Clemenger BBDO has launched a social, PR, and influence practice, Chemistry Set, and appointed Rhian Mason to lead the division as head of cultural design.
 
Chemistry Set has been developed to help brands lead and design culture, the agency said, and Mason will build and lead its capabilities. Mason joins Clemenger BBDO from creative agency Emotive, where she spent three years as head of social, talent, and partnerships. 

Clemenger BBDO CEO Dani Bassil described Chemistry Set and Mason’s appointment as more key pillars in the agency’s deliberately-designed evolution.

“We continue to gather world class talent that is not only exceptional but that are super cool humans,” Bassil said.

“Rhi is next level on so many fronts. Hugely talented, full of energy and kind. She is perfect for us, and I have no doubt the impact on the work, our culture and our clients will be massive.”

In the new role, Mason will collaborate with chief strategy and experience officer Simon Wassef to help brands participate in, and experiment with, culture.

Wassef said the launch of Chemistry Set with Mason at the helm gives Clems a sharper, more integrated, and deliberate focus on how brand platforms and ideas come to life in culture.

“Clemenger has made its mark by reframing Australian culture for decades,” he said.

“With Chemistry Set we are giving our clients ways to be more experimental with that process, to not just follow culture but to lead it, to add great ideas to it and see what happens. And that’s why Rhian is here. She’s the best at it.”

Mason’s previous roles also include head of social and content at DDB Group’s Mango, and at Mediabrands, both in Australia, where she established branded content offerings. In the UK, she spent two years as a content strategy director.

“Clemenger is well-known for its ability to create work that taps into the power of culture,” Mason said.

“But in today’s world, where people’s attention is scarce and audiences are more fragmented than ever, it’s essential to cut through the noise and pay attention to the signals, trends, and behaviours that shape culture.
 
“That’s why I’m thrilled to work alongside Simon to lead Cultural Design. I’m looking forward to putting my specialist experience into practice and delivering work to help our clients stay relevant now and in the future.”
 
Mason’s hire comes hot on the heels of global creative leader Adrián Flores‘ appointment as Clemenger BBDO’s new chief creative officer. He began in the role on 20 May.
 
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Top image: Simon Wassef, Rhian Mason, Dani Bassil, and Adrián Flores

Peter Costello has stepped down as Nine Entertainment chairman and resigned as a director, effective immediately, three days after an altercation with a News Corp journalist on Thursday.

“The board has been supportive through the events of the last month and last few days in particular,” Costello said in a statement issued on Sunday.

“But going forward I think they need a new chair to unite them around a fresh vision and someone with the energy to lead to that vision for the next decade.

Deputy chair Catherine West will take over as chair. “As chairman, he [Costello] has always put the needs of the company first and his decision to stand down and pass on the baton of leading Nine at this time is in line with that approach,” West said.

In his statement, Costello said CEO Mike Sneesby has always had his full support, and expressed his faith in the investigation into complaints against ex-news boss Darren Wick. 

“Mr Sneesby has always had my full support as CEO,” he said. “The company has set up a robust process to investigate historical complaints which has my full support. I believe it will get to the bottom of any unknown issues.”

Costello said he had previously told the board that after nearly 11 years, he would retire after the Paris Olympics and before the AGM in November.

That timing has now been brought forward, after a journalist at The Australian claimed Costello pushed him over three days ago. The journalist Liam Mendes confronted Costello in the arrivals lounge at Canberra Airport on Thursday night, asking him questions about ­the allegations against Nine’s ex-news director Wick, and whether, as a result, Costello supports Sneesby. 

In a video of the incident, Mendes falls to the ground and says, “You just assaulted me.” Former treasurer Costello denied assaulting the journalist, telling Nine reporters at the opening of a new bureau – his reason for travelling to Canberra – “I did not lay a finger or a fist or anything else on him.”

A Nine spokesperson said, “the journalist collided with an advertising placard and fell. At no point did the chairman strike the journalist.” 

In today’s statement, Costello said: “The new chair will require full support from all directors as this is an industry where there is fierce rivalry. I do not rate the attacks of a commercial rival. The threat to this industry comes externally from trillion dollar technology companies that are competing for its business. To stand still or hope to continue to do things as they always have been done is not an option.”

Costello said a recruitment process for new directors has been underway since last year, spearheaded by deputy chair West. She “is well placed to chair the company and conclude the process of refreshing the Board,” Costello said.

Nine Entertainment is investigating its TV newsroom culture after multiple allegations of inappropriate behaviour were made against Wick, its former national director of news and current affairs.

Wick left the network in March after 29 years at the company, 13 years in the position, and more than a month away from the office. He announced his departure in a staff email seen by Mediaweek, writing: “After many long beach walks and even longer conversations, I know in my heart that this is the right time for me to step down and leave Nine.”

In Nine’s statement, lodged with the ASX, the new chair West said: “The board knows that the events of recent weeks have been extremely difficult and de-stabilising for our employees and other stakeholders and we are committed to ensuring, through our cultural review and other actions announced last week, that issues will be appropriately addressed.

“The Board and management are united in focusing on the well-being of our people in all parts of our business. At Nine, we do work that has an important value to the community and the Board and management acknowledge their responsibility to ensure all parts of business, including our newsrooms, feel supported. We want to ensure our people can feel proud of our company and colleagues and the work they do.”

The board also said it acknowledges that “action and accountability are required to maintain trust.” It thanked Costello for playing “a key role in Nine milestones such as its successful re-listing on the Australian Stock Exchange in 2013, securing the landmark News Media Bargaining Code and the transformative merger with Fairfax Media.”

Costello joined the Nine board in 2013. “It was in the hands of distressed credit funds who brought me in to help with capital reconstruction and listing on the ASX which we achieved in 2013,” he said.

He pointed to a number of achievements in his time on the board, including the Fairfax acquisition, Stan’s establishment as “the most successful Australian subscription streaming service which runs at a profit”, acquisition of stations in Adelaide and Perth, gaining full ownership of Nine Radio, and nabbing a majority interest in Domain.

West added: “Peter has led the transformation of Nine from a free to air network to a fully integrated media company with traditional and digital media assets across television, streaming publishing, audio and marketplaces.”

Costello said: “I wish the board, the employees and the company well. There are enormous challenges ahead but I believe NEC is the best placed Australian media company to weather them and prosper.”

He noted he will not be doing further interviews, so told journalists there is “no need to maintain vigil outside my home.”

As a result of his exit and West’s elevation, Mickie Rosen has been appointed to the audit and risk committee and Mandy Pattinson to chair of the people and remuneration committee.

“The former police commissioner of New South Wales, Mick Fuller, described a true crime podcast series as the most effective crime-fighting tool he had ever witnessed in all his years of policing,” Hedley Thomas told Mediaweek.

“There’s an impact on listeners who know things, that missing persons posters, police appeal through Crimestoppers, rewards, and so on simply do not and probably will never have.”

With podcasts The Teacher’s Pet, The Night Driver, Shandee’s Story, The Teacher’s Trial, Shandee’s Legacy and The Teacher’s Accuser, Thomas says the biggest thing he has learned through investigative work is that “there will always be new information and new evidence trails in sometimes very old cases.

