9Now has unveiled a new look and interface upgrade to mark 100 days until the Paris Olympic Games, as director of programming and 9Now Hamish Turner calls its impending coverage the “biggest undertaking in the history of Nine.”

9Now will feature more than 40 individual live sports channels, curated on a new interface that will allow viewers to watch coverage whilst browsing the app. 

The digital coverage of the Olympics is still in its infancy, according to Turner; thinking back to the 2016 Rio Olympic Games, there was no connected TV platform, only an experience featuring a broadcast to three channels and some catch-up rights. The Tokyo Games were the first time live streams were available. 

“Seven did a great job in terms of a first imprint of what a live streaming experience looks like,” he said.

“However, I think three years later, the exciting thing for us is how we’re going to bring that to life on the platform.” 

Nine aims to upgrade the viewing experience by offering over 2,500 on-demand highlights on 9Now, with all coverage set to be in 1080P definition for the first time, 50 FPS, and 5.1 Dolby Surround Sound alongside the ‘start over’ button.

Ahead of the Opening Ceremony on 26 July, Olympic and Paralympic-themed ‘Beyond The Dream’ documentaries will launch: three ahead of the Olympics and two ahead of the Paralympics. The five documentaries will include a feature-length look at the Matildas, Australia v The USA in swimming (to launch in June, timed alongside the swimming trials), The Race to Paris, and the journey of Paralympian Curtis McGrath, and a feature on The Steelers wheelchair rugby team. 

9Now product director, Lewis Evans, said Nine’s Paris Olympics coverage is about establishing what a great Olympics streaming experience looks like for Nine, and what customers can expect from its digital offering. 

“The key part of our 9Now story with the Olympics is going to be focused on accessibility for everybody,” he said.

“This means a quality streaming experience and simplicity around finding what to watch, not only 9Now but also through our coverage of the games on Channel Nine and 9Gem 24/7 across the period.”

The time-zone dilemma will be solved with bulletins and wrap-ups leading coverage that will continue throughout the day and into prime-time live coverage. Viewers will also be able to wake up to 9Now morning updates, with daily highlights that sum up everything that occurred overnight, tying into breakfast TV.

Nine said its coverage will be the “largest streamed event in history to date” and is currently completing commercial deals with the ad experience on 9Now front of mind. For the first time, Nine will ensure a human watches every campaign before it is put to air. 9Now commercial director Tina Andrew said this will manage ambush marketing. 

“From a commercial standpoint, what’s exciting about the Olympics is that we can invite and encourage every brand to come and talk to us, despite the size of their budget,” she said.

“We have a range of commercial opportunities from total TV partners and sponsors right through to the casual and programmatic market and everything in between. We want people to come to us.

“The Olympics will be one of the largest marketing moments with a fully addressable audience where you can apply data or products like never before, and it’s gonna be an unmissable opportunity.”

The broadcast team will be based at the Trocadero in Paris. All media will be based in 7×7-metre porta-cabins, but Nine has a plan to make the most of the space with a first-ever virtual studio expansion utilising the Unreal Engine technology, the same used to make gaming behemoth Fortnite.

On-the-ground coverage will also feature Nine’s audio assets – 2GB, 3AW, 4BC and 6PR, the latest news online from wwos.com.au and digital publishing masthead The Sydney Morning Herald and The Age.

Nine’s Wide World of Sports production team and commentators will be featured across 9Now’s coverage, steering viewers across 32 sports in 329 events. Commentators and experts set to appear on the coverage include Ian Thorpe, Tamysn Lewis-Manou, Cadel Evans, Ellie Cole, Dylan Alcott, Phil Liggett, Andrew Gaze, Kerri Pottharst, James Tomkins OAM, Kate Bates and David Culbert.

Anthony Ellis has been promoted to chief executive officer of Publicis Media Exchange (PMX) across Australia and New Zealand.

Ellis’ remit has also been expanded to include Publicis Groupe’s Sport & Entertainment division (PSE) in Australia and New Zealand. He will continue to report to Publicis Groupe ANZ CEO Michael Rebelo.

“Since taking on the role of managing director for PMX in 2020, Anthony has continued to build upon our strong relationships with media partners and clients through his ongoing evolution and innovation of our trading and investment practice,” Rebelo said.

“He has also built a world-class team that strives to look for new ways to add value to our media agencies and our clients.”

Ellis steps up from his current position as managing director at PMX ANZ, a role he has held for the past three years. Prior to this, he worked as chief investment officer at Zenith Media for close to 20 years, beginning in 2001.

Ching Ian, CEO of PMX APAC, added: “With his deep understanding of the media marketplace and our clients’ needs, Anthony is well positioned to supercharge our investment offerings in Australia and New Zealand, leading the first-class PMX team he has built to deliver modern solutions that create and drive new levels of scale and client value.”

Ellis said of his promotion: “Redesigning Publicis Groupe ANZ’s media investment product with the ambition to drive growth for our clients in a rapidly changing media environment has been both a challenging and extremely rewarding task.

“As part of the Groupe’s connected culture, I look forward to continuing to work alongside our PMX talent globally and our media agencies in ANZ to further evolve our strategic investment capability. I am also excited by the opportunity to lead our already successful Sports and Entertainment division into the next phase of growth, as creating visible impact for brands becomes even more important.”

Last year, Mediaweek spoke to Ellis about what his time in the role has been like, and his views on the wider state of the industry.

See also: “Agencies are more relevant for clients than ever”: The evolution of Publicis Media Exchange

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Top image: Anthony Ellis

Digitas and Balance’s new CEO, Davy Rennie, is convinced by Publicis Groupe’s positioning. The pull of the role, after six and a half years at DDB Group – five at digital agency Tribal, the rest at branding consultancy Interbrand – was “definitely the Power of One.”

