to soak up the moments that feel like magic and enjoy the festive fuzzies that make this season so meaningful.”

Chad Mackenzie, chief creative officer, AKQA said: “This campaign was an absolute treat to work on. Starting with real stories and honing in on moments that might seem small on the surface, but are powerfully emotive kick-starters of Christmas, helped take the storytelling to another level, along with the stunning craft from our production partners.”

Credits:

AKQA:
General Manager: Justine Leong
Chief Creative Officer: Chad Mackenzie
Chief Strategy Officer: Iona MacGregor
Senior Strategist: Enid Sung
Senior Copywriter: Annie Bettis
Executive Creative Director: Joe Hill
Senior Art Director: Whitney Moothoo
Production Director: Colin Tuohy
Senior Producer: Cathryn Cooper
Group Client Partner: Olivia Kaufman
Group Account Director: Jayne Driver
Senior Account Manager: Cara Turney
Senior Account Manager: Kate Crowley
Senior Designer: Daniel D’Angelo
Head of Studio/Finished Artist: Grant Hendren

Production Company: FINCH Company
Director: Kyra Bartley
MD: Corey Esse
EP: Nick Simkins
Producer: Kate Menzies
DOP: Grégoire Lière
Production Designer: Helen Fitzgerald
Casting: Felicity @ Byrne Casting
Stills Photographer: Ben Hansen

Post production: Arc Edit
Editor: Jo Scott
EP: Winnie O’Neil
Post Producer: Sally Quade & Renee Masters
VFX Artist & Technical Director: Charlotte Wilson-Lee
Colourist: Fergus Rotherham
Online: Heather Galvin

Illustrations:
Like Minded Studios: Luca Ionescu
3D Animation: Mister
Music & Audio Prod: Massive Music
Sound Designer: Simon Kane
General Manager / Executive Producer: Katrina Aquilia
Music ECD: Ramesh Sathiah
Composer: Adrian Sergovich
VO casting/Direction
Eardrum: Ralph van Dijk

Scentre Group:
General Manager Marketing & Community: Jacqui Waine
Head of Marketing, Brand & Content: Amy Copley
Group Marketing Manager: Kristi Grose
Group Programming Manager: Fi Clark
Group Public Relations Manager: Rebecca Mahoney
Senior Marketing Manager, Campaigns: Tahlia Irving
Senior Programming Manager: Erika de Padua
Senior Public Relations and Social Media Manager: Emma Niven
Marketing Manager, Campaigns: Xanthe Collier
Public Relations and Social Media Manager: Emily Pruessner
Marketing Executive, Campaigns: Tamika Adams

Essence MediaCom:
Client Partner: Dan Morgan
Group Client Director: Beth Adams
Group Planning Director: Lauren Nolan
Marketplace Assoc. Director: Rachel Seage
Digital Director: Beiai Torres
Marketplace Assoc. Manager: Nicola Cadman
Marketplace Coordinator: Gagan Singh
Performance Coordinator: Lotty Liang

Wavemaker NZ:
Account Manager: Annabelle Wilkinson

PR:
Australia: Ogilvy PR
New Zealand: Hustle & Bustle

Eurovision On Tour is set to arrive on stages in Australia to celebrate 68 years of the Song Contest, presented by Eurodrama Entertainment.

The three-hour live experience is the first time the show has toured and will feature 18 fan-favourite contestants performing live with dancers and outrageous costumes, as well as a dedicated fan zone with a replica of the iconic glass trophy, props and outfits.

Two Australians have been confirmed to perform on the tour: Korean-Australian songstress from Brisbane Dami Im and the youngest 2024 Eurovision entrant at 17 years old, Sydney’s Silia Kapsis.

Following concerts in London, Paris and Madrid, Eurovision On Tour brings the Eurovision experience to the fans and will tour to three Australian cities: Brisbane, Melbourne and Sydney on 13, 15 and 17 November 2024.

Dami Im

“The idea was first presented in 2019. After a worldwide pandemic plus two years of negotiation, Eurodrama Entertainment, SL could secure the exclusivity and name using right from the EBU to organise the first world tour of the Eurovision Song Contest,” Italian-African singer Senhit said.

