The CEO of industry body Commercial Radio & Audio (CRA), Ford Ennals, has announced his resignation effective immediately today, Monday 15 April 2024.

A statement from CRA said:

Ennals has served as CEO for two years, during which he successfully led the rebranding of the industry body from “Commercial Radio Australia” to “Commercial Radio & Audio”. Additionally, Mr Ennals oversaw the successful launch of “Radio 360”, the new industry audience measurement system that provided more robust audience listening data.

CRA represents 260 commercial radio stations across Australia, with members including Australian Radio Network (ARN), SCA, Nova Entertainment, Nine Radio and ACE Radio Broadcasters.

Chair of the CRA Board, Ciaran Davis, thanked Mr Ennals for his leadership of CRA, stating “Ford has made some great contributions during his tenure with CRA.  We wish him well for his future role.”

Mr Ennals remarked, “I’ve had the privilege to successfully guide the CRA through a key period of transition. I extend my gratitude to the CRA team and our members. I am confident that the commercial radio and audio sector is well-positioned for future growth and success.”

Mr Davis confirmed that Jo Dick, Chief Commercial Officer for CRA will care-take the CEO role whilst the Board undertakes a search for a new CEO.

See also: Ford Ennals to replace Joan Warner as CEO of Commercial Radio Australia

Lisa Wilkinson hopes her and 10’s win in the defamation case Bruce Lehrmann brought against them “gives strength to women around the country.”

Speaking outside the court after Justice Michael Lee dismissed Lehrmann’s case, Wilkinson told reporters, “The Federal Court has found that I published a true story about a rape in a Federal Minister’s office at Parliament House in March of 2019. I sincerely hope that this judgment gives strength to women around the country.”

She also thanked people outside the courtroom for their support, saying she was grateful for “all the generous members of the public who have approached me almost every single day, to express – often through tears – their unwavering support.”

One of Network 10’s solicitors, Justin Quill, also spoke to reporters outside of the court, confirming he was “confident that any appeal would be dismissed,” and that the result was “an unmitigated disaster for Bruce Lehrmann.”

“It’s a warning to all other potential applicants or plaintiffs, who might want to try and reinvent history or make a quick buck, who might want to come to court and con the court with their version of events,” Quill said.

“You can come up with a con that might get you through a TV interview, or an interview with your boss, or down at the pub with your mates. But when you come to the court, and you are cross-examined, and forensicly examined, you can’t get away with it. This case is not just a loss for Bruce Lehrmann, it’s a win for the public interest.”

Earlier in the day, while reading a lengthy summary of his judgment, Justice Michael Lee suggested Lehrmann should have counted the impact Wilkinson’s Logies speech had on delaying his criminal trial as a win, and left it at that instead of suing Network 10 and Wilkinson for defamation.

As Lee put it: “Having escaped the lion’s den, Mr Lehrmann made the mistake of coming back for his hat.”

In its statement responding to the verdict, 10 called the result “a triumph for truth”.

“Network 10 is considering Justice Lee’s 324-page judgment. It is clear however that Australia’s defamation laws remain highly restrictive,” the company said.

“Network 10 remains firmly committed to honest, fair and independent journalism; to holding those in power to account; to giving people a voice who wouldn’t otherwise have one; and to always pursuing without fear or favour, journalism that is firmly in the public interest.”

Lehrmann lost his defamation case today after Justice Lee found Lehrmann raped Brittany Higgins on the balance of probabilities.

Lehrmann had sued 10 and Wilkinson over a February 2021 interview with Higgins that aired on The Project. In the interview, Higgins made the allegation that she had been raped in an office at Parliament House.

Justice Lee agreed with Lehrmann’s lawyers that Lehrmann was identifiable in The Project interview, so his decision turned to whether 10 and Wilkinson could successfully rely on a truth defence.

While Justice Lee was critical of 10, Wilkinson, and Higgins at various points in his judgment, he ultimately determined on the balance of probabilities that Lehrmann did rape Higgins, meaning 10 and Wilkinson established their defence of truth.

See Also: Bruce Lehrmann loses defamation case against 10 and Lisa Wilkinson

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Top Image: Lisa Wilkinson leaves the Federal Court with her barrister Sue Chrysanthou

Bruce Lehrmann has lost his defamation case against Network 10 and Lisa Wilkinson, after Justice Michael Lee found Lehrmann raped Brittany Higgins on the balance of probabilities.

Lehrmann sued 10 and Wilkinson over a February 2021 interview with Higgins that aired on The Project. In the interview, Higgins made the allegation that she had been raped in an office at Parliament House.

Whilst he was not named, Lerhmann claimed that “his name was widely trafficked as the culprit on social media and the internet generally”. His lawyers added that it was “notorious in Parliament House and elsewhere that Mr Lehrmann was the person alleged to have assaulted Ms Higgins”.

In a marathon summary of his judgment, Justice Lee agreed that Lehrmann was identifiable in The Project interview, so his decision turned to whether 10 and Wilkinson could successfully rely on a truth defence.

Lehrmann raped Higgins on the balance of probabilities, Justice Lee found, meaning 10 and Wilkinson succeeded in that truth defence.

The judgment is 324 pages long, with more than 45,000 people tuning in to the livestream of the decision at one point – the audio of which cut out just minutes after Justice Lee began speaking at 10:15am. The court was adjourned to fix the technical issue, with the judge’s summary concluding just after 1:30pm.

“The underlying controversy has become a cause célèbre. Indeed, given its unexpected detours and the collateral damage it has occasioned, it might be more fitting to describe it as an omnishambles,” the federal court judge said of the case, before the audio failed.

When the audio issue was fixed, Justice Lee said Lehrmann’s attachment to the truth was “tenuous”, he had “Walter Mitty-like imaginings”, and he wasn’t afraid to depart from the truth. However, he also believed Brittany Higgins was an “unsatisfactory” witness.

Lehrmann was “less than candid” in his evidence about the benefits he received from the Seven Network, and made “false representations” about documents he provided to Seven as part of his appearance on the Spotlight program, the judge added.

Lehrmann and Wilkinson were both present in courtroom one in Sydney’s federal court building to hear the judgment. Wilkinson’s now-infamous Logies acceptance speech, which led to Lehrmann’s criminal trial being delayed in 2022, was “fraught with danger,” the judge said. 

However, Wilkinson has less culpability around the speech than those at 10 who approved it, including 10’s lawyers, according to Justice Lee.

Justice Lee delivering his judgment

He added the case was so controversial because it became a lightning rod for bigger cultural conversations: “Some jumped to predetermined conclusions because they are disposed to be sceptical about complaints of sexual assault, and hold stereotype beliefs about the expected behaviour of rape victims, described by social scientists as rape myths.

“Others say they believe all women, surrendering their critical faculties by embracing and acting upon a slogan arising out of the #MeToo movement. Some have a predetermined view.”

In a statement, Network 10 said after the verdict said: “At its core, this case was first and foremost about truth, and Justice Lee has found that Network 10 prevailed in proving that Brittany Higgins’ allegations of rape were true.

“This judgment is a triumph for truth.”