“Even a very thorough police investigation following a very poor investigation will never be as effective as the mass reach of a podcast series, which prompts people to unburden themselves of information that they have not previously come forward with.”

See also: Chris Dawson, subject of The Teacher’s Pet podcast, found guilty

The origins of Thomas’ new podcast, Bronwyn, can be traced back to December 2017, when Thomas was researching The Teacher’s Pet.

Bronwyn Winfield was a mother of two, who disappeared in 1993 in the midst of separating from her husband Jon. Bronwyn’s family and friends never heard from her again. She was just 31 when she went missing.

Thomas recalls his time conducting interviews for his first podcast, The Teacher’s Pet, which looked into the disappearance of Lynn Dawson in 1982. One person Thomas spoke with was former senior magistrate Carl Milovanovich, who had been the Deputy State Coroner who conducted the inquest for the presumed death of Dawson in 2003.

“He was sharing his concerns about the fact that Lynn’s case, despite his recommendations, had not been prosecuted. As we know now, Carl’s concerns about what happened to Lynn were completely vindicated by the murder trial, which followed the podcast,” Thomas said.

During the interview, Milovanovich spoke about other missing women cases that he had investigated as a coroner, and how in the 80s and 90s, they had been routinely “written off by police as women who just decide to run off with a boyfriend or to start a new life, or join a cult – or whatever ridiculous excuse was given.

“Carl’s view was that they were much, much more likely to be the victims of foul play, homicide, murder. He believed that was the case for Lynn, and he was very concerned about a woman by the name of Bronywn Winfield.”

With the idea of so many women deciding to disappear on a whim and start new lives being “a proposition I’ve always found deeply stupid, and completely ridiculous,” Bronwyn’s story stuck with Thomas beyond conversations with Milovanovich.

“I didn’t have enough material for several years to investigate Bronwyn’s case, but I opened a file and started talking to her friends and family. We interviewed a detective who did a good job of the case years after the police had completely botched it. I decided that when I had a clear four to six months, I would have a really strong push at a podcast investigation into Bronwyn’s disappearance.”

With the first episode of Bronwyn released last month, Thomas said podcast investigations generate “an unusual amount of – sometimes remarkable – information from people who haven’t shared what they know with police.”

“They hear about the case, or a missing woman they once knew, and they decide to get in touch with me through the email address that we publish,” he said.

That email is [email protected], and Thomas said he has already received a lot of information from people – including people who were once very close to Jon and Bronwyn.

“[These are] people who I didn’t believe would get in touch with me. Some people have never been contacted by police. Those are the developments that I’m currently working on, and these mean that there’s a better prospect of potentially solving this case.”

When asked what, exactly, it is that keeps him coming back to investigative podcasts, Thomas said: “I can potentially do more good with this sort of journalism than most, if not all, of the other kinds of storytelling that I might do.”

“I’ve done thousands of stories over 40 years as a journalist, I’ve covered everything from sport, to politics, to big international events. I keep pinching myself at how privileged I am now, to be at the centre of unsolved alleged murders of Australian women, because they are unsolved – their families need answers and communities can benefit from the circle of justice finally closing.”

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Top image: Hedley Thomas

Atomic 212°, the country’s biggest independent media agency, has hired Sylvia Pickering as Melbourne general manager.

Pickering joins from GroupM’s Mindshare, where she was managing partner on the NAB account for almost five years. In her new role, Pickering will report to national managing director, Rory Heffernan.

“Her track record in building and motivating teams, her experience working with leading client brands and her digital media knowledge are perfect for our growing Melbourne office,” Heffernan said.

“Sylvia will also join our senior leadership group in further developing our product and rolling out best practice processes across our teams, to ensure we continue to push ourselves in delivering the best service, product and experience for our people and our clients.”

Previously, she was also group investment director at Amplify AUNZ, group client service director at Dentsu Mitchell, and digital client service director at Mitchell & Partners.

Pickering said she feels “very privileged to be joining such a dynamic, exciting agency and team.”

“In an industry that thrives on relationships, I’m happy to bring two decades worth of strong media connections to the table,” she said.

“I’m eager to help continue to grow Atomic 212°’s already impressive client list, and project the agency even further as it goes from strength to strength.”

Atomic also has offices in Sydney, Brisbane, and Darwin. Over the past 18 months, it has won or retained BMW Australia and New Zealand, Bupa, Craveable Brands, Entain (Ladbrokes and Neds), the Northern Territory Government, Tourism Northern Territory, Northern Territory Major Events Company, Victoria University, My Muscle Chef, Ponant, Growth Faculty, Sydney Water, VetPartners, Adyen, and UKG.

That list saw it rank #11 in media agency billings, and top the indie pile for 2023 new business wins.

Chief digital officer James Dixon recently told Mediaweek the next goal is to crack the top 10 this year, and the top 5 in the next three years. In the past few years, Atomic has “firmly actualised as the largest indie,” Dixon says.

“I think that was a big, hairy, audacious goal five years ago. And now it feels like we’re firmly there, if not heading to the next big, hairy audacious goal, being top five. We’ve got billings of $300 million now. Top five is $500 million. So potentially we can get there in the next three years.”

EssenceMediacom will continue its long-standing partnership with the Queensland government in Brisbane after successfully retaining the account.
 
Since the essenceMediacom merger, the agency has been on a transformation journey, and developed a customised Breakthrough Planning Process that transforms its approach, it said.

The pitch was backed by the agency’s data and analytics division, GroupM’s data technology capability, and WPP Open, its intelligent marketing operating system powered by AI.

Pippa Berlocher, essenceMediacom Australia and New Zealand CEO, said: “Our team of Essentials worked tirelessly towards this outcome. Our Brisbane office with, their unique understanding of the state and its people, led the charge supported by our national team and GroupM.

“Our capability, craft expertise, Breakthrough product offering, and talent are exceptional. Collectively, we demonstrated why EssenceMediacom is the best partner to support and deliver the Government’s objectives to provide good jobs, better services, and a great lifestyle.”

Kellie Dawson, essenceMediacom’s managing director of its Brisbane office, added: “We could not be more excited to continue our deep and long-standing relationship with Queensland government. It’s an honour to collaborate with such a dedicated and dynamic team, delivering breakthrough work that makes a real difference for our fellow Queenslanders.

“We have such a vast and diverse state in Queensland, there’s never been a more exciting time to work with the government.”

EssenceMediacom’s work for the Queensland government has recently received international award recognition. Earlier this year, the agency won awards for the Department of Transport and Main Roads at the Festival of Media APAC awards and the agency is shortlisted at the Festival of Media Global awards and Media Federation of Australia awards.

In April, chief investment officer Nick Thomas left the agency after over a decade at GroupM to become national head of sales ANZ at Amazon Ads.

Last month, the GroupM agency raised $10 million in media support for Dolly’s Dream.

A special bonus episode of TV Gold podcast this month focused on the second season of the Binge Original Colin from Accounts.

Joining TV Gold hosts James Manning and Andrew Mercado to discuss the origins of the Australian sitcom and their production house Easy Tiger were co-founder and producer Ian Collie and CEO Rob Gibson.

