By James Manning

However Nine has been providing advertisers with a deeper dive into the data each day.

Here is Nine’s look at the Australian Open ratings for the first two days of week one.

AUSTRALIAN OPEN – DAY ONE

Monday, January 14

• The Nine Network’s free-to-air share of Total People was 3.4 share points higher than Day One of the 2018 Australian Open.
• The Nine Network’s free-to-air share of People 25-54 was 9 share points higher than Day One of the 2018 Australian Open.

FREE-TO-AIR-SHARES

The Nine Network was No. 1 on Monday across the 5 City Metro with:
• People 25-54: 33.1%
• People 16-39: 37.0%.
• TGS + Child: 31.6%
• Total People: 31.2%  

Nine’s primary channel was No. 1 on Monday across the 5 City Metro with:
• People 16-39: 18.3%
• Total People: 19.8%  

NIGHT SESSION – DAY ONE

Total People:
• National total audience across Nine & 9Gem of 932,000 (Metro: 683,000 / Regional: 250,000)
• National average audience on Nine of 734,000 (Metro: 538,000 / Regional: 196,000)
• National peak audience on Nine of 1.063 million (Metro: 729,000 / Regional: 334,000)

People 25-54:
• National total audience across Nine & 9Gem of 315,000 (Metro: 245,000 / Regional: 70,000)
• National average audience on Nine of 231,000 (Metro: 180,000 / Regional: 51,000)
• National peak audience on Nine of 407,000 (Metro: 283,000 / Regional: 125,000)

Breakout Match:
• BARTY v KUMKHUM: National average audience on Nine – 827,000
• MURRAY v BAUTISTA AGUT: National average audience on 9Gem – 198,000

9NOW – Day one figures:
• Total stream starts: 344,000
• Total minutes streamed: 5.823 million

—

AUSTRALIAN OPEN – DAY TWO

Tuesday, January 15

Kyrgios V Raonic Match Peaks With 1.308 Million

Breakout Matches:

NICK KYRGIOS v MILOS RAONIC:
• National peak audience on Nine – 1.308 million
• National average audience on Nine – 968,000

NOVAK DJOKOVIC v MITCHELL KRUEGER:
• National peak audience on 9Gem – 270,000
• National average audience on 9Gem – 142,000

FREE-TO-AIR-SHARES:
• The Nine Network’s free-to-air share of Total People was 1.7 share points higher than Day Two of the 2018 Australian Open.
• The Nine Network’s free-to-air share of People 25-54 was 6.7 share points higher than Day Two of the 2018 Australian Open.

The Nine Network was No. 1 on Tuesday across the 5 City Metro with:
• People 25-54:     31.2%
• People 16-39:     35.2%.
• TGS + Child:       30.2%
• Total People:     31.2%

Nine’s primary channel was No. 1 on Tuesday across the 5 City Metro with:
• People 25-54:     21.0%
• People 16-39:     23.6.
• TGS + Child:       20.7%
• Total People     22.3%

NIGHT SESSION – DAY TWO

Total People: 
• National total audience across Nine & 9Gem of 955,000 (Metro: 696,000 / Regional: 259,000)
• National average audience on Nine of 823,000 (Metro: 616,000 / Regional: 207,000)
• National peak audience on Nine of 1.281 million (Metro: 915,000 / Regional: 366,000)

People 25-54:
• National total audience across Nine & 9Gem of 335,000 (Metro: 260,000 / Regional: 75,000)
• National average audience on Nine of 291,000 (Metro: 229,000 / Regional: 62,000)
• National peak audience on Nine of 504,000 (Metro: 373,000 / Regional: 131,000)

CEO Luke Girgis (pictured) said the rebrand comes after all its titles were consolidated into the one domain (thebrag.com) in December 2018, so The Brag audience could experience all publications in the one ecosystem.

“This will provide a better user experience for our fans, and provide greater opportunity for brands that work with us to tap into many different segments of young people at different life stages,” Girgis said.

Since its launch two years ago, The Brag Media founded The Brag Dad for millennial fathers and Don’t Bore Us for Gen Z school leavers and University students. The two newer publications complement existing titles The Brag, Tone Deaf and The Industry Observer, all of which collectively entertain Gen-Z and Millennial music, food, gaming and pop-culture fans.

The company notes The Brag Media’s music titles are the largest music publications in Australia.

“The change from Seventh Street Media to The Brag Media comes two years after our launch and at a time when we have a proven track record with content marketing and conversions for the brands we work with,” Girgis added.

“Our content marketing revenue is at an all time high and represents more than 70% of our gross. We have been able to demonstrate to agencies and brands that content marketing is the way forward when engaging digitally with these younger demos, therefore providing a greater ROI.”

The Brag Media’s content offering includes written and video content, podcasting, activations, influencers, as well as interactive development such as quizzes, lead generation tools and micro sites.

All content produced at The Brag Media is organically distributed to The Brag Media fanbase, which over the last two years has grown from a social following of 200k to over 1.5 million, a daily EDM subscriber fanbase from 10k to 242k and monthly uniques on its owned and operated from 100k to over 750k.

About The Brag Media

The Brag Media is a publisher that holds fervent conversations with fans about pop-culture and life-stages, across owned and social properties simultaneously The Brag Media employs 20 staff in Sydney and Melbourne.

“After an extensive search, the board considered James to be the best person to lead the organisation, and we’re delighted to announce his appointment. We fully support James’ vision for Screenrights over the coming years and look forward to working with him to ensure our members benefit from ongoing growth.”