The statement also notes that the Network is “considering” Justice Lee’s judgment, and has said that “it is clear … that Australia’s defamation laws remain highly restrictive.

“When put to the test, it was always our obligation to inform the public of these important social and political matters notwithstanding the challenges presented by these laws and today’s judgment vindicates the telling of Brittany’s story.”

The case has attracted widespread media attention, particularly in recent weeks as the case was re-opened to hear the evidence of Seven’s ex-Spotlight producer, Taylor Auerbach. 

See Also: Taylor Auerbach takes to the stand in Bruce Lehrmann trial

Lehrmann provided two interviews for Spotlight in 2023. The interviews, conducted by journalist Liam Bartlett, were aired in June and August.

In both an affidavit and his evidence to the court, Auerbach detailed the lengths to which the program allegedly went to secure its now infamous interviews with Lehrmann – including reimbursement for illicit drugs and sex workers, $10,300 on Thai massages, several expensive dinners, and a $401.83 round of golf in Tasmania.

This was on top of the company’s decision to pay for Lehrmann’s rent in Sydney, which had already been widely reported – and was the reason for The Walkley Foundation revoking the finalist status of the Spotlight interviews.

In the wake of Auerbach’s evidence, Spotlight executive producer Mark Llewellyn left Seven. This morning, a Seven spokesperson confirmed: “Mark Llewellyn no longer works for the Seven Network.”

See Also: Walkley Foundation “revokes finalist status” of Seven’s Spotlight interview with Bruce Lehrmann

This is the first of Lehrmann’s defamation cases to reach a conclusion, after he previously dropped two others.

One was against the ABC, which was settled in November 2023, launched after the ABC broadcast a speech by Brittany Higgins. The National Press Club speech, made by Higgins alongside former Australian of the Year Grace Tame, was aired in February 2022.

The other was against News Corp, which was settled last May. Lehrmann took defamation action against both News Life Media – publisher of news.com.au – and Samantha Maiden, news.com.au’s national political editor. 

In the News Corp case, Lehrmann claimed that he was identifiable in two news.com.au articles reporting on the March 2019 allegation that Brittany Higgins was sexually assaulted in Parliament House. 

More to come.

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Top Image: Bruce Lehrmann

Buttholes, nangs, and ‘girl math’ were all the subject of the latest round of Ad Standards rulings.

This round of offenders of the AANA’s Codes of Ethics included audio company Southern Cross Austereo (SCA), bubble tea chain Chatime, baking goods retailer Cream Shop, clothing brand Donohues, and intimates brand SilkySilky.

SCA

The infringing radio ad featured a snippet of the Jimmy & Nath Born Funny podcast in which guest Josh Thomas remarked, “I think you’re underestimating how clean gay men’s butt holes are, we’re not licking straight men’s butt holes.”

To which Nathan Roye (Nath) responded, “Yeah, some of the cleanest butt holes going around.”

Jimmy Smith (Jimmy) and Roye then asked producer Jarryd to give a ”thumbs up,” to which Josh Thomas reacts, and all parties laugh.

According to the Ad Standards case file, complaints against the ad included the following: “included verbal graffic [sic] description of lewd sexual acts… I found it offensive and glad i did not have children in the car.”

The Ad Standards panel upheld the complaint, determining the advertisement did not treat sex, sexuality and nudity with sensitivity to the relevant audience, breaching section 2.4 of the AANA’s Code of Ethics.

In response to the decision, an SCA representative commented: “I note the decision and case report in relation to our advertisement for the Jimmy and Nath Born Funny podcast. I confirm our previous advice that we have discontinued the advertisement.”

See also: ‘A lot of merit’ to ARN and SCA merger: Morgan Stanley

Cha Time

Chatime’s email ad promoting a half-priced tea with the tagline “according to girl math, that’s basically free,” was determined to be in breach of section 2.1 (discrimination or vilification) of the Code, with the panel finding that “despite the attempt at humour, the ad perpetuates a negative stereotype that women are bad with money.”

Cream Shop

Cream Shop’s digital ad featured an image of piled silver nitrous oxide cylinders, accompanied by the text “Nang Delivery 24/7 Melbourne”.

While nitrous oxide is technically used for whipped cream, the panel considered that with its imagery and text, in conjunction with the promotion of speedy delivery for bulk purchases at all hours, strongly implied the purchase of the drug colloquially known as “nangs.”

The ad was found to be in breach of section 2.6 (health and safety) of the Code of Ethics.

Donohues

An ad for Donohues was found to be in violation of section 2.6 (health and safety) of the Code for depicting a family on a farm traveling on a utility terrain vehicle, with children shown unrestrained and seated in the rear cargo area.

SilkySilky

The retailer was found to have breached section 2.2 (exploitative or degrading) of the Code for its six advertisements depicting women in silk slip gowns accompanied by the tagline, “A gift that makes her prettier”.

Ad Standards is the complaint management community panel, for the Australian Association of National Advertisers (AANA). 

See also: Medical Association calls for digital ban on junk food ads

Publicis Groupe Asia Pacific has promoted Pauly Grant to chief talent officer after just over a year as AUNZ’s chief people officer and 11 years with Publicis.

As chief talent officer of Publicis Groupe APAC, Grant will continue overseeing the ANZ region’s human resources portfolio. She will also focus on driving the region’s talent and culture strategy.

Grant will report to Jane Lin-Baden, CEO of Publicis Groupe Asia Pacific, and work closely with each market’s chief talent officers and the Asia Pacific executive committee.

In 2023, she was named one of ‘The 100 Human Resources Leaders to Know – Global 100 for HR’ by Human Resources Director (HRD).

Grant’s promotion coincides with three other senior promotions: those of Martin Davie, Jonathan Mackenzie, and Joanna Ong, which Lin-Baden said “underscore the breadth and depth of talent within the group.”

“With these latest appointments, we are strengthening our core leadership team as we move ahead with our strategy to create even greater impact for clients and further elevate our position in the region.”

Martin Davie will step up from managing director, international, Publicis Media Singapore, to head of performance, Publicis Groupe Asia Pacific.

Jonathan Mackenzie has been promoted from managing director of Publicis Media Precision Asia Pacific to head of data solutions, Publicis Groupe Asia Pacific. Based in Singapore, he is responsible for the growth of data-driven products and solutions.

Joanna Ong has transitioned from her role as managing director of MSL Singapore to managing director, communications and PR, Publicis Groupe Asia Pacific, based in Singapore and Shanghai.

See also: New judges revealed: Kirsty Muddle, Pauly Grant, and Peter Vogel join Next of the Best line-up

Stuart Archibald, co-founder of Archibald Williams, has announced his departure from the independent brand and digital agency. Archibald leaves to launch a new agency called CA.5 in Sydney and London, which he promises will be an “alternative model to the traditional agency structure and approach”.

CA.5 will build teams hand-picked for a client’s problem over an existing team structure, which will either embed or work externally.

Archibald said the concept of the new model brings together the best talent he’s worked with to offer clients bespoke solutions. The idea came from Archibald’s conversations with clients around the world.

“I have been fortunate to establish successful and profitable agencies in London, New York and Sydney,” said Archibald.

