Seven West Media is making bold moves to cement its position as a leader in Australian broadcasting, and at the heart of its strategy is the network’s new national director of sales, Jordan King. With a background steeped in ad tech and programmatic expertise from his time at Nine, King is spearheading Seven’s digital growth. The recent acquisition of streaming rights for the AFL and cricket marks a transformative shift for the network, bringing Australia’s two most popular sports to its digital platform, 7plus. This, coupled with an advanced data strategy and different ad formats, positions Seven to deliver value to both viewers and advertisers.

Sports streaming takes centre stage

King believes the addition of these premier sports to 7plus is a game-changer for the network. “For the first time, Australians can access the nation’s number one winter and summer sports digitally, for free,” he told Mediaweek. “It’s absolutely massive. Early results from the cricket are already exceeding expectations. For example, in Perth, we saw 25% of digital streamers tuning in for the first match, and by day four, that number had risen to 27%—a target we hoped to hit by the end of summer.”

Bringing insights from his time managing events like the Australian Open at Nine, King is focused on ensuring Seven delivers a seamless experience for audiences and advertisers alike. “From frequency capping to stitching ad formats into live sports streams, these lessons ensure we deliver a stable, premium experience from day one. It’s all about ensuring the technology is robust and the audience experience is top-notch,” he said.

Data and innovation lead the way

Central to Seven’s strategy is its investment in advanced data capabilities, with platforms like Seven Red IQ and its partnership with Databricks enabling a new level of audience understanding. “What Seven is doing with Databricks is world-class. The predictive capabilities are incredible—our forecasts are now more accurate than the ad server itself,” King said. “This allows us to deliver stable results and reach the right audiences at the right time, which is exactly what advertisers want.”

As live sports streaming evolves, Seven is also exploring innovative ad formats. While King acknowledges the potential of formats like squeeze backs—ads that run alongside live play—he emphasised the importance of maintaining a premium viewer experience. “During cricket, for example, viewers expect ads between overs, so our priority is delivering those in a way that feels seamless and premium. While we’re exploring alternative formats, it’s about balancing innovation with stability,” he said.

Collaboration and consumer focus drive growth

Seven’s collaborative approach to sales is another key component of its strategy, with teams working together to deliver tailored solutions for advertisers while ensuring content resonates with viewers. King highlights the network’s consumer-first philosophy as a major driver of its success.

“Seven has an incredible linear and regional backbone, and we’re integrating that with digital expertise,” he said. “It’s a team effort, focused on finding the right mix of broad audience reach and bespoke solutions.”

This approach is already delivering results. Home and Away, for example, is averaging 187,500 viewers per episode on 7plus this year, representing 20% of its total audience. “The data from 7plus guides our decisions, helping us deliver content that resonates,” he said. “Home and Away is a standout, making it Australia’s most-streamed drama.”

Looking ahead to 2025, King is excited about the opportunities the AFL season will bring. “The AFL is going to be a game-changer. By the time Round Zero kicks off, we’ll have the insights we need to deliver a next-level experience for both viewers and advertisers. We’re also focusing on scaling streaming capabilities and integrating advanced measurement systems like VOZ to ensure we remain at the forefront.”

For King, Seven’s combination of premium content,  ad tech, and deep audience insights is a winning formula in Australia’s fragmented media landscape. “Nothing has ever sold more Mazdas or mangoes than TV, and I believe nothing ever will,” he concluded.

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In a significant boost for regional and local journalism, Country Press Australia (CPA) has renewed its partnership with Google. This agreement reaffirms Google’s commitment to supporting CPA’s 240-member mastheads and their critical work in delivering local public interest journalism across every Australian state and territory.

The renewed partnership includes the continuation of the Google News Showcase initiative, benefiting 80 publications by increasing their online readership and broadening the reach of their vital reporting. Beyond News Showcase, Google will continue to provide CPA members with training programs and access to innovative tools, such as the Reader Revenue Manager, designed to help publishers build and sustain digital subscriptions, and News Consumer Insights, which offers audience analytics to help publishers better understand and engage their readers.

Andrew Schreyer, president of Country Press Australia, said: “Google’s commitment to Country Press Australia and its 240 member mastheads is highly valued, as is the strong relationship we’ve built with their team over the past three years.

