Ahead of Meta’s potential news ban, independent publications are putting safeguards in place such as diversifying traffic sources, and launching dedicated apps and reader contributions, to mitigate the impact of losing traffic if Meta repeats what it has already done in Canada.

Meta has said it will remove all news from Facebook and Instagram in Australia if it is “designated” under the News Media Bargaining Code, which would force digital platforms back to the bargaining table over payment for the use of news.

Upon its launch in early August, The Manly Observer news app reached #1 on the Apple App Store charts in Australia in the ‘Magazines & Newspapers’ category. An online newspaper covering the lower Northern Beaches of Sydney, it boasts a social media following of 100,000 across Instagram and Facebook.

Kim Smee, founder and editor of The Manly Observer, told Mediaweek the launch of the app was a direct reaction to a potential Meta news ban.

“A news ban would mean, at least initially, a 50% cut in our website traffic – currently 51% organic traffic but about 42% social referral,” she said.

However, to Smee, it’s more than the effect on web traffic.

Kim Smee

“Our website is well read and offers a great selection of longer reads on local issues but it’s the social media channels that have provided the instant news needed when most useful, as well as engaged a new generation of news consumers via stories and reels.

“Our new app performs a lot of the functions our Instagram account provides – pictures, videos, short summaries.

“We then plan to build on it as funds allow to make it a really useful tool for locals such as quick links to power outages or beach conditions [and maybe] the ability to like and comment and connect.”

Manly Observer #1 on the Magazines & Newspapers charts

The app garnered 4,300 downloads in the first few days since launching on the App Store (Android is still in beta testing) and as of publication, the app sits ranked #3 on the Magazines & Newspapers chart. 

“It’s been supported by dozens of five-star reviews because the community backs it,” Smee said.

“Hyperlocal news is the future.”

Smee added she is pleased to be building a future for the masthead that “won’t be at the mercy of algorithms regardless of whether we get banned or not.”

“While I’ve been recently resentful of the uncertainties and also the algorithmic mucking about of late, I am actually really grateful for the Meta platforms as they helped Manly Observer build its initial readership base,” she said.

“Now, though, they are clearly heading in a different direction and I’m not sure that’s anywhere near the fourth estate.”

While independent Australian men’s lifestyle publication Man of Many (MoM) was not a direct beneficiary under the News Media Bargaining Code, co-founder Scott Purcell said the site has “remained vigilant and proactive in [our] approach to these changes.”

According to Purcell, MoM’s dependence on Meta platforms is minimal, accounting for less than 3% of its website traffic.

“Understanding the volatility of social media platforms, we have significantly diversified our traffic sources,” he said.

“This includes strengthening our presence on other platforms such as LinkedIn and Twitter. Additionally, we have focused on enhancing our SEO strategies to boost organic search traffic, ensuring that we are not overly reliant on any single source for audience reach.”

The site has also actively participated in a coalition urging the government to consider the broader implications of a ban. 

“Our recommendations to the ACCC and government include advocating for inclusive negotiation mechanisms, supporting media diversity, and safeguarding against platform withdrawal.

“We have also taken direct action by communicating with government officials through open letters and leveraging our platform to educate our audience about the ongoing changes and how they can support independent media.”

Co-founder of social-first news publication The Daily Aus, Zara Seidler, has been vocal about how a Meta ban would affect the company, telling Mediaweek in March that it would have “a direct consequence for us and our revenue.”

The business launched on Meta-owned Instagram and has 560,000 followers on the platform, putting The Daily Aus in a “complex” position, Seidler said.

The publication said that while Instagram is still central to its platform and revenue, it also has brand partnerships that take the form of Instagram Stories and on-platform polling. It has also introduced TDA+U, an initiative that allows individuals to make voluntary contributions to support The Daily Aus.

The team said that readers will still be able to access The Daily Aus without contributing and any contributions will help to sustain the publication and keep it free for those who can’t afford to pay for news.

TDA+U is another safeguard by a publication that is “horrified by the prospects” of Meta’s potential decision.

Seidler told Mediaweek in March: “The bottom lines of big media companies need to be taken into consideration, but so do consumer habits. They’re not going to change how they get their news tomorrow, so what will come and fill that void? That’s my concern.”

See also: The Daily Aus on Meta, international expansion, and remedying ‘Fontgate’

News Corp has released its fourth quarter and full-year earnings for the financial year 2024, ending June 30, 2024.

The release of the figures was followed by an earnings call with News Corp chief executive Robert Thomson and chief financial officer Susan Panuccio. An edited summary of the earnings release is published below.

News Corp earnings highlights

• Fourth quarter revenues were US$2.58 billion, a 6% increase compared to $2.43 billion in the prior year, driven by growth at the Digital Real Estate Services, Book Publishing and Dow Jones segments (all figures in this report US$)
• Net income in the quarter was $71 million, a significant improvement compared to a net loss of $(32) million in the prior year
• Total Segment EBITDA was the highest for a fourth quarter since separation at $380 million compared to $341 million in the prior year
• Potential partnership transaction for Foxtel Group as streaming numbers reach an all-time high
• News Corp announced a multi-year global partnership with OpenAI
• Announcement of JD Vance as Republican VP candidate boosted sales of Harper Collins’ Hillbilly Elegy – 150,000 sold in 24 hours after appointment

Thomson on potential Foxtel transaction: ‘Evaluating options’

In his introductory remarks, Robert Thomson said: “Fiscal 2024 was an outstanding year for News Corp, as we not only delivered robust earnings growth and created substantial shareholder value, but took a significant step to prepare the company to prosper in the AI age.

“Our landmark agreement with OpenAI is not only expected to be lucrative, but will enable us to work closely with a trusted, pre-eminent partner to fashion a future for professional journalism and for provenance. Meanwhile, we have begun to take legal steps against AI aggressors, the egregious aggregators, who are predatory in the confiscation of our content. ‘Open source’ can never be a justification for ‘open slather.’