“I have yet to meet a client who doesn’t have a pain point in one or all five areas of customer marketing-data, brand, customer journey’s, creative and technology.”

CA.5 has built a talent pool of people who have worked with Tesco Clubcard, Apple, O2, Microsoft, Mastercard, and The Economist.  Bespoke teams in London have already begun work in the retail, energy, and environmental sectors.

Archibald founded Archibald Williams with Bram Williams in 2012. In December last year, the NBA appointed the agency to lead its account across the APAC region.

In March 2023, it was named consultants for the Brisbane Broncos rugby league club.

See also:
NBA appoints Archibald Williams to lead its account across APAC
Archibald Williams named consultants of the Brisbane Broncos

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Top Image: Stuart Archibald

By Mat Ratty, founder and CEO at TrafficGuard

If you’re advertising on digital channels and not worried about the efficacy of your spend, well, you certainly should be. Here’s why.

In December, the US Association of National Advertisers (ANA) released its Programmatic Media Supply Chain Transparency Study, which revealed a staggering 35% of ad dollars are ‘loss of media productivity costs’ – non-viewable impressions, or occurring on Made for Advertising (MFA) sites.

Unsurprisingly, these findings, which followed on from a similar ANA report in June, spurred a large-scale media blitz, with a phalanx of senior agency executives pledging to safeguard their advertising from MFAs.

Then, at the start of this year, advertising transparency platform Adalytics followed up the ANA’s findings to gauge what action had been taken. The results were variously predictable or shocking, depending on how much credit you give the average C-suite leader.

“Hundreds of ANA members and other brands continue to have their ads observed on MFA websites as of January 2024,” Adalytics revealed, more than six months after the ANA released its first transparency report.

These include gargantuan brands such as Procter & Gamble, Bayer, Reckitt, AT&T, the Wall Street Journal, General Motors, Google, Meta, and many others.

This is by no means a problem unique to US markets. In 2023, the IAB was moved to release a 36 page Digital Ad Fraud Handbook, which outlined the challenges the industry faces, while revealing the incidence of ad fraud lifted 7% in the APAC region over the previous year. And it’s a safe bet it will have risen again by the time the next handbook comes out.
It makes depressing reading.

To understand how this happens in the first place, we need to delve into how ad fraud works in basic terms.

It begins with MFA sites giving themselves a plausible name and then scraping content from other legitimate websites and incorporating it into their own.

This subterfuge then creates the impression in the programmatic ad space that they are authentic websites, and thus they attract ad dollars from unwitting vendors. They will then place ads at a relentless pace, maximising gains and minimising effectiveness for the advertiser.

As the Adalytics report reinforced, “MFA sites employ aggressive ad refreshes, which can result in a user being shown the same ad up to thousands of times during a single page view session. For example, H&R Block had 2,117 impressions served to one consumer on a single MFA article in less than one hour. Verizon had 781 ad impressions served to one consumer on an MFA article in less than one hour.”

Aside from the consumer bombardment, the costs are eye-watering. “Due to an apparent lack of frequency capping when campaigns serve on MFA sites, some brands are paying astronomically high prices to reach a single consumer. For example, Kroger paid an effective ‘cost per 1,000 people reached’ of $5,491 to reach one consumer on an MFA site,” the Adalytics report continued. You don’t have to be Mark Ritson to realise that this is a very raw deal.

Why does it happen? My suspicion is that many marketers simply don’t know the truth because they don’t have access to tools that reveal ad fraud is actually occurring. Or they are hamstrung by a combination of complacency (believing their ad dollars are protected from illegitimate sites), or simply haven’t the faintest idea where to start to tackle the problem.

So how can marketers and agencies avoid falling victim to such fraud? Why not begin with a bit of old fashioned scepticism.

Advertising automation, AI-decisioning, and the growth of performance channels all have the power to create new efficiencies for marketers, but abdicating decision-making can lead to ruinous outcomes.

Yes, today’s burgeoning adtech is a boon for marketers, but like anything in life, it’s prone to being gamed. Marketers who simply fire and forget are the easiest of marks for bad actors. Those controlling advertising budgets need to be forensically auditing the actions, like clicks, that drive their results.

It also pays to be curious and to continually look at ways to help protect your marketing spend. As a starting point in mitigating the risk of ad fraud wastage, marketers can consider support from robust ad verification and fraud prevention tools.

These tools utilise advanced algorithms and machine learning to detect irregular patterns and anomalies in ad performance data, helping marketers identify and blacklist fraudulent sources.

Additionally, leveraging third-party partnerships with trusted verification and measurement vendors can provide added layers of protection against ad fraud. By continuously monitoring ad campaigns and proactively identifying and blocking fraudulent activity, marketers can ensure that their advertising budgets are allocated effectively and protected.

To bastardise an old saying, the price of advertising ROI is eternal vigilance. Those that take active steps to preserve their advertising dollars will find their marketing is a lot more effective. Those that don’t – like many of the big name advertisers in Adalytics’ report – will instead find that a lot of investment will turn into an astronomical amount of wastage.

Mediahub has appointed Linda Fagerlund to the newly-created role of chief strategy officer across Australia and New Zealand, reuniting her with reuniting her with former Carat boss Sue Squillace.

Fagerlund will oversee Mediahub’s trans-Tasman strategic team, and join the Mediabrands agency’s senior leadership team.

Fagerlund joins Mediahub after almost four years at dentsu. For the past two years, she has held holding group level roles, including chief strategy and marketing officer AUNZ, Media and most recently head of brand marketing AUNZ. Before that, she was at dentsu media agency Carat as CSO.

“Strategy and innovation underpin the success of the agency, and it is essential that exceptional talent leads Mediahub’s strategic offering: someone with an outstanding commitment to drive growth and create meaningful impact in the ever-evolving media landscape,” Squillace, CEO of Mediahub AUNZ, said.

Squillace described Fagerlund as a “rare unicorn” in strategy who can “straddle” media and creative planning, in addition to social and content plus trade marketing and communications.

“Her strategic expertise will be critical for deploying Mediahub’s go-to-market strategy since we reimagined the agency’s offering last year.  Linda is our first significant hire due to growth since we reimagined Mediahub last year, and I could not be more delighted that she is joining our team.”

Fagerlund’s experience spans more than 15 years and includes a breadth of strategy roles across media agencies, creative agencies and publishers, including Publicis’ Spark Foundry and Leo Burnett, and News Corp.

Fagerlund will be based in Sydney and work across Mediahub’s other AUNZ offices including Perth, Auckland, and Christchurch, as part of its joint venture with Attivo Group.

Fagerlund said she was looking forward to joining the Mediahub team and added: “They have a ‘best of both worlds’ offering as a boutique full-service agency, backed by the scale and deep capabilities of the IPG network, which is a strategist’s dream in accelerating great work, creativity and innovation for brands.”

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Top image: Linda Fagerlund

Nova Entertainment has announced Mindshare, part of Group M, as its new media agency partner, following a competitive tender process.

With the appointment, Mindshare will take charge of its complete portfolio, speculated to be worth around $9 million. This includes includes the Nova Network, Smooth FM, FIVEAA, Star 104.5, and the Nova Podcast Network. 