“The renewal of Country Press Australia’s agreement with Google shows it values our members’ unique and professionally produced content from rural, regional, and local communities in every Australian state and territory. And our members value Google’s support as it helps them keep supporting their communities with local public interest journalism that forms an essential piece of democratic infrastructure.

“This is not only a great outcome for Google and Country Press Australia members, but also good for the future of public interest journalism in rural, regional, and local communities at a challenging time for the industry.”*

Nic Hopkins, Google’s head of news partnerships for Australia and New Zealand, added:
“We are proud to continue our partnership with Country Press Australia. Local news is essential to informed and thriving communities, and we recognise the critical role that CPA publications play in delivering this vital service. We remain committed to supporting their long-term sustainability and success.”

The renewal of this agreement signals a continuing investment in the sustainability of regional journalism, which remains a cornerstone of Australia’s media landscape. The partnership’s emphasis on training, technology, and tools ensures CPA members are equipped to meet the challenges of a rapidly evolving digital media environment while preserving their role as trusted voices in local communities.

As part of its broader support for regional and independent journalism, Google has also renewed agreements with several early News Showcase partners, including Solstice Media, Times News Group, The Conversation, Women’s Agenda, and Independent Australia. These efforts further highlight Google’s dedication to fostering a vibrant and sustainable news ecosystem in Australia.

For CPA’s members, this partnership represents a lifeline at a critical time for the industry, enabling them to continue delivering the high-quality, independent reporting their communities rely on.

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The ABC’s flagship morning program, News Breakfast, is set to debut a refreshed line-up in 2025, with James Glenday stepping into the co-hosting role alongside Bridget Brennan. The announcement was made live on Monday’s show by outgoing host Michael Rowland, who declared Glenday “the best person for the job.”

Rowland, who has been part of the program since 2010, is the latest in a series of high-profile departures from News Breakfast, following Lisa Millar in August and Tony Armstrong in October.

Glenday, a seasoned journalist and former host of the ABC’s 7pm News bulletin in Canberra, acknowledged the weight of the role during Monday’s broadcast. “Big shoes to fill,” he said. “Bit nervous, I must admit, coming on the couch like this next to greatness.”

“It will be a beautiful thing to present the show with Bridget, a longtime friend and fellow millennial. We’re quite different people, but for some inexplicable reason she tolerates my terrible jokes, so we get along well.”

A revamped team

Joining Glenday and Brennan in January is Catherine Murphy, who has been named the full-time sports presenter, replacing Armstrong. “I’ve loved working with the team when I’ve filled in and I’m so excited for 2025. News Breakfast is the only show I’d set my alarm at 3am for,” she said.

Other returning team members include roving reporter Charles Brice, Emma Rebellato, and Friday presenter Nate Byrne.

ABC’s director of news, Justin Stevens, said: “The new line-up of James and Bridget with Nate, Catherine, Emma, and Charles will continue brekky’s great tradition of providing the most robust, trusted, hefty, interesting, and entertaining news in Australian media each morning.”

James Glenday (left) will replace Michael Rowland as co-host of News Breakfast, with Bridget Brennan. (right)

End of an era

Michael Rowland’s farewell marks the culmination of an era for News Breakfast. Reflecting on his departure, Rowland handed the reins to Glenday with confidence and gratitude for the decade-plus he spent shaping the program.

Glenday will officially join the team in January, as viewers look forward to seeing the dynamic new duo of Glenday and Brennan take on the morning news landscape with a fresh perspective and enduring commitment to quality journalism.

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Clemenger BBDO has added a bit of cheekiness into building the long-term brand platform for Carlton & United Breweries’ Hard Rated alcoholic lemon premix.

To bring Born Cheeky’s mischievous campaign to life across OOH, film, audio and social, the creative agency developed a bold and brazen little character that lurks within all of us, laying low as we go about our laundry and dishes. But every so often, when an opportunity arises, the “Inner Cheeky” pops up to encourage us to have a bit of fun.

The creative celebrates cheeky acts, like using a run club as a dating app or making a full meal from cheese tasting samples in a supermarket deli.