“For the quarter, revenues grew 6 percent to almost $2.6 billion, while net income improved significantly and profitability advanced by 11 percent to a fourth-quarter record. Our core pillars of growth – Book Publishing, Digital Real Estate Services and Dow Jones – inspired the increasing profitability, and their strength augurs well for Fiscal 2025.

“We are confident in the company’s long-term prospects and are continuing to review our portfolio with a focus on maximizing returns for shareholders. That review has coincided recently with third-party interest in a potential transaction involving the Foxtel Group, which has been positively transformed in recent years. We are evaluating options for the business with our advisors in light of that external interest.”

Emancipation of Wall Street Journal’s Evan Gershkovich

Thompson also added: “I would like to express our sincere gratitude to all who contributed to the emancipation of Evan Gershkovich. His freedom was made possible by the concerted efforts of concerned, principled people who recognized that his incarceration was unjust and immoral. Many thanks to our leaders at Dow Jones and News Corp, who campaigned vigorously for Evan, and to the U.S. government and other enlightened governments, whose divine interventions played a pivotal role in his release.”

News Corp segment review

Full-year results summary

News Corp reported fiscal 2024 full-year total revenues of $10.09 billion, a 2% increase compared to $9.88 billion in the prior year, driven by higher Australian residential revenues at REA Group, improved returns combined with higher digital sales at the Book Publishing segment and continued growth in the professional information business at the Dow Jones segment. The increase was partly offset by lower advertising revenues at the News Media segment and lower revenues at Move due to ongoing challenging housing market conditions in the U.S., in addition to a $37 million negative impact from foreign currency fluctuations. Adjusted Revenues increased 2%.

Net income for the full year was $354 million, a $167 million, or 89%, increase compared to $187 million in the prior year. The increase was primarily driven by improved losses from equity affiliates due to the absence of a non-cash write-down of REA Group’s investment in PropertyGuru in the prior year and higher Total Segment EBITDA.

Total Segment EBITDA for the full year was $1.54 billion, a $119 million, or 8%, increase compared to $1.42 billion in the prior year primarily driven by improved performance at REA Group and the Book Publishing and Dow Jones segments primarily as a result of higher revenues, as discussed above, in addition to gross cost savings related to the announced 5% headcount reduction initiative and savings due to lower production costs at News UK and Book Publishing.

The increase was partially offset by higher costs related to the launch of Hubbl and higher sports programming rights costs due to contractual increases at the Subscription Video Services segment, higher employee costs at the Book Publishing segment and REA Group, increased marketing costs at Move, increased technology and marketing costs at the Dow Jones segment and a $17 million, or 2%, negative impact from foreign currency fluctuations. Adjusted total segment EBITDA increased 8%.

Subscription Video Services

Fourth Quarter Segment Results

Revenues of $506 million in the quarter increased $5 million, or 1%, compared with the prior year, primarily driven by higher revenues from Kayo and Binge from increases in both volume and pricing, mostly offset by the impact from fewer residential broadcast subscribers and a $7 million, or 1%, negative impact from foreign currency fluctuations. Adjusted Revenues of $513 million increased 2% compared to the prior year.

Foxtel Group streaming subscription revenues represented 32% of total circulation and subscription revenues in the quarter, as compared to 29% in the prior year.

As of June 30, 2024, Foxtel’s total closing paid subscribers were nearly 4.7 million, a 1% increase compared to the prior year, driven by growth in Kayo and Binge subscribers, partly offset by fewer residential broadcast subscribers. Broadcast subscriber churn in the quarter was 11.7% compared to 11.1% in the prior year partly driven by the price and packaging simplification. Broadcast ARPU for the quarter increased 6% year-over-year to A$90 (US$59).

Segment EBITDA of $74 million in the quarter decreased $4 million, or 5%, compared with the prior year, primarily due to $28 million of Hubbl launch costs, partially offset by lower entertainment programming rights and transmission costs and the higher revenues discussed above. Adjusted segment EBITDA decreased 4%.

Full Year Segment Results

Fiscal 2024 full year revenues declined $25 million, or 1%, compared with the prior year, due to a $52 million, or 2%, negative impact from foreign currency fluctuations. Adjusted revenues increased 1% compared to the prior year. Higher streaming revenues, primarily from Kayo and Binge, and higher advertising revenues more than offset the revenue declines from lower residential broadcast subscribers. Foxtel Group streaming subscription revenues represented approximately 30% of total circulation and subscription revenues in the fiscal year compared to 27% in the prior year.

Segment EBITDA for fiscal 2024 decreased $37 million, or 11%, compared to the prior year, primarily due to $51 million of costs related to the launch of Hubbl, higher sports programming costs due to contractual increases and the $9 million, or 3%, negative impact from foreign currency fluctuations, partly offset by the revenue drivers discussed above and declines in other costs including lower technology, entertainment programming rights and marketing. Adjusted segment EBITDA decreased 8%.

Dow Jones

Fourth Quarter Segment Results

Revenues in the quarter increased $20 million, or 4%, compared to the prior year, driven by growth in circulation and subscription revenues underpinned by the professional information business. Digital revenues at Dow Jones in the quarter represented 81% of total revenues compared to 79% in the prior year. Adjusted revenues increased 4%.

Circulation and subscription revenues increased $17 million, or 4%, primarily driven by an 8% increase in professional information business revenues, led by 12% growth in Risk and compliance revenues to $76 million and 14% growth in Dow Jones Energy revenues to $65 million. Circulation revenues increased 1% compared to the prior year, as the continued growth in digital-only subscriptions was mostly offset by lower print volume. Digital circulation revenues accounted for 71% of circulation revenues for the quarter, compared to 70% in the prior year.

During the fourth quarter, total average subscriptions to Dow Jones’ consumer products were over 5.8 million, an 11% increase compared to the prior year. Digital-only subscriptions to Dow Jones’ consumer products grew 16% to over 5.2 million. Total subscriptions to The Wall Street Journal grew 7% compared to the prior year, to nearly 4.3 million average subscriptions in the quarter. Digital-only subscriptions to The Wall Street Journal grew 11% to almost 3.8 million average subscriptions in the quarter, and represented 89% of total Wall Street Journal subscriptions.