The partnership will commence on 1 June 2024, with the first work slated for Q3.  

The incumbent Carat had been Nova Entertainment’s existing media agency partner since 2017.

Nova’s chief growth officer, Adam Johnson, told Mediaweek the move signalled an act of “stepping back and assessing rather than the direct need for change.”

“It wasn’t necessarily about moving,” said Johnson.

“It was the right time for us to review our media agency partnership, having been with Carat for eight years. I think it’s incumbent on all client-agency relationships to make sure that we are reviewing, and make sure they’re working for all parties.”

Adam Johnson

See Also: Carat retains Beacon Lighting media account

He continued: “We’re an ever-evolving business.”

“As we work to deliver our audio strategy, [it] involves a lot more digital – both from a product and a marketing point of view. We’re constantly in flux, and it felt like the right time to extend that strategic review to our agency partnership.”

Johnson, who described the competitive pitch as “solid and close-run,” said Mindshare’s appointment was ultimately predicated on presenting Nova with the best strategic response to its brief, as well as “the strength of the team that they put forward.”

“We gave them a very specific brief and their thinking around it through a consumer lens was excellent, as well as their understanding of our commercial levers as a business around audience growth.”

He acknowledged that access to Mindshare tools, systems, and the broader support within the GroupM ecosystem also worked in its favour.

“But I was impressed with the responses from all partaking agencies,” he adds.

In a press release, Maria Grivas, CEO of Mindshare Australia and New Zealand, said her team was excited by the appetite for transformation and growth it saw from Nova Entertainment throughout the tender process.

“Audio plays a unique role in Australians’ lives and Nova Entertainment has incredible talent on, and off, the air,” said Grivas.

“Our teams are thrilled to bring Mindshare’s approach towards this to Nova Entertainment, delivering strategic thinking and innovation across their portfolio of leading radio, podcast and live music brands.” 

See Also:
Nick Thomas leaves EssenceMediacom for new role at Amazon Ads
‘Audience is trialling and flicking around the dial’: Nova’s Brendan Taylor on new breakfast, late drive

QMS has launched its Paris 2024 Digital Screen Network, supporting both the Olympic and Paralympic Games. Launch partners include Allianz, Stan, Toyota Australia, and Patties Food Group. 

The network will showcase Olympic and Paralympic content before, during, and after the Games across the country. The launch involves a ‘100 days to go’ countdown rollout from today.

QMS’ Paris 2024 Digital Screen Network will run from this week until the Closing Ceremony of the Paralympic Games on 8 September.

The Paris 2024 Digital Screen Network is set to reach more than 80% of people aged 18 and older via the City of Sydney street furniture network, The Convenience Network, and Gold Coast street furniture assets. 

With 95% of QMS’ inventory being digital, the network will showcase Games content in real time, including a countdown to the Games, breaking news, medal-winning moments, medal tallies, world records, team profiles, and other significant moments from the Olympic and Paralympic Games.

As the Official Outdoor Media Partner of the Australian Olympic Team and Paralympics Australia Teams for Paris 2024, QMS chief executive officer, John O’Neill, said the team are “very excited” to welcome Toyota Australia, Allianz, Stan and Patties Food Group into the Paris 2024 Digital Screen Network partner program. 

“Our DOOH network is a powerful platform for brands to broadcast, connect and activate their Olympic and Paralympic campaigns, tapping into the immediacy and influence of DOOH and its real-time connection with people where they live, work and play.

“Both the Olympic and Paralympic Games Paris 2024 are a unique opportunity to leverage the influence of the DOOH medium, delivering large and diverse audiences at scale and extending reach in a completely brand-safe environment that is proven to make brands famous. And when Australian athletes are winning gold in Paris, our network will be delivering gold-standard audiences for our partners as millions of Australians make their morning commute.”

See Also: DOOH and TV come together in QMS and Samba TV partnership

Creative agency Thinkerbell has launched a new social series featuring US rapper Latto for the Australian-founded on-demand delivery platform, Menulog.

The series, Talking Snack with Latto, consists of three episodes that aim to tap into rising TikTok trends while highlighting the snacks Menulog delivers. 

The series was shot when Latto visited Australia for the first time last year. This was shortly after the Thinkerbell’s move to repurpose the Menulog delivery bag into a fashion accessory for global pop icon Christina Aguilera as it launched the next phase of its Did Somebody Say brand platform in December. 

The global TVC and brand campaign launch, which featured Aguilera and Latto as campaign ambassadors, coincided with Aguilera’s first visit to Australia in 15 years for a performance in Melbourne. 

See also: Menulog and Thinkerbell create designer delivery bag for brand ambassador, Christina Aguilera

Executive creative tinker Sesh Moodley said Latto brought her trademark big energy to the series.

“Latto is infamous for her potty mouth and isn’t afraid to talk smack about her rivals so it made perfect sense to get her in the studio to talk smack about our beloved Aussie delicacies,” said Moodley.

Fiona Bateman, Menulog’s head of brand and media, added that the campaign carries the continued ambition of cementing the Did Somebody Say brand platform in Australian culture.

“‘Menulog has recently moved beyond takeaway from restaurants and is now delivering from all kinds of stores, with snack food and treats being the most ordered items,” said Bateman.

“Getting Latto to try some of Australia’s best loved snacks for us, in her hotel on the Goldie, felt like a really fun way to land this new offering as well as giving Australia an insight into our rap superstar’s hilarious and incredibly engaging personality.”

Earlier this week, Thinkerbell rolled out the first major work for private health fund Bupa, under its Healthcaring master brand platform, which was introduced by the agency in October last year.

Credits:
Client: Menulog Australia
Creative: Thinkerbell
Production: The Producers
Director: Amber Mealing
Talent Management: Talent Republic

See also: Bupa launches first major work for ‘Healthcaring’ platform via Thinkerbell

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Top Image: Alyssa Michelle Stephens (Latto)

Bupa Health Insurance has launched the first major work under its Healthcaring master brand platform, introduced in October last year.

Both the platform and latest campaign for the private health fund, Good Health is Contagious, were developed by Adam Ferrier‘s independent creative agency, Thinkerbell. 

The Good Health is Contagious campaign centres on the ripple effect of small actions towards self-improvement, which can spread to positively influence others.

It aims to set Bupa apart in the crowded health insurance market by elevating it from health insurer to health care partner.

The work follows the annual Bupa Pulse Check survey, which revealed Australians are increasingly focussed on their health and wellbeing.

Jim Ingram, group chief creative tinker and founder of Thinkerbell, said the idea was to make Bupa a catalyst for “contagious health.”

“From dental check-ups, to mindfulness, to…well, lycra, all helping people remember that we can catch good stuff from each other too,” said Ingram. 

Naomi Driver, Bupa Health Insurance’s general manager of marketing, added that the campaign reflects how everyday Australians are approaching their health, focussing on how small actions can catch on.

“As a healthcare partner to millions of Australians we want to help people feel confident they can live healthier, whatever good health looks like to them,” said Driver.

“We love the potential this idea has for helping good health catch on across the broader community.”

Good Health is Contagious is now live nationwide across digital, social, TV, radio, and out-of-home.