In the films, we see an ‘inner cheeky’ rise from the mischief-maker’s head after they’ve broken an unwritten rule. After applauding the ballsy move, the ‘inner cheeky’ sits on their ‘outwardly cheeky’ human’s shoulder as the pair celebrate by cracking open a Hard Rated.

“Hard Rated’s classic lemon taste and refreshingly low-fizz liquid has appealed across demographics, establishing the brand as a juggernaut,” said Amy Pollock-Hall, Hard Rated marketing manager. “This campaign layers mischievous intent to celebrate cheekiness in all forms and build meaning beyond the liquid.”

Clemenger BBDO executive creative director Ant Phillips said: “Hard Rated has naturally found its way into Australian culture as the drink that is a little bit cheeky. Now we want to bring that cheekiness out in everything we do with the brand. And by that, I mean we literally want to bring it out of the top of people’s heads.”

The campaign launched on Sunday 1 December 2024 running across OOH, film, audio and social.

CREDITS

Client – Carlton & United Breweries
Head of RTDs and Cider – Sarah Wilcox
Marketing Manager – Hard Rated and Good Tides – Amy Pollock-Hall

Creative Agency – Clemenger BBDO
Chief Creative Officer – Adrián Flores
Executive Creative Director – Ant Phillips
Executive Creative Director – Richard Williams
Creative Director – Derek Anderson
Art Director – Ben Bryan
Copywriter – Tom Vizard
Copywriter – Riana McKenzie
Copywriter – Talia Stone
Chief Strategy & Experience Officer – Simon Wassef
Strategy Partner – Brooke Thompson
Managing Partner – Jason Melhuish
Group Business Director – Sam Siddons
Business Director – Lauren Mayne
Business Manager – Mack Horton
Producer – Amalia Markis
Head of Studio – Matt Gauci
Retouching – Sam Tsui

Production Company – Hooves

Director- Ayappa
Executive Producer – John Pace
Producer – Renae Begent
Offline Editor- Jack Hutchings @ The Editors
Grade – Martin Greer
Online and VFX – Pancho
Sound design – Liam Annert @ Rumble Studios

Media Agency – PHD

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Australia’s total advertising revenues are forecast to grow by +6.5% to AUD 30.5 billion in 2025, according to MAGNA’s latest Global Ad Forecast. Digital advertising continues to dominate, with digital media owners projected to generate AUD 23.7 billion—78% of total advertiser budgets—by growing +8.9% year-on-year.

Digital advertising leads the way

Within digital, search remains the largest driver, forecast to grow by +5.2% to AUD 11.1 billion. Social media is the standout performer, set to rise by +17% to AUD 8.9 billion, while digital video revenues are expected to increase by +4.6% to AUD 2.5 billion.

This digital growth contrasts starkly with traditional media, where revenues are forecast to decline further in 2025. Linear TV, radio, and publishing are feeling the pinch as audiences and ad dollars continue to shift online.

Magna December 2024 ad spend forecasts.

2024 Review: A year of contrasts

MAGNA’s analysis of 2024 reveals strong growth for digital and outdoor advertising but a challenging year for traditional media. Total advertising revenues in 2024 grew by +5.8% to AUD 28.6 billion, driven by a +9.9% increase in digital ad revenues, which reached AUD 21.8 billion.

Social media saw standout growth of +18.4% to AUD 7.6 billion, while search climbed +6.5% to AUD 10.6 billion. AI-powered innovations and the rise of retail media played pivotal roles in reallocating ad spend within digital platforms.

Outdoor advertising thrived in 2024, buoyed by increased site digitisation, new infrastructure projects, and the rise of retail-focused OOH formats. Meanwhile, traditional media saw revenues fall -3.3% to AUD 6.8 billion. Television revenues dropped -8.4%, marking a tough year for the medium despite robust Olympic viewership.

Election year brings temporary relief

The upcoming Federal election in 2025, expected in March or May, is projected to provide a short-term boost for traditional media. Regional TV is better positioned to capitalise on election spending than metro markets, but MAGNA warns this will not reverse linear TV’s overall decline.

As inflation eases back within target ranges and consumer confidence stabilises, MAGNA expects a modest recovery for traditional media in the first half of 2025. However, long-term growth remains concentrated in digital channels.