Advertising revenues increased $2 million, or 2%, primarily due to 12% growth in digital advertising revenues, partly offset by a 13% decline in print advertising revenues. Digital advertising accounted for 66% of total advertising revenues in the quarter, compared to 60% in the prior year.

Segment EBITDA for the quarter increased $4 million, or 3%, primarily as a result of the higher revenues discussed above, partially offset by higher marketing costs and higher employee costs, which includes a retroactive payment related to the ratification of a new union agreement. Adjusted segment EBITDA increased 3%.

Full Year Segment Results

Fiscal 2024 full year revenues increased $78 million, or 4%, compared to the prior year, primarily driven by growth in professional information business revenues and a $7 million, or 1%, positive impact from foreign currency fluctuations. Adjusted revenues grew 3% compared to the prior year. Digital revenues at Dow Jones represented 80% of total revenues for the year compared to 78% in the prior year.

Circulation and subscription revenues increased $82 million, or 5%, which includes a $7 million, or 1%, positive impact from foreign currency fluctuations. Professional information business revenues grew 11%, driven by 16% growth in Risk & Compliance products, which reached nearly $300 million in revenues in fiscal 2024, and 16% growth in Dow Jones Energy. Circulation revenues grew 1% compared to the prior year, reflecting continued strong growth in digital-only subscriptions at The Wall Street Journal, offset by lower print volumes. Digital circulation revenues accounted for 71% of circulation revenues for the year, compared to 69% in the prior year.

Advertising revenue decreased $8 million, or 2%, primarily due to a 10% decrease in print advertising, partly offset by a 4% increase in digital advertising. Digital advertising revenues accounted for 64% of total advertising revenues for the year, compared to 61% in the prior year.

Segment EBITDA for fiscal 2024 increased $48 million, or 10%, compared to the prior year, primarily due to higher revenues, as noted above, and lower newsprint, production and distribution costs, partially offset by higher technology and marketing costs. Adjusted Segment EBITDA increased 10%.

News Media

Fourth Quarter Segment Results

Revenues in the quarter decreased $26 million, or 5%, as compared to the prior year, primarily driven by lower advertising revenues and lower circulation and subscription revenues. Within the segment, revenues at News Corp Australia decreased 5%, driven by lower circulation and subscription revenues, and included a $4 million, or 1%, negative impact from foreign currency fluctuations, while News UK revenues decreased 5% driven by lower advertising revenues. Adjusted revenues for the segment decreased 4% compared to the prior year.

Circulation and subscription revenues decreased $9 million, or 3%, compared to the prior year, primarily due to lower print volumes and lower digital circulation and subscription revenue at News Corp Australia due to the expiration of the Meta content licensing deal, partially offset by price increases and digital subscriber growth at News UK.

Advertising revenues decreased $11 million, or 5%, compared to the prior year, primarily due to lower print advertising at News UK and News Corp Australia and lower digital advertising mainly driven by a decline in traffic at some mastheads due to platform-related changes, partly offset by growth in digital advertising at Wireless Group.

In the quarter, segment EBITDA decreased $17 million, or 38%, compared to the prior year, driven by lower contribution from News Corp Australia. Adjusted segment EBITDA decreased 38%.

Digital revenues represented 37% of News Media segment revenues in the quarter, compared to 36% in the prior year, and represented 35% of the combined revenues of the newspaper mastheads. Digital subscribers and users across key properties within the News Media segment are summarized below:

* Closing digital subscribers at News Corp Australia as of June 30, 2024 were 1,117,000 (968,000 for news mastheads), compared to 1,059,000 (943,000 for news mastheads) in the prior year (Source: Internal data)

* The Times and Sunday Times closing digital subscribers, including the Times Literary Supplement, as of June 30, 2024 were 594,000, compared to 565,000 in the prior year (Source: Internal data).

* The Sun’s digital offering reached 112 million global monthly unique users in June 2024, compared to 159 million in the prior year (Source: Meta Pixel)

* New York Post’s digital network reached 117 million unique users in June 2024, compared to 145 million in the prior year (Source: Google Analytics)

Full Year Segment Results

Fiscal 2024 full year revenues decreased $80 million, or 4%, compared to the prior year, which includes a $20 million positive impact from foreign currency fluctuations. Within the segment, revenues at News Corp Australia decreased 7%, driven by lower advertising and a $25 million, or 3%, negative impact from foreign currency fluctuations, while revenues at News UK were flat, reflecting a $39 million, or 5%, positive impact from foreign currency fluctuations.

Circulation and subscription revenues increased $10 million, or 1%, compared to the prior year, primarily due to a $15 million, or 1%, positive impact from foreign currency fluctuations, as cover price increases and digital subscriber growth were more than offset by print volume declines.

Advertising revenues decreased $73 million, or 8%, compared to the prior year, driven by lower print and digital advertising at both News Corp Australia and News UK.

Segment EBITDA for fiscal 2024 decreased $36 million, or 23%, compared to the prior year, which includes $6 million of one-time costs at News UK pertaining to the combination of printing operations with DMG Media. The decrease is primarily due to the lower contribution from News Corp Australia. Adjusted segment EBITDA decreased 24% compared to the prior year.

See also: News Corp Q3 23-24: Group revenue flat, Foxtel Group steady, news media dips again

The ABC’s director of audiences and marketing, Leisa Bacon, is leaving the national broadcaster after a decade leading its core marketing and strategic audience functions.

Bacon has led the ABC’s marketing and audience teams, and the audience launches for the ABC Kids app, ABC listen app, ABC NEWS app, and the log-in to watch on ABC iview.

ABC managing director David Anderson said Bacon’s achievements and experience prior to joining the ABC in 2014 meant she has always had a strong understanding of audiences, stakeholder management, marketing, communications, digital, experience design, and change management.