In February, Thinkerbell forayed into the product development space with its cool water brand, Water Can. Executive creative director Tom Wenborn told Mediaweek the public can look forward to its future at “more youthful events and on-shelf.”

See also: How Thinkerbell is building a new mindset with its latest campaign

Credits:
Client: Bupa
Agency: Thinkerbell
Media: Atomic 212
Production house: Good Oil
Post and online: Puffin
Sound: Rumble
Stills: Jamie MacFadyen

Domestic appliance brand Miele has appointed Lisa Saunders as its marketing director across Australia and New Zealand.

Saunders replaces former managing director for Australia and New Zealand, Michele Laghezza, who was stationed in the role for just under five years.

Laghezza is now marketing director for Miele Belgium – a position he assumed in September 2023.

Saunders moves from her previous post as chief marketing officer and sales director Australia and New Zealand for functional food company, Nuchev, where she spent two years.

She has worked with clients including Nestlé Australia, Sainsbury’s Supermarkets UK, Treasury Wine Estates, and Asahi, spanning Australia, New Zealand China, Japan, Southeast Asia, the US, UK, and Europe.

 “I am beyond thrilled to share that I have started as Director of Marketing for Miele Australia and New Zealand. An incredible brand and global company with 125 years of quality,” Saunders said.

“Thrilled to be working with Yves Dalcourt [MD AUNZ] and the team. Let’s go!”

Dalcourt said Saunders “brings a wealth of experience coupled with solid results and a proven track record throughout her marketing career.

“Miele has made tremendous gains over the years in strengthening our foundations through various new product introductions and campaigns.

“We are looking forward to having Lisa on board to drive forward the power of the Miele team and take the Miele brand to the next level.”

In December 2020, Miele consolidated its Australia and New Zealand media account with the Publicis Groupe-owned media agency Starcom following a competitive pitch, involving several undisclosed agencies.

See also: Starcom Australia announces the launch of PPG Solutions

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Top Image: Lisa Saunders

News Corp Australia’s The Growth Distillery has collaborated with The Research Agency to release the Reframe: Better For You Food report, diving into how Australians’ definition of ‘better for you’ has shifted and definitions of a ‘better life’ have broadened. 

The research found 96% of Australians are looking to ‘better’ their lives with 90% believing food can play a role in helping achieve that. The research identified five roles food can play in enabling ‘better’:

• Food to fuel – fuelling and energising people to achieve their goals
• Food for happiness – boosting your mood and taking care of yourself emotionally through feel-good food
• Food for connecting – reinforcing existing bonds and forming new ones
• Food as a challenge – challenging yourself, building skills and expanding your horizons through new tastes and experiences
• Food as expression – expressing yourself and your identity through the food you cook, eat and serve

The findings present an opportunity for brands to step up to the plate and deliver to evolving consumer aspirations, News Corp said.

The research dives into how food brands can elevate their role in consumers’ lives by tapping into the motivations, barriers, and aspirations driving ‘better’ food choices.

The Growth Distillery research director Bethan Hockey said: “For brands, embracing these new meanings of ‘better’ can unlock new opportunities across more categories and ultimately strengthen people’s emotional connections. Understanding this new world of ‘better’ can provide the road map for brands to unlock better opportunities, deliver better products and build better engagement with their consumers.”

Last week, British entrepreneur and podcaster Steven Bartlett captured the attention of the Australian media industry in a 60-minute interview hosted by The Growth Distillery.

Bartlett is an entrepreneur, investor, speaker, author, and the host of The Diary of a CEO podcast. The Diary of a CEO has over 40 million downloads a month and is now one of the leading podcasts in Europe and one of the top business podcasts in the world.

The Growth Distillery‘s Dan Krigstein interviewed Bartlett on stage in front of a room packed with leaders including News Corp’s Lou Barrett and Mike Connaghan, Nova’s Adam Johnson, Seven West Media’s Lucio Ribeiro, AANA’s Josh Faulks, and Kaimera’s Trent McMillan.

See Also: ‘Driven or dragged’: Steven Bartlett shares methods of success with media industry

Michael Hill has named Miranda Kerr as its first ambassador, as she signs an 18-month ambassadorship deal with the New Zealand-born, Australian-bred fine jewellery brand following last week’s tease of a brand refresh.

The move is part of Michael Hill’s major global rebranding efforts in partnership with creative agency, CHEP Network, positioning it to compete with other premium jewellery brands.

The brand overhaul, now officially launched, introduces a refreshed website, social media presence, design assets and logo. The new logo is a tribute to the window displays created for the brand during its early years by Lady Christine, the designer and wife of the store’s namesake, by joining the letters “M” and “H”.

The revamp also sees the Michael Hill store in Melbourne’s Chadstone become the brand’s global flagship retail space, with a remodel that incorporates all elements of the new brand proposition.

See also: Michael Hill jewellers enters ‘new era’ with brand refresh via CHEP

The role for Australian-born Kerr role will include advertising campaigns, promotional activities, brand events, and social media campaigns.

Commenting on the partnership, Kerr advocated for the brand’s new, “elevated” direction.

“This next chapter in the brand is super exciting as they continue to create beautiful, sentimental jewellery that captures the meaningful moments,” said Kerr.

“This partnership is so special to me because one of my first photoshoots in my career was with Michael Hill over 20 years ago.

“I’m proud to support Michael Hill in the next chapter of its journey, just like they supported me all those years ago.” 

Michael Hill’s chief executive officer, Daniel Bracken added: “Miranda not only embodies our brand values, but she’s close to our antipodean roots and is the epitome of timeless elegance and sophistication.

“Michael Hill has the ambition to be one of the most sustainable jewellery brands in the world and this aligns perfectly with the sustainable business practices that Miranda follows.”

Jo Feeney, Michael Hill’s chief marketing officer, said the new branding represents two years of work with the goal of honouring Michael Hill’s heritage, while realising a brand vision that’s aspirational and modern.

“Each element of our rebrand has been carefully considered to align with our history and DNA as a brand and to allow us to continue evolving.

“We are thrilled to have Miranda as our brand ambassador, the perfect embodiment of our new brand direction.”

See also: CHEP and Hospitals United for Sick Kids partner for ‘Blip’ short film

History Will Be Kind has promoted senior leads Lizzy Chadwick and Rachael Dadgil into group account director roles, along with hiring Brooke Gascoigne. 

Dadgil’s promotion comes after six years with the agency, during which she has worked with clients including Google, Hilton, and McGrath Foundation. In the new role, she will be working with the management team to evolve the agency’s offering, with a focus on growth.

Chadwick has been with the agency for 18 months, working across travel, tourism, and lifestyle to lead a mix of clients including Celebrity Cruises, Little Moons, and Life360. In the new role, she has been tasked with building and growing the team, overseeing the agency’s BeKIND benefits, and training and development opportunities. 

The two promotions coincide with the hire of Gascoigne, who joins in the role of senior account executive from comms agency, Adhesive. 

Gascoigne brings experience across a variety of lifestyle, technology, and wellness brands, including TikTok, Dyson, THE ICONIC, and Sony. Gascoigne will work across Hilton, Little Moons, Randstad, and Hnry. 