APAC: A digital powerhouse

Across the broader APAC region, advertising revenues grew by +7.5% in 2024, reaching USD 289 billion. Digital pure players accounted for the lion’s share of growth, with revenues increasing by +9.7% to USD 221 billion. Traditional media growth was minimal at +1.0%, buoyed by high-profile events like the Paris Olympics.

Leigh Terry, CEO of IPG Mediabrands APAC, said: “The future is bright for digital advertising in APAC, with its share of total budgets projected to reach 82% by 2029. Despite economic uncertainties, the market remains stable and poised for growth.”

Australia exemplifies this shift, with digital representing 76% of advertising spend in 2024 and set to rise to 82% by 2029. Social media, search, and digital video are driving this growth, underpinned by mobile-first strategies and new premium entrants in video.

As Australia’s advertising market transitions into 2025, the focus will be on adapting to digital innovations, sustaining growth in social media, and navigating the shifting sands of traditional media. While digital continues to set the pace, challenges remain in ensuring measurement and ROI for platforms and advertisers alike.

With a Federal election on the horizon and consumer confidence on the mend, 2025 could offer a mixed bag of opportunities—but one where digital remains firmly in the driver’s seat.

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A small-town girl with big dreams, 17-year-old Iilysh has her sights set on becoming Australia’s next Idol when the series returns to Channel 7 and 7plus in 2025.

Hailing from the small regional town of Culcairn, NSW, Iilysh is a check-out-chick who lives and breathes rock music.

She started singing as an eight-year-old, wanting to accompany her father who was always playing guitar in their home.

“As a young girl, I discovered how people can be moved by music and that everyone can connect through the power of a song,” said Iilysh. “I found that singing brought me comfort, and an escape from everyday worries.”

On Seven, 2024’s Australian Idol Grand Finale saw 23-year-old Denvah Baker-Moller from Rockhampton, 25-year-old Amy Reeves from Broome, and 31-year-old Dylan Wright from the Northern Rivers take to the stage as the final three.

Ultimately, it was father-of-two Dylan who took home the crown.

Each contestant had to sing a song in one final effort to impress Australia.

First up was Denvah singing Fleetwood Mac‘s Landslide.

“You always pick the perfect song,” Kyle said.

“You nail it. That’s why you’re in the top three.”

Next up was Amy singing Bang Bang by Jessie J featuring Ariana Grande and Nicki Minaj.

“I’m all teared up because, as you know, I knew your Dad,” Marcia said after her performance.

“And in heaven, I’m sure he’s up there, smiling on you. I am so proud of you. You have just stepped up and [are] leaving people in your wake.”

Finally, Dylan sang Elton John‘s Tiny Dancer.

“It is so your turn, Dylan,” Amy Shark said.

“I’m so happy for you.”

“The whole country’s in love with you, You are fantastic,” Kyle added.

Halfway through the finale, the votes were tallied and Denvah was sent home in third place, with Dylan and Amy making it through to the top two.

“Regardless of what happens, I think you’re going to be just fine,” Marcia said.

Kyle said, “Denvah, you are an absolute star, thank you very much for sharing your gift with us.

“I’m a new country fan because of your music.”

Finally the winner was announced, with Dylan Wright named Australian Idol of 2024.

“I’m about to cry, thank you!” he said, after his name was called.

Wright won a recording contract with Sony Music Entertainment Australia and $100,000 in prize money.

The 2024 Black Friday-Cyber Monday (BFCM) period has broken records, offering key insights for media buyers and advertisers about where consumer dollars are flowing and how to maximise campaign impact during peak shopping periods.

In Australia, Shopify merchants saw a 14% increase in purchases, a 23% jump in average cart size to $199.12 AUD, and 29% growth in point-of-sale (POS) transactions year-on-year. Globally, Cyber Monday hit a new record with USD $13.3 billion in sales, up 7.3% from last year, as shoppers took advantage of strong discounts.

Mobile shopping dominated both locally and globally, with 74% of transactions in Australia and 57% worldwide made on mobile devices. This is a clear signal that brands must continue to prioritise mobile-first ad strategies and seamless user experiences to capture consumer intent effectively.