Below are some of the highlights from the 30-minute episode.

Listen to TV Gold on your favourite podcast platform.

Be sure to follow the podcast for automatic updates each time a new episode is released.

Rob Gibson and Ian Collie, Easy Tiger

When did Colin From Accounts first come up on your radar?

Rob: Quite a few years ago, as is often the case in TV, things took a little bit of time.

I first became aware of it when I got a script from my friend Harriet Dyer and it was given to me as a writing sample. It wasn’t submitted or anything like that, but she wanted to write on a different show and I hadn’t seen her writing.

I didn’t know she was a writer and she hadn’t been prior to that. I read the script and it was just brilliant. We talked about it, but nothing ever came of it because she didn’t feel that it would amount to anything, not being a writer by trade, she was more of an actor.

When I joined Ian at Easy Tiger and told him about it, the first call that we made was to Harri [Harriet Dyer] and Paddy [Patrick Brammall] to say, ‘Let’s make this show’.

The script is hilarious. We said if you guys are going to be in it, we totally believe this can be a fantastic show. Luckily, we were proven right.

Comedy is a bit of a hard sell in Australia, but we were lucky enough to have Ali [Alison Hurbert-Burns] and Brian Walsh at Foxtel and Binge see the great potential in the idea and the rest is history.

They loved it, backed it and supported it. We also had CBS Studios, our international partner on the show, really supporting it from the early days too.

Ian: Rob joined Easy Tiger in 2019 after five years as a Stan executive. We were sort of old mates, so it was great having him on board.

I remember when he knocked on the door and said, can I join Easy Tiger? I said, what have you got? He said, ‘Oh, I’ve got the sample script by an actor that was their first script ever.’ And I said, ‘That’s it? Great.’ [Rob interjects: “He could have chucked me out there and then!”]

We had a few knockbacks along the way, which is when you start to lose confidence. Once Brian and Ali and Foxtel and Binge embraced it, the juggernaut started.

Colin From Accounts recently won two Gotham TV Awards in the US for Series 1. Harriet Dyer won for Outstanding Performance in a Comedy Series. The series won for Breakthrough Comedy

Was that first Colin From Accounts script perfect the way it was?

Rob: It was pretty close. What you look for in a comedy script is the voice, as we call it. You want to feel the real personality coming through in the writing. That’s especially the case where it’s a writer-performer.

Ian: Comedy is very subjective. Comedy is not necessarily looked at as a flagship commission by the broadcasters or the networks. They’re often looking for big dramas with big stars to make a splash – especially in the streaming era where it’s all about promoting your network.

Brian and Ali were smart enough to see that Harri and Paddy had that. They had charm and charisma and obviously the capacity to deliver on the comedy in the script.

It was a rom-com. Everyone thinks, well, romcoms are basically a film. A three-act film, that classic rom-com structure.

With eight episodes initially, there were questions about could the ups and downs of the relationship be sustained. The answer was yes. We had something like Catastrophe as a little bit of a template for them and for us.

Making the second season of Colin From Accounts

Ian: The main thing was it was really almost exactly the same team. The only real challenge in a funny sort of way was the locations. We had some locations potentially drop out, such as Gordon’s house, and that took a lot of work.

See also: Binge launches Colin From Accounts second season as new episodes of hit comedy drop

The Easy Tiger story

Ian: Easy Tiger started in 2017. I used to run a drama division of Essential Media.

After 10 years, Fremantle came in and acquired the drama division. I formed a new company with Fremantle having part ownership for Easy Tiger. Rob came in two years later with this little Colin From Accounts project.

Rob and I have now been partners since 2019 on a number of shows.

In the first year or two of Easy Tiger we produced the Essential Media initiated shows like Rake, Jack Irish, and Doctor Doctor. They were long-running series coming to an end. We were able to kickstart some new ones like The Twelve, Colin From Accounts, and now Scrublands, all of them going to second seasons.

The Twelve was an Easy Tiger production for Foxtel Group

Rob: Back in the Stan days, I worked with CBS when they acquired the format rights to No Activity. Jungle made the US version there with CBS Studios.

We hit it off with the CBS team including Alec Botnick and Kate Adler. Once we had the script from Harri and Paddy, with Patty being a CBS-known quantity, someone that they love working with, we thought those guys might be interested and they were. Trent O’Donnell, our director and EP is on a CBS deal as well.

They have sold Colin From Accounts in over 100 territories which is pretty remarkable for a little Aussie comedy.

The cast of Easy Tiger’s Nugget Is Dead: A Christmas Story

Ian: CBS has also come on board for a Christmas comedy movie. I never thought Easy Tiger would make a Christmas movie, but we are going to tarnish our reputation. [Laughs]

[Last month Stan announced the Original Film Nugget Is Dead: A Christmas Story. The Easy Tiger and CBS Studios production has principal production investment from Screen NSW. The film is directed by Imogen McCluskey, written by Vic Zerbst and Jenna Owen, produced by Naomi Just (Stan Original Film Christmas Ransom) and executive produced by Rob Gibson and Ian Collie. The movie also stars Vic Zerbst (The Feed) and Jenna Owen (The Feed), plus Gia Carides (My Big Fat Greek Wedding), Damien Garvey (Rake) and Mandy McElhinney (Love Child).]

Rob: It’s a dysfunctional family Christmas story. With Vic Zerbst and Jenna Owen who are brilliant young comedians. They’ve got such a bright future ahead of them. We love them so much we picked up three shows with them all at once.

What is the future of FTA drama in Australia?

Ian: Commercial FTA networks are not doing a lot of drama, as we know. They don’t have the budgets they used to have as well. We’ve got a project in post on Netflix. [Desert King]

We’ve got one or two in development with Amazon. Binge and Stan we do quite a bit for. We’re talking to ABC. We try and spread the love.

Lots more from Ian and Rob in the TV Gold podcast. They talk about making Australian drama for a global audience. Also, where is Easy Tiger headed – will it become a global super-power, or stay boutique?
Listen here.

Radio and television personality Hamish Blake has appeared on the King’s Birthday Honours list, and been awarded the Medal of the Order of Australia (OAM) for his service to the arts as an entertainer, and to the community.

He leads a list of media and marketing names appearing on the Honours list, including radio host and comedian Jimmy Rees.

The Member of the Order of Australia is awarded for service in a particular locality or field of activity. Appointments to the Order of Australia are the highest recognition for notable achievement and service.

Other media and marketing names on the honours list included: Laura Greaves, who has worked as a media and communications manager at Assistance Dogs Australia since 2022; Deborah Henderson, who has been a director of Henderson Media Group since 2019; and Catia Malaquias, who is the co-founder and director of Global Alliance for Disability in Media and Entertainment.

Stephen O’Doherty was also honoured with the recognition. O’Doherty was a 2GB broadcaster across its breakfast and drive programs, from 1991-1992. He was a journalist and presenter at Sundown Rundown and the 12:30 report from 1980-1988. From 1990 to 1992, he was a national affairs reporter for Network 10, and in 1989 was the NSW state political reporter at ABC’s the 7:30 Report.