EJ Granleese, founder and CEO of History Will Be Kind, said: “With a commitment to be one of the most progressive agencies in the region, it’s essential that we’re focused on both attracting new talent, and investing in our existing team’s development, so we’re thrilled to welcome Brooke to the fold and celebrate Rachael and Lizzy’s promotions.

“With this stellar team in place, we’re looking forward to continuing to produce great work and creating transformative moments in history for our clients, that connect, drive impact and leave a lasting legacy.”

History Will Be Kind is part of the Deepend Group, an independent, digital communications and innovation consultancy whose portfolio includes Deepend, How To Impact, and HWBK.

The Works, part of Capgemini, has hired Jerome Gaslain as its growth creation partner.

Gaslain returns to Australia from his role as the global creative director at The &Partnership in London. Prior to that, he served as creative director at AKQA Amsterdam for nearly four years. His portfolio includes work for brands such as Coke Zero, Nike, Gucci, Levi’s, Oppo, Disney, Apple, Toyota, and Vodafone.

At the Works, Gaslain will work alongside Claire Stapleton, who was recently promoted from creative lead – copy to creative director.

See also: Claire Stapleton is promoted to creative director at The Works

Gaslain said he has been a fan of The Works’ culture from afar. “My mission is to cultivate a garden of creative and commercial growth. I can’t wait to embark on the exciting journey ahead,” he said. 

“I’ll be bringing my blend of management finesse, innovative thinking, social savvy, and digital dexterity to our clients while calling Australia home once again.”

Damian Pincus, founder and growth creative partner of The Works, said the appointment is part of the agency’s ongoing pursuit of a long-term vision to become a growth creation company.

“We needed to find a creative leader who is an innovator and has a deep understanding of the capability of digital and social channels to drive growth for our clients,” said Pincus.

In December last year, The Works made four promotions across the agency in operations, project management, creative and finance after its workplace culture was recognised in the ‘Great Places To Work’ list.

Jen Hird assumed the role of general manager of operations, Rosie Carey became head of project management, Tim Brothers was appointed as creative lead alongside Chris Dwyer, and Maria Nguyen took on the role of finance and HR admin director.

See also: The Works, part of Capgemini, makes four promotions across the agency

–

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

Gruen is set to return for its 16th season on 15 May on ABC and ABC iview. 

Host Wil Anderson will be joined by a panel of advertising experts including Todd Sampson, Russel Howcroft, and Dee Madigan to unpack the world of advertising, and how the world is “walking the streets under the influence of influencers, slowly transforming into brands ourselves.”

Host of Gruen Anderson spoke to Mediaweek in November about his other ABC program, Question Everything, revealing a few behind-the-scenes secrets that he’s picked up during his more than two decades on-screen.

“Like many things over the years, you pick things up as being your little quirks,” he said. “I went and saw David Letterman do his show in New York and it was freezing cold in the studio and when I read about it later, he said he always liked the studio audience to be cold because, he joked, it ‘keeps the jokes fresh’. But what he really meant was that hopefully once they start applauding and cheering and the show starts going and the lights [go on] and all that sort of stuff, it all warms up.”

See also: Ever wanted to be in the studio audience of Question Everything? Wil Anderson tells us what to expect

Madigan runs agency Campaign Edge, Sampson is a TV presenter and the former CEO of Leo Burnett, and Howcroft has had a career spanning agencies, TV companies, and now, radio and podcasting.

Speaking to Mediaweek in March, Howcroft said he wasn’t sure if there was a more competitive industry than the advertising industry, but the Melbourne radio market is probably the closest thing. 

With Kyle and Jackie O hitting the Melbourne airwaves from 29 April, the duo are no doubt eyeing up the market’s current breakfast heavyweight: Howcroft and Ross Stevenson‘s 3AW show. 

Howcroft isn’t scared. “Competition brings out the best. It brings out the best in the best,” he said.

“It’s a significant market, the Melbourne market. biggest radio market in the country. Significant revenue on the commercial side. And the 3AW breakfast listener, as I say, they are a huge part of our show.” 

See also: Russel Howcroft on K&J hitting Melbourne, adland’s ‘pure economy’, and Nine’s podcast push

Gregory Jewellers has launched a new digital platform developed by the independent digital agency Wonderful.

It has been optimised for mobile-first, and features simplified navigation across Gregory Jewellers’ extensive product catalogue, enabling customers to easily discover and explore products while improving conversion. 

Helen Gregory, co-CEO of Gregory Jewellery, said the new digital platform marks a significant milestone in the brand’s journey to provide elevated shopping experiences to its valued customers.

“Working closely with Wonderful, we have harmonised tradition and innovation, preserving our legacy while embracing the future. We look forward to seeing our customers explore our collections with ease, find their perfect pieces effortlessly and experience the essence of Gregory Jewellers in every click,” she added.

Wonderful integrated the e-commerce platform WooCommerce and search and discovery tool, Algolia, into the website as part of the brand’s evolution.

The agency also introduced a navigation system allowing customers to filter and search for products by criteria including metal type, gemstone, and price range.

A streamlined user checkout process features multiple payment options, integrated with email marketing platforms and social channels so Gregory’s can engage with customers and promote exclusive offers.

Matt Barbelli, founder and managing director at Wonderful, said the agency was intentional in maintaining a balance between “preserving its heritage while innovating to meet the needs of customers across desktop and mobile platforms.”

Gregory Jewellers was founded more than 55 years ago and is one of Australia’s most well-known brands for luxury, crafted jewellery and diamonds. It operates a chain of retail boutiques across the country.

Last year, Wonderful was appointed by Artbid to lead its brand creation, development, and end-to-end digital marketing strategy and implementation.

See also: Wonderful named as agency for Artbid’s brand and full digital marketing

By Liz Giuffre, Senior Lecturer in Communication, University of Technology Sydney

There is nothing like a wedding episode. Bluey’s first 28-minute special, The Sign, was the ultimate wedding television.

Full of family, and family-friendly, the wedding between Bluey’s godmother Frisky and uncle Radley was the sticky cake that held longer-than-average toddler attention spans and drew in broad audiences around and beyond Australia.

As Bluey creator Joe Brumm explained: “If you think of Bluey as a sitcom, they all have a wedding episode, so I fancied a crack. The idea lodged in my head and the story grew from there.”

Bluey’s huge international success is due its creators’ ambition to make more than just a kids’ show. By drawing on tropes of other television shows like wedding episodes, as well as developed character arcs and references to pop culture, it has become some of the best Australian storytelling of all time, of any genre.

This process of creating “easter eggs” – hidden references for the audience to look for – is a tactic a variety of television makers now use to reward audiences of all ages.

The Sign rewarded longtime viewers of Bluey. Aunty Brandy had been wanting a baby, and now seems to finally be pregnant. Nana and Grandpa Bob are doing a flossing dance they learned in series one. Bingo’s “big girl bark” has finally developed, and baby Socks is now able to talk. Instead of Nutbush City Limits or other standard wedding music, we had “dance mode” and everyone’s favourite fictional cartoon-within-a-cartoon theme song (and earworm), Catsquad.