“Leisa came to the ABC with the task of centralising our marketing and audience requirements to meet changing audience engagement in an increasingly fragmented media market,” he said.

“The ABC needed a sharp and dynamic marketing professional to meet these significant changes in the industry and Leisa has always stepped up to the challenge.

“Leisa has developed and led strategies to ensure the ABC remains relevant to audiences everywhere. She is passionate about the ABC and has been committed to making sure Australians have been aware of the contribution we make to the community through the services that entertain, inform and educate.

Anderson added that Bacon played a key role in “managing the ABC’s response to the COVID-19 pandemic, ensuring the ABC remained an important and central source of news, information, and entertainment during that challenging time for all Australians.”

Bacon joined the ABC as director of audience and marketing in March 2014 after senior roles across the consumer products, health, and arts sectors.

“Since joining the ABC I have always viewed this as the best job in the country. We serve the Australian public, contribute to culture, and literally produce the best content in the country,” Bacon said.

“I will always be an incredible supporter of the ABC, my amazing Audiences team and my fabulous boss, David Anderson.

“However, all things need to keep evolving. After an incredible 10 years with the ABC, I am going to be leaving on a bit of a career high.”

Bacon’s final day at the ABC will be 6 September. Karen Madden will be acting director audiences while the ABC undertakes a recruitment process.

Founder and creative partner Damian Pincus and managing director Julie Dormand have spoken out following their departures from The Works.

Their exits follow parent company Capgemini ANZ’s decision to integrate the creative agency into its business, as confirmed earlier this week. This move has also led to the departure of partner Douglas Nicol and reports of redundancies affecting at least half the agency.

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

Damian Pincus

“This week marks my last week at The Works,” said Pincus.

“After 21 years of building a business, I have loved working in, it’s now time to move on. With my amazing business partners Douglas Nicol and Kevin Macmillan, we built an envious reputation over the years from humble beginnings, founded in a campervan. The Works has given me 21 years of pure fun, there’s been ups and downs, but I’ve been fortunate to have worked with some of the best people in the business and some amazing clients.”

Pincus described The Works’ culture as the agency’s “beating heart” and thanked Dormand for preserving and building upon it.

Looking ahead, Pincus commented: “There are exciting plans for the agency as it becomes part of a global digital transformation company, Capgemini… Jerome Gaslain is one hell of a good leader.

“I’m beginning a process to see what’s next for me. It’s going to be different, much like when Kev and I started in a van, putting ‘creatives at the forefront.’

“It’s been a very rewarding ride.”

In a separate post, Dormand wrote: “I went to The Works for a few months, and stayed a few years. I stayed because of the kind and fun spirit in everyone.

“With a change in direction for the agency, I’ve chosen to put up the sails and leave port again.”

She thanked Pincus and Nicol, saying: “You have both made me howl with laughter, feel loved and valued and inspired me with your brilliant minds.”

Dormand called out notable achievements including ranking fourth in the WRK Best Place to Work awards, achieving a staff NPS of 93, management becoming Brene Brown ‘Dare to Lead’ accredited, and being the first agency to add a mindset coach for staff.

She continued: “To every single legend from The Works – thanks for having me.”

Julie Dormand

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. 

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.

Mediaweek has reached out to Pincus and Dormand. Capgemini had no further comment. 

See also: Capgemini ANZ integrating The Works, Jerome Gaslain to lead the team as founder departs

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

Havas Red has launched an end-to-end strategic communications service, INDUSTRY.

Havas said INDUSTRY is geared towards B2B brands, and has been launched globally in response to increasing demand for strategic communications programs that are integrated across channels and audiences while remaining sensitive to volatile cultural, political, economic, and technological climates.

INDUSTRY will deliver services including reputation management, executive visibility, brand and product excitement, crisis and issues management, influence and constituency building, as well as social and content.

“Now is a critical time for B2B leaders to build and maintain a positive reputation, and that really does take a village,” said James Wright, global CEO of the HAVAS Red Group and global chair of the HAVAS PR Global Network.

“There are ever-increasing expectations that B2B companies speak to how their companies are staying aligned to ideals around purpose, and that’s being magnified by the 24-7, multichannel news environment.”

Wright said HAVAS Red Group has been immersed in this space for years and has seen its rapid evolution.

“We presently are working with B2B businesses and brands across industry verticals, from professional services, fintech and tech to automotive, manufacturing and chemicals. INDUSTRY thus represents a natural next step to formalise and focus our expertise as a global practice.“

To mark the launch, HAVAS Red has released the white paper Inside Person-to-Person (P2P) Communications: Brand Stewardship via Human Connection, outlining best practices and trends for B2B brands to forge personal connections with audiences.

HAVAS Red is a micro-network of merged media agencies with a concentration on PR, social media, and experiential. Its merged model is purposed to mimic the convergence of media consumption, blending traditional and digital publishing, content, social media, and data.

Brands under the HAVAS Red banner include influencer marketing agency SWAY by HAVAS Red, branding support agency Peaks, ESG and sustainability offering Red Impact, health and wellness offering HAVAS Red Health, and B2B content marketing practice Red Connect.

INDUSTRY will similarly leverage HAVAS Red’s merged media strategic model.

The launch of INDUSTRY follows the June launch of HAVAS Red’s AI proposition, Agency Intelligence: Intelligent Strategy, Ideas, and People.

See also: Havas Red launches AI proposition: ‘Agency Intelligence’

–

Top image: James Wright

Seven West Media (SWM) WA has promoted Chris Pearce to the newly-created role of sport sales director, leading the integrated sport offering to the market across broadcast, streaming, print, and digital.

Pearce has been at SWM WA for over 10 years, most recently as group sales manager for Seven.

The appointment comes at a pivotal time, with Seven’s digital rights to cricket starting in October. Test matches, Women’s Internationals, BBL, and WBBL will run on 7plus for the first time, followed by AFL rights commencing with the Brownlow Medal and the 2024 AFL Grand Final, AFLW (already running on 7plus), and then the full 2025 AFL season.