Since 2003, he has been a member of the Community Broadcasting Sector Roundtable.

John Reynolds, the CEO of APN News and Media from 1989 to 1995, and The Age‘s managing director from 1995 to 1997, was also on the list. Reynolds was also the CEO of The West Australian from 1972 to 1989.

Sandy Roberts, a former Seven commentator from 1973 to 2013, achieved the honour. She has commentated various sports including AFL, golf, tennis, the Bathurst 1000, Spring Racing Carnivals, and Winter and Summer Olympic games. Roberts was a sports presenter for Seven News Melbourne for eight years, from 2005 to 2013, and a host of It’s Academic in the 1970s. In 1999 and 2000, she was the host of The $1,000,000 Chance of a Lifetime.

Nicholas Way was acknowledged for his service to the media as a journalist. Way was a media advisor for the Aged Care and Indigenous Health Minister from 2017 to 2019. Before that, he was a senior media adviser to the Department of Premier and Cabinet in Western Australia.

He was also a presenter at Channel 10 for 20 years, and a journalist at The West Australian.

Cassandra Wilkinson‘s service to the broadcast media was recognised. She was the former senior vice president for the Community Broadcasting Association of Australia, a commentator for Sky News, The Bolt Report, and The Drum, and a columnist at The Australian.

Finally, Catherine Nugent, a former partner at Max Ellis Marketing and marketing assistant at Saatchi & Saatchi, made the list.

Career dissatisfaction has hit a three-year high for professional women in media, according to The Women in Media Industry Insight Report 2024.

The report shows that 57% of women in media are unsure or explicitly dissatisfied with their career progress, and more than one-third (35%) are contemplating leaving their jobs. Driving these numbers are concerns about pay and a lack of opportunities for promotion.

“Increased levels of anxiety and dissatisfaction are alarmingly evident in this year’s Women in Media Industry Insight Report 2024,” said Petra Buchanan, strategic advisor to Women in Media. 

“Career aspirations are being overshadowed by concerns about pay inequity and a lack of advancement opportunities.”

Petra Buchanan

Some of the major findings centred around career progress concerns, with notable spikes of dissatisfaction among early and mid-career women. 49% of women with 5-10 years of experience said they are not progressing as desired, up 11% from 2023. 47% of early-career women are dissatisfied, up 23%. Over one-third of respondents attribute their dissatisfaction to a lack of opportunities.

35% of women are considering quitting their jobs, up 6%, particularly senior and mid-career professionals. 56% hold a negative view of the media industry’s commitment to gender equality, up 3%.

58% of respondents were concerned about pay, which was consistent with 2023’s results, a small climb of just 1%. The desire for better pay was the top motivation as both reasons to stay and leave current roles – suggesting that in a cost of living crisis, salaries are not always meeting women’s current expectations.

69% of respondents advocate for gender pay audits to address the media industry’s gender pay gap.

Australian Bureau of Statistics (ABS November 2023) figures indicate that, on average, Australian women make $268.95 less than men per week, a gap of 7%.

This rises to a pay gap of 9% on average weekly earnings ($409.40) for women working in the Information Media and Communications industry.

“These results underscore the critical and urgent need for industry-wide systemic change, starting with a firm commitment to gender equality and addressing the above-average gender pay gap,” said Buchanan.

“This change must include providing fair compensation, ample growth opportunities, and a safe, supportive work environment so that women remain in the media and transition into leadership positions.”

In terms of promotional opportunities, 58% worry about the availability of senior roles, up 15%, while 47% (+9%) are concerned about limited promotional opportunities and 25% (+10%) fear their roles being made redundant.

Women in Media suggests employers should make a commitment to gender equality, define and communicate career opportunities, and create an environment where women feel engaged.

See also: Women in Media appoints three leaders to expanded board of directors

BMF has created the integrated ‘Give Up For Good’ campaigns for The Australian Government. The national public health campaigns work to help Australians give up vaping and smoking, particularly targeting at-risk groups and young Australians.

Falling under the behaviour change platform, the campaigns are structured around three streams: Youth Vaping, Tobacco, and Adult Vaping. All campaigns are aimed at increasing awareness and reinforcing the harms of vaping and smoking, and highlighting the tools and resources available to help people quit.

Tom Hoskins, group creative director, at BMF, said: “Recent research revealed that people who vape are more likely to take up cigarette smoking, compared to those who have never vaped. And, with access to these products becoming increasingly difficult due to regulatory change, there is an increasing need to support people to quit. So, addressing the wider issue effectively meant creating nuanced and audience-specific work that talks to the insidious nature of both vaping and smoking.

The anti-smoking campaign for the Department of Health and Aged Care – targeted to all adult Australian smokers – highlights why smoking is one of the most harmful behaviours we can adopt, acknowledging that whilst quitting is hard, the alternative is harder.

The adult anti-vaping campaign reinforces the support and tools available to vapers, to help them quit the habit. Because, while you may not have chosen nicotine addiction, it’s already chosen you.

The youth anti-vaping campaign aims to re-frame the social norm of vaping, asking young Australians to have a moment of self-reflection and ‘join the thousands quitting vapes’. The campaign prompts young Australians to ask themselves, ‘why are we still doing this?’.

A fourth stream of anti-smoking creative to communicate with First Nations people has also been developed by Carbon Creative under the ‘Give Up For Good’ platform. 

“With more tools and support available, there’s never been a better time for Australian smokers and vapers to give up for good,” Hoskins added.

Credits:

Client: Department of Health and Aged Care
Creative Agency: BMF
Production Company: Good Oil, Collider
Sound Production: Rumble, Massive Music
Post Production: Arc Edit

See Also: BMF spearheads national ‘Consent Can’t Wait’ campaign for DSS

‘Obsessed’ is a monthly deep dive into social and cultural trends that can help marketers inform the way they think. Led by Kate O’Loughlin, Initiative strategist and self-confessed obsessive, ‘Obsessed’ will be a magic school bus to expand marketing mindsets and help brands remain relevant amongst an ever-changing cultural landscape.

This month I’m obsessed with… the representation of food as a status symbol for quiet luxury brands and the arts.

While it’s easy to think that food imagery has nothing to do with us in the marketing industry, understanding how consumers are regarding food gives us the opportunity to address potential challenges around brand associations or perceptions.

I recognise that food, particularly at fine-dining restaurants or traditionally expensive items like caviar and lobster, has always had an element of status. But when Aussies are cutting the costs of everyday groceries and there is an increase in consumers practicing ‘dumpster diving’, has everyday food become a status symbol too?

Food art

A recent Nylon party celebrating the 15^th birthday of Rachel Antonoff’s self-titled fashion label saw the inclusion of a series of food sculptures. However, the seemingly uneaten artworks weren’t made of traditionally ‘luxurious’ foods, but rather good old fashioned cheap eats – bread, cabbage, and tomatoes.

At the same time, Instagram florists like @glenn.arvor are using everyday food items like capsicums, zucchini, and bok choy as central pieces within their art.