The wedding march also built to include a guitar solo a little reminiscent of 80s Oz Rock – a nod to Angry Anderson’s Suddenly for Scott and Charlene, perhaps?

By Andy Ward (Senior Lecturer in Music, School of Business and Creative Industries), Briony Luttrell (Lecturer in Contemporary Music), and Lachlan Goold (Senior Lecturer in Contemporary Music), all from University of the Sunshine Coast.

What’s that sound you hear – a combination of down-tempo hip-hop, menacing bass, distorted drums and plucky synths? It’s phonk!

Still have no idea what we’re talking about? You’ve probably heard it if you’re on TikTok, awkwardly played over a Peaky Blinders or Jordan Peterson clip that has snuck into your algorithm.

TikTok user Shortbadger certainly cuts to the chase explaining the genre in one of their videos: “creators wanted people to not just hear their words, but feel their words”. Shortbadger also uses comedy to hint at phonk’s subversive (and sometimes troubling) nature.

@shortbadger PHONK #therussianbadger #russianbadger ♬ original sound – shortbadger

Actually, Phonk has an altogether more interesting history. On the surface it seems to be another musical resurgence story driven by the social media economy – a bit like Sophie Ellis-Bextor’s Murder on the Dancefloor or Kate Bush’s Running up that Hill, both of which re-entered the charts after years of relative obscurity.

But once you dig a little deeper, you’ll find government censorship, online rebellion and the disruption of American-dominated popular culture.

By smashing together components of hip-hop, EDM, metal and dubstep, phonk is placed as one of the most prominent new genres of music. And with it comes a subversion of popular music taste-making – and a whole lotta politics.

A brief early history

A quick check of online repositories tells us Phonk’s origins are in the Southern hip-hop of ’90s Memphis.

While you may not be directly familiar with the ’90s Memphis hip-hop scene, you will have felt its influence in popular music from recent decades. Known for its expert and nuanced use of the Roland 808 drum machine (particularly pitched kick-drums and snappy hi-hats), styles such as trap and other modern EDM and hip-hop movements owe a lot of their stylistic choices to this scene.

Artists such as DJ Screw, a hip-hop DJ originally from Texas, initially championed phonk by using this palette of sounds in their mixtapes – and helped popularise the style through the mid-’90s.

But it wasn’t until rapper and producer SpaceGhostPurrp started releasing his SUMMA PHONK mixtapes in the early 2010s that phonk really gained attention. He then worked as a producer for hip-hop stars ASAP Rocky and Wiz Khalifa, helping to cement the stylistic elements of phonk in the hip-hop zeitgeist.

The rise of phonk through racing culture

Fast-forward to early 2020: COVID is dominating the world news; lockdowns have led to an uptick in social media use; the post-truth era of Trumpism marches forward; and Spotify dominates music streaming through its self-serving, exploitative model of music commerce.

This was the perfect storm in which phonk could be repositioned as the soundtrack of the TikTok generation. By the last quarter of 2020, TikTok had amassed more than 700 million global users, overtaking Spotify to become the main outlet through which music promotion (and exploitation) could occur.

Much like the DIY expansion of dubstep that took place some ten years ago, young artists such as KORDHELL and $WERVE! brought millions of ears to their phonk music by attracting attention from talent scouts, including at Spotify.

Incidentally, 2020 was also the year Spotify launched in Russia as a new platform for the proliferation of Russian underground music. This scene had also started embracing the stylistic ethos of phonk from the US.

In fact, what you’re most likely to identify as phonk today is actually a sub-movement called “drift phonk”, championed by Russian producers in the early 2020s. The name comes from the marriage of the music with TikTok videos of drift car racing.

Drift phonk’s ominous rhythms and detuned (shifted from the original pitch) melodies are a perfect match for the adrenaline-fuelled culture of underground street racing. The relationship between phonk and racing videos helped spread the style across social media. It even extended to the Fast and Furious franchise, with the release of Drift Tape (Phonk Vol 1).

Much like hip-hop and punk before it, phonk’s use of distorted and aggressive sounds engages young audiences struggling with anxiety brought about by the state of the world. It’s a subversive soundtrack to a generation rallying against authority in a challenging geopolitical landscape.

@1c31cle 🏎️ #edit #driftcar #phonk #fypシ #phonkmusic #drifting ♬ ANUBIS – KUTE & RAIZHELL

Phonk’s future is assured

In early 2022, in the midst of its invasion of Ukraine, the Russian Kremlin clamped down on TikTok by banning all non-Russian content. A state-owned company even tried (and ultimately failed) to develop a rival video platform of its own.

Less than a month after the start of the invasion, the Russian government had legislation on “fake news” that made any anti-Russian military content illegal and punishable by imprisonment. Spotify pulled its availability in March 2022, citing the new law as its key reason.

Meanwhile, TikTok still remains available in Russia, but with significant content restrictions, so Russian makers of drift phonk may have had their market pathways severed.

Nonetheless, phonk lives on – ringing loudly in the ears of social media platforms. And while it’s often tied to critiques of our ever-shrinking attention span (given how widely it’s consumed through TikTok), it has undoubtedly become a part of our cultural zeitgeist.

From the meme-level phonk walk that is so 2023, to fresh 2024 Oscars content, creators are continuously finding new, inventive ways to use this music.

@hollywood.style Best glambots from the 2024 oscars.. #oscars #oscars2024 #anyataylorjoy #arianagrande #monetmcmichael #americaferrera #matthewmcconaughey #michelleyeoh #lizakoshy #glambot ♬ sonido original – NLS MODELS

This article was first published in The Conversation, and can be read here.

• This weekend, the Australian box office made $10,501,244, down -18% from last week’s $12,817,330.

TOP 5

1. Kung Fu Panda 4 – $2,686,748 (1)

Jack Black returns to voice Po, the Dragon Warrior in Universal’s fourth outing of martial arts madness. The film has already made $132.9 million domestically in the US. Staying in first place this week, Kung Fu Panda 4 took $2,686,748 in its third week, averaging $5,866 over 458 screens.

Synopsis: Po goes on a thrilling journey as he dives into the wonders of ancient China. His passion for martial arts and insatiable appetite collide in the most unexpected ways.

2. Godzilla x Kong: The New Empire – $2,002,046 (2)

In the latest entry to Warner Bros.’ Monsterverse, Godzilla and King Kong have decided to put aside their differences from their last battle to team up to take on an undiscovered threat. It hasn’t been too favourable with critics, currently holding a 54% score on Rotten Tomatoes, but on the flip side, holds a strong 93% audience score. The film took $2,002,046 in its third week, averaging $5,094 over 393 screens.

Synopsis: The almighty Kong and the fearsome Godzilla confront a colossal, undiscovered threat that challenges their very existence and ours.

3. Ghostbusters: Frozen Empire – $1,134,928 (3)

The film is a sequel to 2021’s Ghostbusters: Afterlife and serves as a continuation of the 80s films, featuring the return of the original Ghostbusters from the 1984 film. The film took $1,134,928 in its fourth week, averaging $2,895 over 392 screens.

Synopsis: The Spengler family and the original team are back at the iconic NYC firehouse, unveiling a cutting-edge lab to kick ghost-busting up a notch. 