Key takeaways for media spend

Peak Moments Drive ROI: In Australia, the highest shopping hour was 9 PM AEST on Cyber Monday. Globally, Cyber Monday’s peak was 8 PM-10 PM EST, where consumers spent $15.8 million every minute. Time-sensitive campaigns targeting these peak hours offer maximum exposure and conversion potential.

Target Cities and Categories: For Australian campaigns, Melbourne, Sydney, and Brisbane dominated sales, with top-performing categories including cosmetics, activewear, and fitness products. Globally, categories such as toys, electronics, and apparel led sales, making them critical for ad targeting.

Omnichannel is Key: The 29% increase in POS transactions in Australia reflects the growing importance of in-store shopping during BFCM. Advertisers should look at strategies that bridge online and offline channels, leveraging location-based marketing to drive foot traffic.

Generative AI and influencers shape shopping trends

Emerging technologies and platforms have reshaped the way consumers interact with brands. Adobe Analytics highlighted a 1,950% increase in chatbot-driven traffic, powered by generative AI, as shoppers used bots to discover deals or locate products efficiently. Meanwhile, social influencers accounted for 20.3% of Cyber Monday revenue, outperforming general social media conversion rates by six times.

For media buyers, this underscores the need to integrate AI-driven tools and influencer marketing into campaigns. Influencers, particularly those in niche markets, are proving instrumental in driving last-mile conversions.

Where to put your dollars

With mobile driving 74% of transactions in Australia and influencing $7.6 billion globally on Cyber Monday alone, mobile-first strategies are a must. In addition, the surge in consumer spend during late-night peak hours highlights the importance of time-specific digital buys and dynamic ad placements that cater to spontaneous purchasing behavior.

For brands focused on long-term engagement, leveraging data from this year’s BFCM to inform retargeting efforts for the post-holiday season is crucial. Strategic investments in AI-driven customer journeys and influencer partnerships will also deliver outsized returns as these trends grow.

The results are clear: e-commerce, omnichannel, and AI-driven campaigns are the way forward. Advertisers and media buyers who act on these insights will be best placed to capture attention and maximise ROI in the year ahead.

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TV and fashion icon Maggie Tabberer AM has passed away aged 87.

Her daughter Amanda Tabberer took to Instagram on Friday to share the sad news along with a few family photos.

In the caption, she wrote: “This morning we lost our beautiful mother and Nanna. She was an icon in every sense of the word and we will miss her dearly… Along with the rest of Australia.🥰 rest in peace Nanna. We love you to bits forever.”

 

View this post on Instagram

 

A post shared by my-amalfi-coast.com by Amanda Tabberer (@my_amalfi_coast)

The post was met with many heartfelt messages from fans and supports, including media identities such as Nine’s Leila Mckinnon, Chyka Keebaugh from Real Housewives of Melbourne and celebrity interior designer Neale Whitaker.

Maggie Tabberer began her career as a model and was discovered by fashion photographer Helmut Newton in the early 60s. She later left modelling and wrote a column for The Daily Mirror newspaper in Sydney. Tabberer also launched her own fashion PR firm, Maggie Tabberer and Associates, in 1967.

Tabberer also made her mark in fashion by launching Maggie T, a plus-size clothing label in 1981.

Maggie Tabberer on the September 2023 cover of The Australian Women’s Weekly

In 1981, she was appointed as fashion editor for the Australian Women’s Weekly by Kerry Packer. She stayed with the magazine until 1996.

Tabberer ventured into TV as a panellist talk show Beauty and the Beast in 1964, as well as fronting her chat show, Maggie, which earned her two back-to-back Gold Logies in 1970 and 1971.

She also co-hosted The Home Show with her then-partner Richard Zachariah, which aired on the ABC in the 90s.

In 1998, Tabberer was among the Queen’s Birthday Honours and made a Member of the Order of Australia. She was recognised for service to the community, particularly through her support for charitable organisations and the advancement of the Australian fashion industry.

Maggie with her daughters Brooke and Amanda

–

Top image: Maggie Tabberer on the September 2023 cover of The Australian Women’s Weekly

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Omnicom Media Group (OMG) has been appointed to the media account of Reckitt Benckiser following a competitive and closely guarded pitch.

The account moves to OMG after 14 years with Publicis Groupe’s Zenith. The holding company will oversee the media buying and planning agency of the British-Dutch consumer goods company.