 

 

 

 

 

 

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A post shared by Glenn Arvor (@glenn.arvor)

 

 

 

 

 

 

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A post shared by Glenn Arvor (@glenn.arvor)

The art and fashion worlds alike have picked up on fresh produce as a consistent visual motif, suggesting that household produce is seemingly the new ‘it’ product.

With the rise in produce costs (by no fault of the farmer), fresh has become a form of quiet luxury. We’ve seen a similar trend throughout history with difficult to grow products such as pistachios. The nut’s name is now synonymous with fashion, often being used to describe pale green products.

Food content

Food in art and fashion is demonstrating a theme of abundance – something hard to find in a cost of living crisis. The popularity of content like ‘fridge tours’ are an outcome of our rising obsession with abundance, with the insides of our fridge becoming a new form of judgement. If you don’t have at least two shelves of fresh food, are you even healthy?

Food and fashion aren’t strangers. The 2020s have seen an increase in the number of influencers or models releasing food-based products, from Hailey Bieber’s Erewhone smoothie to Kendall Jenner’s 818 tequila. However, it’s not just the mega influencers who are aligning their image with food products.

Food affiliates

The UK app ‘Delli’ has curated various product boxes based on different creator recommendations. The app, inspired and created by the founder of Depop, demonstrates the role of food as an accessory. It’s a way to align grocery shopping to the recommendations of customers’ favourite creators, but in a way which doesn’t require a physical product, or the logistics and investment which comes with it.

If reading this made you hungry, I suggest investigating your pantry for what could be the next ‘big thing’ on our runways or in our galleries. There’s seemingly no cabbage too wrinkled, and no oil too greasy for fashion’s food darlings.

While I’m not a fan of increasing grocery prices, food as a form of status doesn’t need to be a bad thing. I am the first to advocate for an aesthetic matcha latte to carry around. Better still if it’s in a flat-top cup from a café recommended by my favourite influencer.

As marketers, it is important that the shifting perceptions of food and produce is something of which we’re cognisant. By understanding how our customers are viewing food, we can use this trend to deliver on varying brand objectives:

• Looking to make your brand appear more accessible? Food brands looking to remain accessible for audiences of all incomes should look to incentivise beyond the product. Identifying opportunities to give the customer an add-on will be key to mass appeal if price is out of control. Examples include gifts with purchases, or consumer promotions.

• Looking to make your brand appear more premium? Consider a food partnership or visual motif. Identifying food prints or patterns to incorporate into the brand’s imagery presents a chance to leverage food as a symbol of brand status. It doesn’t need to be caviar, the humble tin fish could do.

No matter your objective, in pursuit of sustainability, it is critical that we minimise ‘food as a prop’ within our brand assets. If it’s not being consumed, and can’t be consumed later, then question the role of food in the image.

See also:
Kate O’Loughlin: What the Met teaches us about celebrity mega-brands and consumer expectations
Kate O’Loughlin: Jojo Siwa’s rebrand proves marketers should commit to the bit
Kate O’Loughlin: Marketing lessons from the rise of run clubs
Kate O’Loughlin: The Carnival World Cruise: brand titanic… or life raft?

Top image: Kate O’Loughlin

The Seven Network has launched a new 7NEWS app, described to “deliver a seamless news experience tailored to individual users, with up-to-the-minute coverage of the latest developments in Australia and overseas.”

The app features breaking stories and analysis across topics including current affairs, sports, business, entertainment, and lifestyle. It is available now to download for free on phones or tablets.

Seven Network’s director of news and current affairs and Seven West Media editor-in-chief, Anthony De Ceglie, said: “The 7NEWS app has been designed to be truly user-first, offering a personalised experience that will deliver premium news, sport, business, entertainment and lifestyle content across any mobile device for free in the way people want.

“Our team of reporters, presenters, producers, analysts and technicians are committed to bringing the most elite and unbiased news to all Australians.

“The new free 7NEWS app has never made it simpler for you to be in the know. It is your perfect companion to understanding what is going on every minute of the day.”

The launch of the new 7NEWS app coincides with de Ceglie wanting to integrate The Nightly into Seven’s 6pm bulletins, and make the most of having “the best video in Australia”.

When video is “king”, he told Mediaweek a few days after being promoted to director of news and current affairs, and editor-in-chief, “that should be an advertiser’s and a marketer’s dream.”

“Looking at legacy media in traditional silos like TV, radio or print is a really antiquated and outdated idea,” he says.

“In 2024, it’s about bringing all of that together into one unified voice across all our assets, especially digital. Right now, for example, everyone agrees that video is king. Well, Seven West Media produces the best video in Australia every single day and night.

“It’s about how we create synergies with that video across broadcast and digital, and when I say digital, I mean everything from our mothership 7news website to our TikTok accounts for certain shows or states or regions. There is no one that can beat us on video creation in the country. And that should be an advertiser’s and a marketer’s dream.”

Seven said one of the standout features of the new app is the customisation options, which will allow users to personalise their newsfeed by opting into their topics of interest. 

The app also offers notifications on breaking news with 7NEWS live coverage. It also features integration of video content from Sunrise, The Morning Show, and 7NEWS Spotlight. 

Live sport updates, fixtures, and coverage across the AFL, AFLW, and cricket will also feature, as well as the 7SPORT Match Centre which features real-time stats, team updates, and player news.

See also: Anthony de Ceglie’s ‘dream’ is a ‘unified’ Seven and new audiences

Half of Australia’s independent media agencies forecast ad spend will increase in the coming financial year.

The latest IMAA Indie Census for June 2024 has revealed that of those agencies that predict market ad spend to grow, almost half expect it to grow by at least 10% to 20% year-on-year.
 
Digital video and BVOD/CTV are expected to see the biggest growth, with almost 70% of respondents predicting these channels would grow by at least 25%. Meanwhile, 60% of agencies anticipated similar growth across programmatic out-of-home.

Performance, including paid social and SEM, is predicted to be the biggest area of investment for indie agencies in the coming financial year, followed by TV (linear and BVOD) and digital.

The Census reported that investment in media channels will be heavily driven by return on investment. More than half of indie agencies said they were more likely to spend on a new platform if it could drive better ROI, along with offering improved performance and cost-effectiveness.

Meanwhile, education is still top-of-mind for agencies, with respondents naming the IMAA Academy education offering as highly valuable and welcoming ongoing education and training.

IMAA CEO, Sam Buchanan, said the latest Indie Census shows agencies are going into the new financial year “with a renewed confidence in the market.”

“While cost of living pressures and faltering consumer confidence are still looming, our members are confident that clients will continue to invest in their brands,” he said.

“Digital will be the main recipient of spend, along with performance channels that offer greater return on investment in the current economic climate.
 
“Education continues to be a priority for indie agencies as they look to upskill and grow their teams. The IMAA is leading the charge in professional development for the indie sector with its landmark IMAA Academy. The IMAA’s innovative group deals for members and trade credit insurance have also proved valuable.”

The IMAA Indie Census June 2024 also asked members about specific media channels:

Digital

Almost all indie agencies believe AI will have some effect on their business in the future, with 40% expecting it to have a significant impact.

Agencies are also starting to prepare for a cookieless future – more than 50% have already tested or are planning to test alternative contextual strategies, while more than 30% are looking at one-party targeting.