“Eurovision has always been about bringing people together through music, no matter where in the world you are. Taking Eurovision On Tour to Australia is incredibly exciting for me because it means sharing this celebration of diversity and creativity with even more fans.”

“Australia has such a passionate Eurovision community, and I can’t wait to experience that energy firsthand.”

The 18 Eurovision singers will perform the songs that captivated the world in the international singing competition alongside a dedicated fan zone complete with stage props and legendary outfits (including ABBA).

The full list of performers for the Australian tour include tour star and spokesperson Senhit (San Marino), runner up winner Dami Im (Australia), winner Carola (Sweden), Destiny (Malta), Efendi (Azerbaijan), winner Emmelie de Forest (Denmark), Esther Hart (Netherlands), Jalisse (Italy), winner Linda Martin (Ireland), Nicki French (United Kingdom), Ovi & Ilinca Bacila (Romania), Rosa López (Spain), Silia Kapsis (Cyprus / Australian from Sydney), Soraya (Spain), Sunstroke Project (Moldova), Suzy (Portugal), The Roop (Lithuania) and upcoming 2025 contestant Theo Evan (Cyprus).

South Australian electronic music duo Electric Fields represented Australia this year and will be the first artist to sing in an Aboriginal language on the Eurovision stage. The duo consisted of vocalist Zaachariaha Fielding and producer Michael Ross.

Last year, Australia beat the odds to get all the way to the top 10, placing 9th in the competition. After the voting closed, Australia only got 21 points from the public vote. It didn’t stop Voyager from finishing in the top 10 with a total of 151 votes. Sweden overpowered all others, with 583 total points, and Finland came ins second place.

See also: How Voyager rocked the Eurovision stage and put Australia top 10 in 2023

Tuesday 5 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 2,118,000, a total TV national audience of 1,180,000, and a BVOD audience of 175,000.

Nine’s 9News recorded a total TV national reach of 2,215,000, a total TV national audience of 1,354,000, and a BVOD audience of 109,000.

Nine’s Melbourne Cup – Race coverage recorded a total TV national reach of 2,123,000, a total TV national audience of 1,910,000, and a BVOD audience of 371,000.

Seven’s Seven News recorded a total TV national reach of 2,025,000, a total TV national audience of 1,285,000, and a BVOD audience of 68,000.

Also on Seven, My Kitchen Rules recorded a total TV national reach of 1,664,000, a total TV national audience of 972,000, and a BVOD audience of 89,000.

10’s airing of The Cheap Seats recorded a total TV national reach of 808,000, a total TV national audience of 403,000, and a BVOD audience of 10,000.

People 25-54

Nine’s The Block:
• Total TV nation reach: 773,000
• National Audience: 462,000
• BVOD Audience: 106,000

Nine’s Melbourne Cup:
• Total TV nation reach: 695,000
• National Audience: 477,000
• BVOD Audience: 141,000

Seven’s My Kitchen Rules:
• Total TV nation reach: 507,000
• National Audience: 279,000
• BVOD Audience: 48,000

10’s The Cheap Seats:
• Total TV nation reach: 373,000
• National Audience: 199,000
• BVOD Audience: 6,000

People 16-39

Nine’s The Block:
• Total TV nation reach: 331,000
• National Audience: 203,000
• BVOD Audience: 60,000

Nine’s Melbourne Cup:
• Total TV nation reach: 371,000
• National Audience: 254,000
• BVOD Audience: 83,000

Seven’s My Kitchen Rules:
• Total TV nation reach: 208,000
• National Audience: 116,000
• BVOD Audience: 25,000

10’s The Cheap Seats:
• Total TV nation reach: 136,000
• National Audience: 71,000
• BVOD Audience: 3,000

Grocery Shoppers 18+ TV Ratings

Nine’s The Block:
• Total TV nation reach: 1,653,000
• National Audience: 927,000
• BVOD Audience: 141,000

Nine’s Melbourne Cup:
• Total TV nation reach: 1,741,000
• National Audience: 1,245,000
• BVOD Audience: 190,000

Seven’s My Kitchen Rules:
• Total TV nation reach: 1,324,000
• National Audience: 788,000
• BVOD Audience: 72,000

10’s The Cheap Seats:
• Total TV nation reach: 613,000
• National Audience: 305,000
• BVOD Audience: 8,000

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.

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