The role will also be involved in the ongoing development of the in-market proposition for two of SWM’s newest assets in local sports streaming service, Streamer, and news brand, The Nightly.

Pearce said: “Nothing connects Australians like sport does, and at SWM, we have the ability to reach sports fans better than anyone across our extensive suite of platforms and masthead.

“I’m incredibly excited to be taking on this role at such an important time with the upcoming digital rights across cricket and AFL and to help continue to grow our market-leading sport offering.”

Brent Stewart, chief sales officer at SWM WA, added: “It’s incredibly important to us as an organisation to ensure one of our largest, premium offerings in sport is fully integrated across all of our channels.

“This appointment reinforces our commitment to the continued growth of our offering to clients. There’s no better person for the role than Chris, who has been an instrumental figure in our organisation and the wider industry for over 10 years.”

SWM made a raft of new sports appointments in early July, after a round of reportedly 150 redundancies, including chief revenue officer, Kurt Burnette, chief marketing officer, Melissa Hopkins, and head of sport and managing director of Seven Melbourne, Lewis Martin.

The sports appointments included Chris Jones becoming director of network sport.

In further appointments, Seven’s AFL executive producer, Gary O’Keeffe, was elevated to the new role of head of AFL and sport innovation; horse racing executive producer Andrew Hore-Lacy was named head of horse racing; motor sport executive producer Kirsty Bradmore became head of sport digital; and cricket and horse racing producer Joel Starcevic was appointed head of cricket.

See also: Seven appointments: New heads of network sport, AFL, horse racing, cricket, and sport digital

The imperfections of footy are the focus of AAMI’s latest campaign via Ogilvy, When our game has its moments.

Celebrating AAMI’s long-standing relationship as official major partner of the AFL and AFLW, the latest work showcases the many quirks that can go wrong for both professional and community footy players, reinforcing the insurer’s slogan: Lucky you’re with AAMI.

“Fans have a deep love for AFL – it brings people together with a one-eyed passion that’s unmatched anywhere,” said Ogilvy Melbourne executive creative directory, Hilary Badger. 

“But things do go wrong sometimes. Sometimes that thing is a football connecting with your car. That when it’s Lucky you’re with AAMI.”

When our game has its moments is the third iteration of a new AAMI brand platform first launched in March, positioning the insurer as the go-to for cover when Australian life happens. 

The latest work follows on from the second iteration, Athletes in the Making, which was launched earlier in July, in the lead up to the Olympics.

The fun and lighthearted campaign vignettes the challenges faced by Aussie households when the aspirations of their young athletes outweigh their burgeoning skills.

“We’re proud of our long association with the AFL and AFLW, and our ability to understand the particular challenges that our customers face, even those created by a wayward footy,” said Mim Haysom, EGM brand and customer experience at Suncorp.

“We know Australians are less interested in the details of insurance – they just want it to be simple. So they can get back to the game we all love so much.”

When our game has its moments is live on TV, with a rollout across BVOD, streaming, OOH, social, radio, and press live from next week.

See also: AAMI launches ‘Athletes in the Making’ via Ogilvy

Credits:
Client: AAMI (Suncorp)
Mim Haysom: CMO/EGM Brand & Customer Experience
Rapthi Thanapalasingam: Head of Brand & Content
Toby Gill: AAMI Brand & Marketing Manager
Liza Friedman: AAMI Marketing Lead
Breanna Webster: Mass Brands Marketing Specialist

Jenny Hutchison: EM Group Sponsorships & Community

Gabrielle Emmett: Sponsorship Lead

Susie Turner: Sponsorship Specialist

Strategy and Creative: Ogilvy Australia

Media: OMD
Production: Hogarth
Production Company: Scoundrel
Director: Tim Bullock
VFX: Blockhead VFX
Sound: Squeak E Clean Studios
Retoucher: Aaron Foster @ Studio ADFX
MCG photograph supplied by: MCG
Northern Territory photograph supplied by: Colin Uren

Australian podcast duo Toni Lodge and Ryan Jon are the hosts of the hit podcast Toni and Ryan. This month, they are celebrating three years of content, laughs, and chaos, plus a new multi-year, multi-channel partnership with global audio giant Acast.

The move was announced by Toni and Ryan on their Tuesday podcast this week. Jon explained because of the switch to a new platform, they cannot post new episodes between Wednesday and next Monday. Could the hosts also be using the break to travel to the destination of their mystery third birthday party? (See below.)

The former home of the Toni and Guy podcast was Spotify, where they signed on in 2022.

See also: Toni and Ryan sign exclusive podcast deal with Spotify

Duo say no to radio, staying on a podcast platform

The duo launched the series in 2021 and over three years have released over 700 episodes. The Australian podcasters have expanded globally and now boast over 3m monthly downloads, daily audio and video content, and a combined social media following over 3.5m.

As Jon alluded to in his comment on their new contract, the pair has said no to offers from commercial radio networks.

Toni and Ryan fans are branded TARPers (Toni and Ryan Podcast) and those with a real addiction follow the hosts on Patreon, where subscription packages range from $4 monthly to $25 monthly to be a Champion TARPer.

Executive producer of the Toni and Ryan podcast is former Spotify producer Sophie Woods.

Welcome to Acast: ‘We’ve been huge fans’

Guy Scott-Wilson, Acast Australia and New Zealand’s creator network director, said their booming local and international audience makes Toni and Ryan a great fit for Acast.

“We’ve been huge fans of Toni and Ryan since the very start, and have been cheering them on from the sidelines as they bring their unique format to audiences around the world. They are absolute masters of the craft of podcasting, so it’s no surprise to see them resonate so deeply with international audiences.

“Acast has a physical presence in 15 countries around the world, so we’re so pleased to be partnering with Toni and Ryan to continue to grow their global community of TARPers, maximise their commercial opportunities across audio and social and increase the relevance of commercial messages to their local audiences.”