TV/BVOD/CTV and video

The vast majority (90%) of agencies said a fully managed service model was important to them when planning, buying and transacting BVOD.

Nearly 40% said building creative was their biggest challenge when it comes to scaling their video content, followed by measurement options.

Audio

Most agencies, nearly 60%, said they were planning audio investment across radio, podcasts, and streaming in the coming 12 months, with more than half revealing that their clients were interested in the targeting and measurement capabilities of podcasting. Most indies said if more podcasts and shows were available programmatically, it would help increase adoption with their clients.

Out-of-home

Four in 10 agencies said they were set to invest more in out-of-home advertising (OOH) in the next 12 months, especially given the introduction of MOVE 2.0 – the latest enhancement in OOH measurement.

Out-of-home’s ability to offer 100% ownership and share-of-time was seen as a key drawcard. Regional OOH still proved to be an area of untapped potential for indie agencies, with at least half saying they needed a better understanding of the market and its opportunities, along with relevancy and ROI.

Regional

Agencies named cost-effectiveness, relevancy, and ROI as just some of the factors impacting their investment in regional media, with many looking for clear pricing and audience profiling, and a better understanding of the regional landscape.

Zitcha has partnered with MixIn, the retail media arm of Australian drinks and hospitality business Endeavour, for its off-site media across Meta’s Managed Partner Ads (MPA).

Martyn Raab, MixIn’s general manager, said the partnership will allow suppliers to “close the loop” on seeing how their Meta brand spending impacts their ad performance.

“By leveraging Zitcha and the measurement from MixIn, brands can see the performance of their activity to deliver real insights and campaign measurement. It means suppliers will be able to buy their Meta social media campaigns via MixIn and see which audiences viewed and responded to those campaigns.

“Suppliers will then be able to see if customers went on to purchase a product from the advertised brand through Endeavour Group channels such as BWS or Dan Murphy’s. It demonstrates a high return on investment through sales data at an anonymised cohort level.

“And one of the great things about this partnership is it protects the data of our consumers by never sharing personal information – the platform just sees them as an anonymous user.”

Meta’s MPA provides capabilities for retailers and their brand partners to track and measure off-site video and image ad performance, which can be managed through Zitcha’s centralised media platform.
 
“Retailers can significantly drive incremental revenues and drive additional sales for brand partners by optimising off-site media channels,” Zitcha CEO, Troy Townsend, said.
 
“Endeavour Group is home to some of the country’s most recognised liquor retailers and we are delighted to have been chosen by MixIn to maximise their Meta social media channels for greater effect.”
 
The news comes after Zitcha announced its partnership with US-based Venvee last month.
 
See also: Zitcha partners with Venvee to solve in-store media measurement

Veridooh has announced a global partnership with Hivestack by Perion, a global full-stack digital out-of-home (DOOH) platform.

Through this partnership, the ad tech company’s independent verification technology becomes available to all buyers leveraging the Hivestack demand-side platform (DSP) globally.

Veridooh enables brands, media owners, and agencies to independently track, measure, and verify the performance of their programmatic DOOH campaigns in close to real-time. The platform independently collects all data required to verify OOH campaigns and provides more than 400 metrics on campaign delivery in one platform.

The business said this partnership is indicative of the increasingly data-driven sophistication of OOH, giving advertisers a better picture of where, when, and how many impressions campaigns are delivering.

By pairing Hivestack by Perion’s programmatic DOOH DSP with Veridooh’s independent verification platform, advertisers can plan, schedule, independently track, and verify campaigns with precision.

Veridooh co-founder Mo Moubayed said: “Bringing together Hivestack by Perion’s programmatic DOOH tech stack and Veridooh’s world-leading independent verification platform is a watershed moment for OOH. Independent verification creates advertiser certainty that campaigns are delivered as planned, which is absolutely essential for highly dynamic media buys.

“Bringing the two together will increase confidence in the medium, in turn generating greater investment into programmatic DOOH. Programmatic DOOH globally is growing fast; according to a 2024 WARC Survey, 32% of advertisers globally have now bought DOOH programmatically.
 
“As a result, advertisers are increasingly demanding independent verification as the minimum standard, just as it is for programmatic online. We couldn’t be more excited to partner with Hivestack to roll this out globally.”
 
Hivestack, which was recently acquired by Perion, is active in 32 countries and is used by brands such as Uber, Colgate, Lego, and DoorDash.
 
“Hivestack by Perion is dedicated to enhancing the value of OOH advertising, and we’re always looking for new paths to achieve this,” said Dara Pourafzal, Hivestack chief product officer.
 
“Partnering with Veridooh to provide its independent verification means that advertisers can be certain their OOH ads have been delivered as planned and paid for, giving them a better understanding of the value their investment is delivering. This added transparency makes programmatic DOOH a much more attractive buy for brands and agencies.”

64% of people feel overwhelmed by the prospect of buying a car – up significantly from 49% in 2023 – according to a new report from The Growth Distillery, in collaboration with The Research Agency.

Reframe: Auto looks into the automotive landscape and the biggest issues facing both buyers and brands. The new research has found that marketers need to go beyond the car itself, with almost 60% placing importance on how the car makes them feel, not just what it does.

Ultimately, instead of focusing on what they are buying, the ‘why now?’ becomes more important for auto marketers.

Additionally, 59% of respondents are anxious at the prospect of going through the car-buying journey, while 61% are convinced all cars and brands offer very similar features and options. 

The research found the two conventional mindsets of car buyers – Utility and Premium – are now changing. The Utility mindset is no longer just about reliability, safety and convenience. These buyers are highly aspirational and want to be independent, to progress, to escape, and to connect, the research said.

The mindset of Premium car buyers has also shifted and is no longer solely about status and prestige. These buyers want experimentation, exploration, affinity, and individuality. 

The Growth Distillery research director Ciel Graham said “Australian car buyers are having really different discussions about cars these days. It’s never been a more important or opportune time for brands to (re)join that conversation, at every stage of the customer journey.”

Following the release of this research, The Growth Distillery is holding an Impact Workshop for the automotive industry.

Last month, The Growth Distillery partnered with Ogilvy and Kantar for the release of The Influence Codes, a research and insights program into what, exactly, creates influence.

The research proves that “a large portion of what the marketing industry believes is effective is categorically wrong,” Ogilvy Network AUNZ’s consulting, growth, and innovation lead Toby Harrison said.

“We now have a genuine and comprehensive understanding of what creates influence and how that power can be leveraged by marketers to deliver effective growth.”

UNIQLO brought a giant thermal HEATTECH shirt to the Emporium in Melbourne last Thursday in collaboration with 1000heads.

The campaign aimed to position UNIQLO as the destination for winter warmth, spark interest in the HEATTECH range, and boost the HEATTECH trial rate.

Through the creative lens of #StayWarm with HEATTECH, 1000heads, which partnered with Alchemy, built a five metre high HEATTECH shirt complete with infrared heaters and LED lights.