Reckitt spent $110m AUD in total with Zenith in 2024 and is the 13th biggest measured-media advertiser in Australia, according to Comvergence data.

Florence Paoli, marketing director – Australia & New Zealand – Reckitt Hygiene, said in a statement: “Reckitt in Australia has enjoyed a strong and valued partnership with Zenith for over a decade, marked by significant achievements across our media strategy. We’re grateful for the team’s dedication and celebrate the work we have delivered together.

“As the home of some of the world’s most loved household and healthcare brands, we’re excited by the new opportunities new partnerships can bring, particularly as we focus on driving consumer delight and category growth within our portfolios.

“Omnicom Media Group (OMG) is known for its data-driven, people-first approach, which perfectly aligns with Reckitt’s strategic vision. As we begin our partnership with OMG, we look forward to an exciting year of driving success, as well as pushing the boundaries of consumer engagement through innovative TV and offline strategies.”

Jonny Cordony, managing director of Zenith Sydney: “We are incredibly proud of our 14-year relationship with Reckitt Benckiser in Australia and thank the team for the great partnership we built over this time. We wish Reckitt all the success into the future.”

The FMCG’s brands span three categories: hygiene, health and nutrition; brands include Nurofen, Air Wick, Dettol, Harpic, Mortein, Strepsils, Durex, Vanish, Finish, Gaviscon and Veet.

In Nielsen’s 2023 advertiser rankings, Reckitt was one of the top spenders, outranking Amazon, KFC, and Coles, though behind industry heavyweights Woolworths, McDonald’s, and Harvey Norman, which claimed the top spot.

However, the report noted that the consumer goods company spent more than e-commerce giant Amazon (5), KFC (6), Chemist Warehouse (7), Telstra (8) and Coles Supermarkets (9). The beleaguered telecommunications giant Optus rounded out the top ten.

Reckitt’s shift to OMG signals a strategic alignment with the agency’s data-driven and consumer-centric approach, a move expected to further cement Reckitt’s market leadership in the hygiene, health, and nutrition categories.

See also: Harvey Norman top’s Nielsen list of biggest spending advertisers in 2023

The official trailer and key art for the new limited series, Lockerbie: A Search for Truth, starring Academy Award, BAFTA, Golden Globe and SAG Award-winning actor Colin Firth (The King’s Speech, A Single Man, The Staircase) as Jim Swire and Catherine McCormack (Slow Horses, Temple, Lucan) as Jane Swire, have been released ahead of its 2 January debut on BINGE.

The new trailer offers a poignant look at the five-part limited series, which shows how a father, driven by love and loss, is on a pursuit for justice, as he embarks on a journey that spans three decades in his quest for answers about the bombing of Pan Am Flight 103, where he tragically lost his beloved daughter Flora.

The five-part series is a co-production between Carnival Films, which is part of Universal International Studios, and Sky Studios. Renowned Scottish playwright David Harrower (Blackbird, Knives in Hens) is lead writer. Maryam Hamidi (Vigil) is guest writer on an episode. BAFTA Award-winning Otto Bathurst (Peaky Blinders, The Winter King) is lead director. Jim Loach (Save Me) will also direct an episode. Gareth Neame and Nigel Marchant are Executive Producers for Carnival Films. Sam Hoyle is Executive Producer for Sky Studios. Additional Executive Producers include David Harrower, Otto Bathurst, Liz Trubridge, Jim Sheridan, Kirsten Sheridan and Oskar Slingerland. NBCUniversal Global TV Distribution will handle international sales of the series. The series is based on the book The Lockerbie Bombing: A Father’s Search for Justice by Jim Swire and Peter Biddulph, along with multiple other sources. Universal International Studios is a division of Universal Studio Group.

LOCKERBIE: A SEARCH FOR TRUTH premieres Thursday 2 January on BINGE, available on Hubbl, and at 8.30pm on Showcase, and available On Demand.

MACq 01 hotel in Hobart has launched a new marketing campaign, ‘Where One Tasmanian Story Leads to Another’, with creative agency Showpony.

This new campaign was also supported by Hobart-based production house OI Studios, which used a combination of live-action footage and CGI.