Henrik Isaksson, managing director of Acast Australia and New Zealand, said: “Acast will be working with Toni and Ryan to further this incredible growth story, maximise their commercial opportunities across audio and social, and increase the relevance of commercial messages to their audiences across the world.

“Advertisers: get in touch to see how you can reach Toni and Ryan’s massively engaged audiences across audio, video and social.

“Welcome to Acast, Toni and Ryan. In their words: We are back to being independent baby.”

Toni and Ryan will be available across all podcast platforms, including full-length video episodes on YouTube for the first time. The podcast already has over 600,000 subscribers on the video platform, which will be part of Acast’s offering to advertisers.

Party like it’s 2024

To share their success with listeners, Toni Lodge and Ryan Jon have announced the podcast’s third birthday party. All TARPers around the world are invited to the birthday event on Saturday 17 August, provided they can guess “Where in the world are Toni and Ryan?”

The first birthday party clues will be dropped in the podcast published on Monday 12 August – the first to be hosted on the Acast platform. There will be another clue in each of the episodes released across the week.

“Somewhere in the world, we’re throwing a party. It’s on Saturday, the 17th of August. It’s in a physical location, and everyone’s invited. The only catch is you have to find where we are, and you can come and have a beer and we’ll hang out,” co-host Jon said on Monday’s episode.

“It’s your job to figure out the clues, figure out where the party is, and come on down and let’s have a good time.”

Goodbye to Spotify

Lodge said: “We’ve had an amazing time being part of the Spotify team for the past two years and are grateful to everyone we’ve worked alongside. Now moving to Acast is really exciting for our little business and we couldn’t be happier to join forces with them! We love making our podcast and serving our TARPers all over the world, so getting to keep doing this job is the best part.”

Jon added: “Whilst it’s flattering to receive offers from Spotify and the big radio networks, we’ve got our own little team and our own little studio, and are quite happy being independent creators doing our own little thing.

“Acast has already done incredibly well generating revenue for the podcast. From here, they’ll keep doing the job of managing ads and sponsorships, and I’ll keep doing the job of sitting across from Toni and laughing my ass off.”

The Daily Aus is partnering with Intrepid Travel to launch a new ‘good news’ newsletter vertical.

To be sent each Sunday, the Good News Newsletter is part of The Daily Aus’ work to integrate positive news into people’s regular news diet.

Zara Seidler, The Daily Aus co-founder, said the new vertical is about having a “dedicated space” to platform everyday good news stories.

“Having a healthy news diet is about having light and shade,” Zara said. “It’s about having a grasp on the big stories that matter – politics, conflicts and the economy – while also allowing for an appreciation for all the good out there.

“When we started The Daily Aus, we made a conscious decision to include one ‘good news’ story every single day. Years later, that remains one of TDA’s most defining features, and we’re ready to scale that up.”

The Good News Newsletter works as an antidote to some of the news fatigue experienced by young people. The newsletter was created after feedback from audiences showed that people wanted the publication to build on the existing good news offering.

Followers can expect stories on scientific discoveries through to everyday people doing good things. Through this, the goal will remain the same: to remind readers that there is “plenty of good in the world.”

The first edition of the weekly vertical will launch on Sunday 11 August, in partnership with Intrepid Travel.

“We are proud to partner with The Daily Aus to deliver some much-needed ‘good news’ to young Australians,” Intrepid Travel’s chief customer officer, Leigh Barnes, said.

“Intrepid is on a mission to create positive change through the joy of travel, because when done right, we believe that travel can be used as a force for good.

“Through this collaboration, we aim to inspire young people to make a positive impact with their travel and empower them to experience all the goodness the world has to offer.”

See also: How The Daily Aus is reaching more young people than ever through newsletters

Doritos has launched its Doritos XXL range with an ‘out of this world’ science-fiction inspired integrated campaign.

The Doritos XXL campaign is a combined effort from creative agency VaynerMedia, marcomms agency Mango Communications (part of DDB Group), and TRIO, Omnicom Media Group‘s dedicated media solution for PepsiCo, led by PHD‘s Stuart Bailey.

Launching this week, the campaign is supported by a rollout across social media, BVOD, and national OOH placements, depicting the XXL range’s arrival from space. The campaign urges Aussie snackers to step outside their comfort zone and taste Doritos’ new ‘otherworldly’ range with caution.

“Doritos XXL is all about delivering an out of this world snacking experience so we wanted to launch the range through an ‘other-worldly’ narrative and ‘arrival’ storyline to tap into the growing popularity of the science fiction genre,” said Doritos senior brand manager, Kathryn Miller.

An influencer partnership with internet personality Rachael Evren teased the sighting of an unidentified ‘space chip’ to mark the arrival of the range. Other unidentified objects were spotted flying through Doritos’ owned social posts.

@rachevren I was editing my latest video and saw this in the background?! What do you think it is? #doritosaus #ad @Doritos Australia ♬ original sound – Rachevren

Earlier this year, Doritos and VaynerMedia brought the snack brand‘s For The Bold OOH campaign to life at the Melbourne Wedding & Bride Expo. The ad series revolves around Doritos enthusiasts giving in to the temptation of their favourite snack in different situations, in this case, a bride in her Doritos-dusted wedding dress.

See also: Doritos’ ‘For The Bold’ campaign turned heads at Melbourne Wedding Expo with Dorito-dusted dress

Credits: 
Mural: The Alliance and Apparition 
Out of Home: QMS  

Brand: PepsiCo  
Tracy Hardwick: Marketing Director    
Sam O’Donnell: Marketing Manager  
Kathryn Miller: Senior Brand Manager  
Camille Norsa: Assistant Brand Manager  

Creative Agency:  VaynerMedia Australia    
Yash Murthy: Group Creative Director  
Lehi Curtis: Senior Art Director  
Asela Marcelline: Copywriter 
Chrissie Malloch: Strategy Director 
Elyssa Markle: Senior Account Director  
Melissa Petryszyn: Senior Producer 

Media Agency: Trio (PHD) Media 
Jen Jones: Group Business Director 
Christine Chen: Group Investment Director 
Mikeah Irving: Senior Investment Manager 
Lucy Mckenna: Digital Manager 
Tasnia Sheikh: Account Executive 

PR: Mango 
Managing Director: Tabitha Fairbairn 
General Manager: Angela McCann  
Account Director: Natalia Katsionis  
Account Manager: Renay Hung 

As the closing ceremony of the Paris 2024 Olympic Games approaches, QMS and its advertisers are setting their sights on the Australian Paralympics team at the Paris 2024 Paralympic Games.