1000heads developed a digital execution – digital Polaroid pictures captured in thermal heat. As commuters walked through the shirt, they were blasted with hot air from the infrared heaters, emulating the feeling of HEATTECH products and getting their “thermie” (a thermal selfie) taken. Once outside, they scanned a QR code and received their digital Polaroid, which included a retail redemption code for one free selected HEATTECH item.

Fiona Harris, general manager at 1000heads, said the team wanted to give UNIQLO fans the ultimate experience.

“We crafted a three-phase approach to the activation, incorporating a physical installation as well as digital and social components all under the umbrella of #Staywarm with HEATTECH,” she said.

“1000heads approached the experience in a way that merged the IRL activation and the digital experience to drive scale and conversations both on the ground and online.”

In addition to the oversized shirt activation, UNIQLO launched a nationwide social competition. Using an AR filter, UNIQLO’s audience could share their best “thermies” to win one of two $500 UNIQLO vouchers.

The competition was promoted through marketing materials at the event and on social media to reach a wider audience beyond Melbourne.

Credits:

Social transformation and creative agency: 1000heads

Fiona Harris – General Manager
Mark Lloyd – Group Account Director
Daniel Koublachvili – Creative Technology Director
Jessica Freeman – Senior Account Manager
Luke Stevenson – Technical Director
Simran Lala – Account Executive
Noah Melamed – Junior Technologist
Derek Tran – Junior Technologist

Set building, design and manufacturer for event service and brand activations: Alchemy

Charlie McDonald – Logistics Manager
Emily Lloyd – Project Manager
Anthony Shone – Production Manager

UNIQLO

Johanna McNicoll – Marketing Manager

oOh!media has won the Sustainability Award at this year’s World Out of Home Organisations (WOO) Awards, held at WOO’s annual Congress in Hong Kong.

The award recognises innovation that works towards reducing the environmental footprint of OOH advertising.

oOh! won the award for its collaboration with GALE Pacific to develop the sustainable material – Ecobanner by GALE Pacific, an Australian-made, PVC-free, flexible banner fabric that offers a 100% capable closed-loop recycling solution for large-format billboard advertising. 

Speaking from the WOO Congress in Hong Kong, oOh! CEO Cathy O’Connor said the collaboration with GALE Pacific on Ecobanner “exemplifies how innovation and sustainability can coexist, driving the out of home industry toward a more sustainable future.

“We’re delighted to receive this honour in a category that celebrates the great work being done in sustainability by OOH peers around the world.”

The material was first used during the FIFA Women’s World Cup last year at the Glebe Island Silos.

Glebe Island Silos using Ecobanner for Nike FIFA World Cup Campaign

The initiative was driven by oOh!’s environmental, social, and governance (ESG) team, in partnership with its printing arm, Cactus Imaging, which wanted a large format OOH solution that met the sustainability demands of agencies and advertisers. 

Following research with GALE Pacific, oOh! adopted Ecobanner by GALE Pacific as its default product for compatible large format billboards.

John Paul Marcantonio, CEO of GALE Pacific, added that he and the team were “thrilled that oOh!media’s use of Ecobanner by GALE Pacific has been recognised with the WOO Award for Sustainability.”

“We’re proud to have created a truly circular solution for the out of home space and honoured to play a part in this achievement,” he said.

“We are excited to continue our partnership with oOh!media and offer eco-friendly textile innovations to meet the growing demands of sustainable advertising.” 

See also: Entering ‘the joy factory’: How oOh!media is making the most of creative OOH

–

Top image: Matthew Dearden, CEO Alight Media; Cathy O’Connor, CEO oOh!media, Dino Burbidge, CEO Dinova Ltd.

The Asia Pacific region remains divided on whether to be nervous or excited about the AI revolution.

Ipsos’ AI Monitor survey, conducted from mid-April to early May, examined attitudes towards AI, particularly understanding the technology and its impact on day-to-day life.

The study found a divide between people in the APAC region who are excited by the potential AI will offer, and those who are firmly sceptical about its future.

In Asia, 62% of people surveyed said they were excited about products and services that use AI; interest is greatest in China (80%), Indonesia (76%), Thailand (76%), and South Korea (73%).

Meanwhile, English-speaking countries, including Australia and New Zealand, noted the need for caution with AI—just 39% of Aussies and 43% of Kiwis said they were excited about the technology.

Both countries are more likely to feel trepidation about AI, with 66% of New Zealanders and 64% of Australians saying AI makes them nervous.

People in Asia Pacific recognise the changes AI will bring. The study reported that almost three quarters (73%) said AI will profoundly change their life in the next year three to five years. Most people across APAC (66%) said AI would change how they do their job in the next five years.

“People are still firmly divided over whether AI will be a friend or foe in the coming years,” Ipsos APAC CEO, Hamish Munro, said.

“Across the APAC region, Asian countries are leading the charge for embracing the technology, showing both a strong understanding and excitement about the technology. English-speaking countries, including Australia and New Zealand, remain sceptical about AI, particularly its impact on their day-to-day life and employment.

“Greater education around the technology and practical examples may help to build confidence in the AI revolution and how it can be harnessed to improve everyday life.”

MasterChef Australia contestant Sumeet Saigal has introduced her InTALIAN Simmer Sauce, in partnership with Paramount Brand Studio and available at Coles.

Saigal’s sauce impressed the MasterChef judges and celebrity chef Curtis Stone, winning her the immunity challenge and securing her spot in the top 10. 

The collaboration with Paramount Brand Studio marks the second year of bringing a MasterChef contestant’s products to Coles shelves. The sauce is available for a limited time.

Tamar Hovagimian, head of partnerships – Paramount Brand Studio at Paramount Australia, said: “Building on the success of last year’s Coles BarbeRue Sauce, we’re thrilled to offer another MasterChef contestant this incredible opportunity, especially someone as deserving as Sumeet.

“MasterChef Australia and Coles set the standard for seamless brand integration, and this collaboration is a prime example. It’s not just about getting a product on shelves; it’s about empowering contestants to turn their culinary passion into a thriving career. This is truly a once-in-a-lifetime chance that embodies the spirit of what the MasterChef and Coles partnership represents.”

Carmel Horvath, head of sponsorships and events at Coles, said: “MasterChef Australia has been inspiring our customers to create delicious food since 2009. We’re excited to offer our customers a brand-new product from a MasterChef challenge, available at Coles stores nationally the very next day.”

Saigal added: “Indian and Italian foods share the same values of warmth and generosity, and I am so pleased that I get to bring the same to the everyday table with my InTALIAN Simmer Sauce. It has the aromatic spices of Indian food and also the warm herbs of Italian cooking. A perfect blend of two worlds that promises to be versatile and bring bursts of flavour to your family meals.”

Vivid Sydney’s drone show returns this weekend above Circular Quay on 8, 9, and 15 June, in partnership with NOVA Entertainment.

The show, entitled Love is in the Air, features a fleet of over 700 drones that form universal symbols of love in colours and formations across the night sky.

“We’re delighted to collaborate with Vivid Sydney for the Vivid Sydney drone show and for a third consecutive year,” Adam Johnson, NOVA Entertainment’s chief growth officer, said.