4. Civil War – $1,058,056 (debut)

Roadshow’s Civil War is the newest film from British writer and director Alex Garland who previously directed Ex Machina and Annihilation. Based on a fictional civil war taking place in the US, the film stars Kirsten Dunst as a photojournalist documenting the war across the country. The film took $1,058,056 in its first week, averaging $3,370 over 314 screens.

Synopsis: In the near future, a team of journalists travel across the US during a rapidly escalating civil war that has engulfed the entire nation.

5. Dune: Part Two – $778,132 (4)

Originally scheduled for release at the end of 2023 but delayed due to the SAG-AFTRA strike, Dune: Part Two opened exclusively in theatres, compared to the first film, which opened day and date in theatres and on HBO Max in 2021. The film took $778,132 in its seventh week, averaging $3,215 over 242 screens.

Synopsis: Paul Atreides unites with Chani and the Fremen while seeking revenge against the conspirators who destroyed his family. Facing a choice between the love of his life and the fate of the universe, he must prevent a terrible future only he can foresee.

Top 6 – 10

6. Back to Black
7. Monkey Man
8. Wicked Little Letters
9. Late Night With the Devil
10. Bade Miyan Chote Miyan

Sunday 14 Apr 2024: VOZ Total TV Ratings Overnight Top 30 – Programs ranked on reach

Total People TV Ratings

Nine’s LEGO Masters recorded a total TV national reach of 2,200,000, a total TV national audience of 874,000, and a BVOD audience of 55,000.

Nine’s 60 Minutes recorded a total TV national reach of 1,396,000, a total TV national audience of 605,000, and a BVOD audience of 40,000.

Seven’s Farmer Wants a Wife recorded a total TV national reach of 1,060,000, a total TV national audience of 1,015,000, and a BVOD audience of 76,000.

Also on Seven, 7NEWS Spotlight recorded a total TV national reach of 1,240,000 and a total TV national audience of 548,000 and a BVOD audience of 31,000.

10’s airing of I’m A Celebrity… Get Me Out Of Here! recorded a total TV national reach of 1,271,000, a total TV national audience of 650,000, and a BVOD audience of 60,000.

See Also: TV Report 14 April 2024: LEGO Masters breaks the ice with showstopping dragon build

People 25-54

Nine’s LEGO Masters:
• Total TV nation reach: 851,000
• National Audience: 398,000
• BVOD Audience: 36,000

Nine’s 60 Minutes:
• Total TV nation reach: 542,000
• National Audience: 230,000
• BVOD Audience: 23,000

10’s I’m A Celebrity… Get Me Out Of Here!:
• Total TV nation reach: 537,000
• National Audience: 301,000 
• BVOD Audience: 37,000

Seven’s Farmer Wants a Wife:
• Total TV nation reach: 591,000
• National Audience: 296,000
• BVOD Audience: 42,000

Seven’s 7NEWS Spotlight:
• Total TV nation reach: 414,000
• National Audience: 166,000
• BVOD Audience: 17,000

People 16-39

Nine’s LEGO Masters:
• Total TV nation reach: 329,000
• National Audience: 160,000
• BVOD Audience: 18,000

Nine’s 60 Minutes:
• Total TV nation reach: 203,000
• National Audience: 76,000
• BVOD Audience: 11,000

10’s I’m A Celebrity… Get Me Out Of Here!:
• Total TV nation reach: 218,000
• National Audience: 122,000 
• BVOD Audience: 24,000

Seven’s Farmer Wants a Wife:
• Total TV nation reach: 247,000
• National Audience: 132,000
• BVOD Audience: 24,000

Seven’s 7NEWS Spotlight:
• Total TV nation reach: 172,000
• National Audience: 62,000
• BVOD Audience: 9,000

Grocery Shoppers 18+

Nine’s LEGO Masters:
• Total TV nation reach: 1,594,000
• National Audience: 606,000
• BVOD Audience: 44,000

Nine’s 60 Minutes:
• Total TV nation reach: 1,072,000
• National Audience: 477,000
• BVOD Audience: 32,000

10’s I’m A Celebrity… Get Me Out Of Here!:
• Total TV nation reach: 946,000
• National Audience: 494,000 
• BVOD Audience: 48,000

Seven’s Farmer Wants a Wife:
• Total TV nation reach: 1,604,000
• National Audience: 804,000
• BVOD Audience: 61,000

Seven’s 7NEWS Spotlight:
• Total TV nation reach: 987,000
• National Audience: 443,000
• BVOD Audience: 25,000

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.

TV Report 15 April 2024:

Nine TV Report

LEGO Masters

Nine’s evening began with the second episode of LEGO Masters.

The episode featured teams paired together in groups of four to design and build the exterior of a real-life go-kart, before taking them to the track for an adrenaline-fuelled race to the finish line.

The winning team was Team Germany and Team Denmark’s ‘Hot Dog’ go-kart build. 

A Current Affair

Over on A Current Affair, police investigation reveals evidence that the Bondi attack was premeditated and Bruce Lehrmann loses his landmark lawsuit.

Seven TV Report

Farmer Wants a Wife

On Seven, Farmer Wants a Wife saw farmers Joe and Tom open their hearts to love and invited their top five to the farm.

While Claire, Farmer Joe’s 24-hour date, was excited to see the farmer’s way of living; cattle farmer Tom’s 24-hour date Krissy had a shock admission: “I’ve never seen cows so closely. It’s scary, I’m not going to lie.”

Farmer Bert and Caity’s romantic date on the jetty ended up in an awkward first kiss, but when the rest of the ladies inquired if they had kissed the next morning, they both deflected the topic.

The farmers invited the following ladies on their farms:

Farmer Bert: Caity, Karli, Caitlin, Lauren, April
Farmer Dean: Bella, Teegan, Tiffany, Kate, Hayley
Farmer Dustin: Sophie, Anna, Chloe, Izzy, Kara
Farmer Joe: Claire, Keely, Sarah, Calya, Chelsea
Farmer Tom: Krissy, Taylah, Abby, Sarah A , Sarah C

Home & Away

Before FWAW was Home & Away, as Eden was broken by Levi’s lies, Mali chose Tane over Rose and Tane lost the will to fight. 

10 TV Report

The Project

The Project on 10 looked into Bruce Lehrmann’s defamation case being dismissed and spoke to Frankie Muniz, Michelle Bridges and comedian Dr Jason Leong.

I’m A Celebrity… Get Me Out Of Here!

On 10’s I’m A Celeb, AFL Legend Peter Daicos was the next to say farewell to the jungle. 

His time in the jungle was in support of Flicker of Hope, a charity that raises awareness of Neurofibromatosis and directly funds research into the genetic disorder that affects one in 2,500 people. 

ABC

7:30

On 7:30, the program looked into how the Bondi Junction stabbing attack unfolded and Bruce Lehrmann lost his defamation case against Network Ten.

SBS

Finding Your Roots

Henry Louis Gates introduced trail-blazing journalists Jim Acosta and Van Jones tot he ancestors who blazed a trail for them, meeting runaway slaves and immigrant settlers who took big chances so that their descendants might thrive.