The Paris 2024 Paralympic Games will run from 28 August to 8 September and promises to be the largest and most successful event in Paralympic sport. The Games will see more than 4,000 athletes from around the globe competing in a total of 549 events, with Paralympics Australia set to take its team of 160 athletes from 17 sports to Paris.

QMS and its partners Toyota Australia, Allianz, Woolworths, and Bupa will use the QMS Paris 2024 Digital Screen Network to showcase the latest news from the Paris 2024 Paralympics Games, with stories and results as they happen in real-time.

The network will continue throughout the Paralympics as it spans QMS’ digital large format, City of Sydney, Gold Coast street furniture, and The Convenience Network assets.

Paralympics Australia Interim CEO, Cameron Murray, said: “Paralympic sport challenges mindsets and assumptions about what people with a disability can achieve. With the support of QMS, we have a platform to deliver the most inclusive Paralympic Games experience for all Australians and to, importantly, share the lived experiences, ideas and aspirations of our Para-athletes.

“We’ve already seen the power of QMS’ network in celebrating our Para-athletes in the lead up to Paris, and now we will be able to share the triumph and pride of our Australian Paralympic team in real time, across Australia with QMS’ powerful digital network.”

QMS chief sales officer, Tim Murphy, said: “Paralympic sport is incredibly powerful as it showcases unique stories of resilience, determination and the strength of human spirit.

“We are thrilled to be moving into ‘Games time’ with Paralympics Australia and our partners to share the stories of unity and triumph of our Para-athletes and to inspire and drive social change towards a fairer and more inclusive Australia.

“Our Paris 2024 Digital Screen Network has already shown the power of delivering the most iconic moments in Paris to Australians during DOOH’s peak commute times during the Olympics and we cannot wait to see more celebrations and memorable moments from the Paralympics across our network in the weeks to come,” he said.

The Paris 2024 Digital Screen Network will run until the Closing Ceremony of the Paralympic Games on 8 September.

See also: QMS launches 3DOOH full motion campaign for Four’N Twenty

Captify has appointed Jaclyn Hadida as local managing director.

Hadida’s appointment comes as Krish Raja, who has led Captify’s Australian business since 2021, relocates to New York to focus on emerging business development opportunities.

Captify’s CEO, Mike Welch, said: Hadida “brings with her such an incredible wealth of experience across programmatic, media, data, and team leadership, and will be a huge asset to the business. No doubt Jaclyn will further amplify the Captify culture and spirit in Australia.”

Hadida, previously country manager with InMobi ANZ, will oversee Captify’s Australian business, including all revenue and client facing functions in the region. These include programmatic sales, direct sales, client strategy, and data partnerships across the market, as well as trading and insights functions.

Hadida joins the search intelligence platform with almost two decades of media experience. Along with her role at InMobi, Hadidi was previously enterprise sales director with Taboola, and has worked at Bauer Media Group, Fairfax Media, and News Corp.

Hadidi said she’s joining the business at “such a pivotal moment for the programmatic industry.”

“The Australian market has taken to the Captify brand and product really well over the years thanks to the founding team and I look forward to taking the business to the next stage of its evolution in Australia as the programmatic ecosystem is rejuvenated with new technologies like Captify’s Search Intelligence,” she said.

Captify recently announced the expansion of its in-house Creative Studio for the Australian market, to offer data-driven rich media placements.

Mediaweek has previously reported how Captify was expanding its sustainability efforts to reduce carbon emissions.

Marketers will be able to measure the carbon footprint of their ad campaigns, including the sites and devices on which an ad appears. 

Captify can then use that data to identify and remove high-emissions inventory. At the end of the campaign, clients are provided with actionable insights to inform future strategies.

The Idea Shed has appointed John Fairley, former head of design at Dentsu Creative, as design director.

As head of design ANZ at Dentsu, Fairley worked with clients such as American Express, The Iconic, Kmart, and NIB.

John Volckman, partner and executive creative director at The Idea Shed, said: “John operates at the intersection of pure talent and humility — he knows his craft inside out without a hint of ego.

“John’s work has built many memorable brands, aligning perfectly with our belief that unforgettable brands are built on creativity that converts. We’re excited to see the influence he’ll have on our brilliant creative team, driving simplicity and impact to create even more memorable work.”

Fairley’s appointment at the creative commerce agency comes on the heels of a freelance stint. He was already working with The Idea Shed to pitch and clinch accounts including Australian Catholic University and the NSW Government.

“I’m really excited to be partnering with such a dynamic and forward-thinking agency,” Fairley said.

“The Idea Shed’s commitment to creativity and innovation is something I deeply resonate with. Having worked on several projects over the course of this year so far, I’m looking forward to collaborating with this talented team to create impactful and memorable work.”

Beyond his freelance work and time with Dentsu Creative, Fairley has held senior creative management roles in London agencies.

The Idea Shed said Fairley will leverage his expertise to elevate the agency’s creative output, fostering innovation and delivering impactful, memorable work for clients.

Fairley will also continue to work for himself, running his freelance business alongside his role at The Idea Shed.

In June, Mentos launched a campaign created by The Idea Shed – the first work the Sydney-based creative commerce agency has brought to life for Mentos.

Mentos needed a localised campaign to introduce the ‘Yes To Fresh’ platform to the Australian market.

The latest campaign from Are Media’s The Australian Women’s Weekly involves Chrissie Swan leading women on Australia’s biggest mass walk movement.  