It will roll out nationally across owned and paid digital channels in the coming weeks, with the hero video and imagery designed to entertain, inspire, and spark curiosity, encouraging travellers to begin their Tasmanian journey with MACq 01 Hotel.

Danika Porter, head of brand and marketing, led the new creative direction and said an enormous amount of work had been undertaken since conception to ensure the storytelling of Tasmania’s rich history and modern marvels were woven throughout the guest experience.

“All of our staff lead with storytelling, whether you’re hearing a tale from a bartender while enjoying a drink crafted by a neighbour distiller, or discovering the historical story behind your room’s door, or walking Salamanca with our master storyteller, MACq 01 invites you to be part of a stay where one Tasmanian story leads to another.

“The hotel experience strives to capture the essence of Tasmania without having to leave, MACq 01 Hotel is not just a place to rest, it’s where the stories of Tasmania unfold.

“This campaign solidifies MACq 01’s heroes the way this special property brings the very best of the Tasmanian experience to life. From the first interaction with our campaign, we want guests to feel the magic of this island and be intrigued to uncover its stories for themselves.

“Storytelling is the ultimate form of entertainment, and we hope our unique positioning and this campaign piques curiosity and encourages future visitors to the state to be want to delve a little deeper, Porter added.

Nic Maumill, creative director at Showpony, said: “Nowhere else in the country captures the imagination quite like Tasmania, and to us, MACq 01 felt like this perfect distillation of everything we love about the place.

“The opportunity to not only bring some of these incredible stories to life, but make them relevant and tangible to the hotel experience, was a creative’s dream. A collective ambition across all three teams (MACq 01, OI Studios and Showpony) to produce category defining work, bore a collaboration were immensely proud of.”

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Thursday 5 December 2024: VOZ Total TV Ratings Overnight Top 30 – Programs ranked on reach

Total People TV Ratings

Nine’s 9News recorded a total TV national reach of 1,628,000, a total TV national audience of 1,008,000, and a BVOD audience of 81,000.

Nine’s A Current Affair recorded a total TV national reach of 1,332,000, a total TV national audience of 906,000, and a BVOD audience of 66,000.

Seven’s Cricket: ODI Aus v Ind Women’s recorded a total TV national reach of 1,784,000, a total TV national audience of 334,000, and a BVOD audience of 17,000.

Also on Seven, Seven News recorded a total TV national reach of 1,604,000, a total TV national audience of 1,006,000, and a BVOD audience of 52,000.

10’s 10 News First recorded a total TV national reach of 620,000, a total TV national audience of 284,000, and a BVOD audience of 12,000.

People 25-54

Nine’s 9News:
• Total TV nation reach: 420,000
• National Audience: 244,000
• BVOD Audience: 39,000

Nine’s A Current Affair:
• Total TV nation reach: 349,000
• National Audience: 213,000
• BVOD Audience: 33,000

Seven’s Seven News:
• Total TV nation reach: 357,000
• National Audience: 218,000
• BVOD Audience: 26,000

10’s Tropic Thunder:
• Total TV nation reach: 253,000
• National Audience: 57,000
• BVOD Audience: 2,000

People 16-39

Nine’s 9News:
• Total TV nation reach: 163,000
• National Audience: 91,000
• BVOD Audience: 20,000

Nine’s A Current Affair:
• Total TV nation reach: 155,000
• National Audience: 78,000
• BVOD Audience: 17,000

Seven’s Seven News:
• Total TV nation reach: 123,000
• National Audience: 72,000
• BVOD Audience: 12,000

10’s Tropic Thunder:
• Total TV nation reach: 98,000
• National Audience: 22,000
• BVOD Audience: 1,000

Grocery Shoppers 18+ TV Ratings

Nine’s 9News:
• Total TV nation reach: 1,307,000
• National Audience: 820,000
• BVOD Audience: 65,000

Nine’s A Current Affair:
• Total TV nation reach: 1,069,000
• National Audience: 740,000
• BVOD Audience: 53,000

Seven’s Seven News:
• Total TV nation reach: 1,311,000
• National Audience: 824,000
• BVOD Audience: 42,000

10’s Tropic Thunder:
• Total TV nation reach: 480,000
• National Audience: 86,000
• BVOD Audience: 2,000

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.