“The Vivid Sydney drone show celebrates the fusion of art and technology, which perfectly complements NOVA’s mission to innovate and entertain. And having a giant Nova Boy in the sky is also just unbelievably cool. We can’t wait to bring the love on Sunday.”

The concept and direction for Love is in the Air is by Minervini with drone technology by Australian Traffic Network (ATN) and the soundtrack by producer and DJ PeeWee Ferris.

Last year, Minervini, DJ PeeWee Ferris and ATN brought to the skies a drone show entitled Written in the Stars.

Vivid Sydney Festival Director Gill Minervini said: “The support from our sponsors is essential to bringing Vivid Sydney to life and creating a truly unforgettable experience for festivalgoers. Thanks to our partners, we have raised the bar on the scale of the festival to showcase the vibrancy and creativity of Sydney.”

During Vivid Sydney, QMS has showcased campaigns from brands including Kia Australia, Visit Victoria, Foxtel’s Hubbl and Kayo, Universal Pictures, Chemist Warehouse, AAMI, Coca-Cola, Sony Pictures, Omega, Medibank, Rimowa, Aware Super, Vicinity Centres, Live Nation, and Audible.
 
QMS general manager, City of Sydney, Olivia Gotch, said: “This celebration of creativity, innovation and technology is the perfect fit for our world-class City of Sydney digital street furniture network, sitting at the very heart of the Sydney market and connecting with 33 of Sydney’s most prestigious and progressive suburbs.”

See also: QMS lights up brand campaigns for Vivid Sydney 2024

TOP 5

1. Bad Boys: Ride or Die – $4,212,396 (debut)

Sony has taken Warner Bros. thunder for a second consecutive week, with its new Bad Boys film coming in at #1. The new film in the franchise is directed by Adil & Bilall, who have a history with Warner Bros. as well, as their finished Batgirl film was infamously shelved as a $90 million tax write-off.

The directing duo are also rumoured to be in talks with Marvel to direct the upcoming fourth Spider-Man film, starring Tom Holland. Coming in first place this week, Bad Boys: Ride or Die took $4,212,396 in its first week, averaging $7,604 over 554 screens.

Synopsis: When their late police captain gets linked to drug cartels, wisecracking Miami cops Mike Lowrey and Marcus Burnett embark on a dangerous mission to clear his name.

2. The Garfield Movie – $2,163,094 (1)

Sony’s newest iteration of the Monday-hating, lasagna-loving cat is voiced by Chris Pratt, who is now known as Garfield, Star-Lord in the MCU, and the voice of Mario in the Super Mario animated films. Coming in second place this week, The Garfield Movie took $2,163,094 in its second week, averaging $5,421 over 399 screens.

Total Australian Box Office gross to date: $5,698,216

Synopsis: After an unexpected reunion with his long-lost father, the street cat Vic, Garfield is forced to leave his very comfortable life with Harald behind. Together with Vic and Odie, he plans a crazy robbery.

3. Furiosa: A Mad Max Saga – $1,070,757 (2)

Warner Bros. Furiosa: A Mad Max Saga is its newest entry into the Australian-set, post-apocalyptic franchise. Directed by George Miller, the film is a prequel to 2015’s Mad Max: Fury Road, a film that was nominated for 10 Academy Awards and won 6 of them. In a running theme for the 2024 box office, this film was also partially shot in Australia, with some filming taking place in the small NSW towns of Hay and Silverton.

Coming in third place this week, Furiosa: A Mad Max Saga took $1,070,757 in its third week, averaging $2,781 over 385 screens.

Total Australian Box Office gross to date: $8,227,847

Synopsis: Snatched from the Green Place of Many Mothers, young Furiosa falls into the hands of a great biker horde led by the warlord Dementus. Sweeping through the Wasteland, they come across the Citadel, presided over by the Immortan Joe. As the two tyrants fight for dominance, Furiosa soon finds herself in a nonstop battle to make her way home.

4. IF – $963,102 (3)

Actor and Director John Krasinski is taking off his horror (A Quiet Place) directing cap and putting on his family/comedic directing cap with Paramount’s IF. The film took $963,102 in its fourth week, averaging $3,147 over 306 screens.

Total Australian Box Office gross to date: $7,909,933

Synopsis: After discovering she can see everyone’s imaginary friends, a girl embarks on an adventure to reconnect forgotten IFs with their kids.

5. Kingdom of the Planet of the Apes – $587,205 (4)

Disney’s Kingdom of the Planet of the Apes is the brand new entry in the Apes franchise. While set 300 years after the reboot trilogy and featuring an entirely new cast of characters, the film is set in the same universe and references old characters from the trilogy. Similar to The Fall Guy, some filming took place at Disney Studios in Sydney and also in the Illawarra. Coming in fifth place this week, Kingdom of the Planet of the Apes took $587,205 in its fifth week, averaging $2,250 over 261 screens.

Total Australian Box Office gross to date: $11,364,502

Synopsis: Under the direction of Wes Ball, the global franchise breathes new life into a future era post-Caesar, where apes reign in harmony while humans exist in the shadows.

Top 6 – 10

6. The Watchers
7. The Fall Guy
8. Unsung Hero
9. Haikyu!! The Dumpster Battle
10. The Way, My Way

TV Report 10 June 2024:

Nine TV Report

Australian Swimming Trials

Nine’s evening began with The Australia Swimming Trials.

It was Day 1 of the Swimming Trials ahead of the Paris Olympics in July. Coverage included finals of the Women’s & Men’s 400m Freestyle, Women’s 200m IM, Women’s 100m butterfly & Men’s 200m Freestyle MC.

A Current Affair

Over on A Current Affair, the program met with solar panel owners who could soon pay the price for going green and met with a couple losing their life savings in a bank scam that even tricked bank tellers.

Seven TV Report

Dream Home

On Seven, the Victorian teams saw their fully transformed homes for the first time on Dream Home. Then it was back to work for the couples as they headed to Queensland for what proved to be the most explosive build to date.

Home and Away

Before Dream Home was Home and Away as Marilyn panicked, Irene;s new friend has a dark agenda and Bree tried to win Remi back.

10 TV Report

The Project

The Project on 10 remembered Dr Michael Mosley, looked into the AFL’s Big Freeze, spoke to Kat Stewart and welcomed co-host Steve Price to the desk.

MasterChef Australia

On 10’s MasterChef, Adrian Zumbo arrived as a guest judge and kicked things off with a wobbly jelly Mystery Box. Contestants competed to make a perfect shaky sweet to win immunity.

Have You Been Paying Attention?

Have You Been Paying Attention saw Anne Edmonds, Ray O’Leary, Emma Holland, Ed Kavalee and Sam Pang all compete to see who’s been paying attention the most with host Tom Gleisner and special guest quizmasters Dyson Daniels. 

ABC

7:30

On 7:30, the program looked into a major regional city facing running out of water within a few years and Laura Tingle interviewed former prime minister Malcolm Turnbull. 

SBS

Amazing Railway Adventures Nick Knowles

 Nick Knowles is on the railway journey of a lifetime across Mexico on a route from the pacific coastline at Sinaloa through the Copper Canyon to Creel in Chihuahua.