Sponsored by Priceline Pharmacy, Walk With The Weekly aims to get women to walk for 30 minutes a day throughout September to improve their physical and mental health and encourage more community connections.

The Australian Women’s Weekly editor, Sophie Tedmanson, added: “I’m thrilled to have Chrissie on board as she’s living proof of how even a short daily walk can be a fantastic pick-me-up.”

Official ambassador Swan credits walking with improving her overall health and wellbeing.

“It’s so freeing and I’d love Walk With The Weekly to help other women discover how wonderful it can be. Even if I can only get one person to take the first step and embrace it, it’ll be a win for me,” she said.

Walk With The Weekly will be officially launched at the inaugural The Australian Women’s Weekly Health Summit in Sydney on Saturday 31 August, which is also sponsored by Priceline Pharmacy, with Jean Hailes and McKenzie’s Foods as supporting sponsors.

The all-day event will motivate guests to achieve better health through a series of expert panel discussions and guest speakers covering a wide range of topics from mental health and menopause to financial wellness and healthy eating.

Swan also discusses her love of walking and reveals her own personal tips for those thinking of giving it a go in the September issue of The Australian Women’s Weekly, currently on sale.

Swan is currently featuring in Nova Entertainment’s Homegrown Conversation podcast campaign. 

The 9Network’s TV ratings for Thursday’s broadcast of the Olympic Games Paris 2024 (up until 2am AEST) secured a National Total TV Reach of 8.789 million across Channel 9, 9Gem and 9Now.

Olympic Games Paris 2024 Day 12 Night Session (7pm-9pm) was the No. 1 program across Australia with Total People and all key demos. It secured a National Total TV Reach of 4.711 million, a Total TV National Audience of 1.788 million and a BVOD audience of 224,000. This session showcased the Aussie Opals’ victory over Serbia in the basketball quarter-finals, with a final score of 85-67.

Olympic Games Paris 2024 Day 12 Night Session 2 (9pm-10:30pm) was the No.2 program across Australia with Total People and all key demographics. The broadcast saw sailor Matt Wearn defend his Tokyo gold medal, making him the first man to win back-to-back Olympic gold medals in the dinghy class. It achieved a National Total TV Reach of 3.659 million, a Total TV National Audience of 1.386 million and a BVOD audience of 208,000.  

Olympic Games Paris 2024 Day 12 Late (10:30pm-12am) convincingly won its timeslot across Australia with Total People and all key demographics. It registered a National Total TV Reach of 1.887 million, a Total TV National Audience of 685,000 and a BVOD audience of 106,000. Aussie viewers were witness to Peyton Craig’s impressive run in his opening round 800m heat to advance directly to the semi-finals.

The 9Network was the No.1 network across the 5 City Metro with Total People and all key demographics, delivering massive shares of 60.9% with People 25-54, 68.6% with People 16-39, 50.0% with GS 18+ and 50.8% with Total People.

9Now was the No.1 CFTA BVOD platform across Australia with Total People and all key demographics, recording the following huge shares of 79.3% with People 25-54, 81.4% with People 16-39, 76.5% with GS 18+ and 77.1% with Total People.

Other 2024 Paris Olympics TV ratings
• Paris 2024 Olympics TV ratings: Sunday 28 July delivers more Gold for Australia and Nine
• Paris 2024 Olympics TV ratings: Opening Ceremony and Day
• Stan Sport sets new viewing record as people pay to watch 2024 Paris Olympics ad-free in 4K

Wednesday 7 August 2024: VOZ Total TV Ratings Overnight Top 30 – Programs ranked on reach

Total People TV Ratings

Nine’s Olympics 2024 D12 – Night recorded a total TV national reach of 4,711,000, a total TV national audience of 1,788,000, and a BVOD audience of 224,000.

Nine’s 9News recorded a total TV national reach of 2,776,000, a total TV national audience of 1,438,000, and a BVOD audience of 159,000.

Seven’s The Chase Australia recorded a total TV national reach of 1,348,000, a total TV national audience of 691,000, and a BVOD audience of 33,000.

Also on Seven, Home & Away recorded a total TV national reach of 1,255,000, a total TV national audience of 815,000, and a BVOD audience of 117,000.

10’s airing of The Project recorded a total TV national reach of 575,000, a total TV national audience of 245,000, and a BVOD audience of 13,000.

People 25-54

Nine’s Olympics 2024 D12 – Night:
• Total TV nation reach: 1,918,000
• National Audience: 703,000
• BVOD Audience: 132,000

10’s The Project:
• Total TV nation reach: 206,000
• National Audience: 95,000 
• BVOD Audience: 8,000

Seven’s The Front Bar:
• Total TV nation reach: 253,000
• National Audience: 118,000
• BVOD Audience: 11,000

Seven’s Home & Away:
• Total TV nation reach: 362,000
• National Audience: 240,000
• BVOD Audience: 65,000

People 16-39

Nine’s Olympics 2024 D12 – Night:
• Total TV nation reach: 991,000
• National Audience: 353,000
• BVOD Audience: 77,000

10’s The Project:
• Total TV nation reach: 83,000
• National Audience: 38,000 
• BVOD Audience: 4,000

Seven’s The Front Bar:
• Total TV nation reach: 76,000
• National Audience: 35,000
• BVOD Audience: 6,000

Seven’s Home & Away:
• Total TV nation reach: 153,000
• National Audience: 111,000
• BVOD Audience: 39,000

Grocery Shoppers 18+ 

Nine’s Olympics 2024 D12 – Night:
• Total TV nation reach: 3,573,000
• National Audience: 1,375,000
• BVOD Audience: 176,000

10’s 10 News First:
• Total TV nation reach: 530,000
• National Audience: 257,000 
• BVOD Audience: 12,000

Seven’s The Front Bar:
• Total TV nation reach: 720,000
• National Audience: 318,000
• BVOD Audience: 16,000

Seven’s Home & Away:
• Total TV nation reach: 995,000
• National Audience: 653,000
• BVOD Audience: 94,000

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.