James Dickinson has been acting CEO since the departure of Simon Lake in July 2018.

Dickinson brings over 20 years of experience with the company to the role. His previous roles include head of licensing and regulatory affairs and, more recently, general manager.

Dickinson has an in-depth understanding of the regulatory framework under which the organisation operates and is well regarded by Screenrights’ stakeholders in government and education.

Dickinson said, “I’m honoured to lead Screenrights and its people at a time of dynamic change in the screen industry. I look forward to developing deeper relationships with our membership and guiding the organisation as we navigate upcoming challenges and opportunities.

“Screenrights occupies a unique industry position in support of the Australian and New Zealand screen sectors, as well as those around the world. Supporting our members remains at the heart of everything we do. We’re always looking at ways we can better serve our members, and growing Screenrights’ positive impact for the screen industry is something that I’m passionate about.

“Last year we launched our Cultural Fund and supported three impactful projects, our disbursements and international services for members continued to grow, and EnhanceTV highlighted the educational value of using TV in the classroom with ever-increasing reach.

“We distributed $42.8 million to members from our education, government and retransmission licences, our international collections and through our disbursement service. It’s a privilege to be able to take the reigns at such a positive time for Screenrights, and I am confident the team will continue to take Screenrights from strength to strength.”

Lesley Edwards, CEO Ikon Communications, said the old identity no longer reflected who Ikon was and the agency needed a bold new identity for the future.

She added that it was also very important for any new brand identity to still reflect the 20-year Australian heritage of the iconic agency.

Edwards said: “We are now in Ikon’s 20th year and we recognised the need to revitalise our brand so that it better reflects who we are and how we come together to deliver our purpose.

“Ikon has a strong reputation for challenging conventional thinking which extends to our commitment to put our clients first and provide them with the ability to achieve their full potential. Our brief to Landor was to consider our key proposition and represent our core values in our new brand identity. I believe they have achieved this and we are delighted with our new look.”

The nine shapes that make up the new logo are used as an integral part of the identity – each element representing one of the agency’s capabilities. Together they make up Ikon, but used individually they showcase the agency’s unique offer – from strategy to digital and technology, and from creative and social to channel planning and dynamic trading.

The rebrand also coincides with the launch of Ikon’s proprietary strategic planning product, Lexikon, that allows clients to better understand the impact of media investment on brand metrics. Lexikon is underpinned by a proprietary database of brand data for over 50 major Australian brands and will be further expanded throughout 2019.

Edwards said: “We don’t have a one size fits all agency structure, Ikon is a flexible system and the agency and even its proprietary tools are designed to suit our clients’ needs, not ours. We always seek to find better ways to give our clients a competitive edge and we believe we have created a new identity which clearly reflects this.”

Week 3 2019 – Summer schedule – Wednesday

By James Manning

Seven

The Big Bash League returned to Seven last night but the match wasn’t enough to stop the channel’s primary share from slipping to a week low of 14.5%.

The first innings of the Sydney Sixers v Melbourne Renegades match did 399,000 with the second innings down to 299,000. Bearing in mind the game was also broadcast on Fox Cricket, the numbers were however the lowest ever FTA audience for a Big Bash match.

Much earlier in the day, Seven remained on top at breakfast:

Breakfast TV Seven v Nine Week 3

Monday

• Sunrise 427k (Metro 266k Regional 161k)
• Today 311k (Metro 197k Regional 115k)
• News Breakfast 173k* (Metro 103k Regional 70k)

Tuesday

• Sunrise 444k (Metro 275k Regional 169k)
• Today 303k (Metro 202k Regional 102k)
• News Breakfast 163k* (Metro 100k Regional 64k)

Wednesday

• Sunrise 425k (Metro 251k Regional 174k)
• Today 342k (Metro 238k Regional 105k)
• News Breakfast 173k* (Metro 103k Regional 70k)

Doesn’t include ABC News simulcast audience

Nine

The channel enjoyed its biggest Australian Open average audience last night with 726,000. That led Nine to its best primary share of the week with 25.3% and its best combined channel share with 33.1%.

See our separate feature today with a deeper dive into the Australian Open TV ratings from the first two days of the Australian Open week one.

The Wednesday tennis audiences were as follows:

• Day 3 evening 726,000
• Day 3 late 453,000
• Day 3 day 316,000

In breakfast TV, Today continues to trail Sunrise in most markets, except significantly in Sydney where Today again had a clear lead over Sunrise – 83,000 v 58,000 on Wednesday.

10

After audience drops on the second and third nights this week, I’m A Celebrity…Get Me Out Of Here! has levelled off at just under 750,000.

The reality contest has remained the #1 non-news program all week and delivered the media an avalanche of stories to fill the entertainment pages online and in print.

Normally Celebrity needs to compete with My Kitchen Rules and Married At First Sight for editorial space, but this week entertainment editors are relying on the jungle news to keep up a fresh supply of content. And the celebrities have certainly been delivering so far.

Week one: I’m A Celebrity…Get Me Out Of Here!

• Sunday 1.098m and 1.014m
• Monday: 890,000
• Tuesday: 732,000
• Wednesday: 736,000

The Project had a better night on 467,000 after 7pm.

Law & Order: SVU then did 284,000.

ABC

A repeat of Stop Laughing…This Is Serious did 334,000.

A repeat of QI was on 283,000.

SBS

Michael Portillo proved again to be the main attraction with a repeat of Great British Railway Journeys on 199,000.