“It’s a genuine platform,” Rennie tells Mediaweek in his first interview since starting at creative intelligence agency Digitas and e-commerce and tech business Balance.

“Mike [Rebelo, Publicis Groupe AUNZ CEO] has really shaped it so financially, we can make that [Power of One promise] happen, because we know that financial realities can sometimes get in the way of the best laid plans. Not here. We’re definitely set up for success, with collaboration being a foundation of our financial structure as well.”

The other pull: an offering that sees creative and media housed closely together.

“It’s no longer just a 60 second TV ad that’s going to solve the world,” Rennie explains. “And fortunately, we’re set up for that. What was really, really appealing to me to come on board at Publicis: media. Media are generally having the first conversations, they’re privy to conversations that even the most well rounded, creative agencies just aren’t.

“I just think, wow, what an unfair advantage to deliver success for CMOs and CCOs and brands in what is a super competitive market.”

It’s those CCOs Rennie really has his eye on: “Instead of your typical CMOs, we’re really shaping to be able to service the needs of the chief customer officer … as the Power of One, we can solve everything across the board, small and big.”

‘Permission to play at a portfolio level’

When Rennie took over DDB’s Tribal at the start of 2019, he was thrust into an ‘unwinnable’ Volkswagen pitch. He successfully galvanised a team around it and wrestled back the account. 

While he’s “been in pitch mode instantly, which is good”, the story of his first few weeks at Publicis is different, and he’s embraced being an outsider.

“Thankfully, it’s not that. It’s not the unwinnable [pitch] and the brand that we needed to become relevant. This one’s different.

“But similar in the sense that I have a gift that a lot of incoming leaders get, and that’s having freedom from the shackles of the realities of running this business, and how it operates. I am not fully across the commercials on every single client yet … what it allows me to do is bring in a different perspective and challenge the thinking that has been formed over time.

“I’ve got the gift of perspective, and that only lasts for a few weeks. But it’s something that I’m pretty intent on acting on. I deal in gut feel quite a lot.

“I’m very cognisant of being considerate of the realities that the two businesses have faced over the last couple of years, especially in digital. We’ve definitely seen a retraction in programs that were big ticket programs. And as we navigate into a world where the economy is starting to recover, and [there’s a] need to be out in front and digitally mature and experientially mature, we’ve got the capabilities to deliver.”

He takes over a combined team of more than 140 people: 60+ in Digitas, 80+ in Balance. Digitas’ client list includes McDonald’s – which Rennie worked on at DDB Group – Beiersdorf, Miele, Mirvac, Taronga, Cisco, and Wella, while Balance works with the likes of Krispy Kreme, Mitre10, and Monash University.

“There’s a lot of friendly faces in our client roster, which is really good. But this role is really giving me permission to play at a portfolio level and look at strengths in our digital services, our intelligence services, and our tech services.”

Some clients will be solely Digitas or Balance clients, some will cross both, and some will see Rennie show up as one of “the all stars from around the business”. Those all stars, with whom Rennie will work closely, also include Jason Tonelli, Zenith CEO; Skye Lambley, Herd MSL CEO; Imogen Hewitt, Publicis chief media officer; Patrick Rowe, Saatchi & Saatchi CEO; Dave Bowman, Publicis AUNZ chief creative officer; and Matt Turl, Spark Foundry CEO.

Rennie will be laser focused on converting the good to great within Digitas and Balance, then turning his attention to what needs building, “whether that’s with new capabilities, new people, new services, new products.” The answers aren’t the same across both businesses, though.

“Digitas is an amazing brand. The name does a lot of the legwork.” He didn’t know much about it “beyond maybe McDonald’s and the CRM work”, which he was exposed to at DDB Group, so “getting to know that business over the last four weeks has been amazing.” This week, it launched Digitas AI, which will create AI brand experiences for clients.

“It’s really easy to see where the foundations for growth are for Digitas, with creative intelligence being something that we’ll invest quite heavily in over the next year, in terms of getting that offering right and much more refined and ready to play in the market.”

Whereas Balance “was a total unknown”, beyond Rennie’s conversations with Rebelo, chief talent officer Pauly Grant, and chief financial officer Henri Raymond.

“Actually getting to understand what Balance are, who they are, what legacy the previous leadership has left, and what capability they have has been unreal.

“They just need to build a brand and to stop being so bloody humble. They’re fantastic … genuinely a tech monster that’s just waiting to be unleashed.

“You’ll see a lot of stuff on Balance coming up really soon.”

‘Winning and celebrating and building a bit of fame’

While Rennie is clear about what he’s setting out to do, he’s equally clear on what he won’t.

“The one thing I won’t do is come into an organisation and tell you everything that’s wrong. Because there’s nothing that kills a team quicker than being told that everything they’ve done over the last five, six, 10 years is wrong.”

Change will always happen with a new CEO, Rennie understands, and “that’s good. That’s really healthy. If change and transparency are dance partners, then I think you bring the team along for the ride.”

When agencies have “open conversations” internally, across the holding company, and with clients, that leads to “a bit of momentum, then you get into the habit of winning,” Rennie says.

“Then you get into the habit of celebrating. As soon as you get into those habits, it can be quite addictive, you start to celebrate the small things that turn into the really, really big things and before you know it, you’ve changed the culture from one that’s probably done it tough for a couple of years into one that’s just constantly winning and celebrating and building a bit of fame.”

—

See also: Pauly Grant promoted to chief talent officer at Publicis Groupe APAC

In its ongoing pursuit to inject new life into the legendary Big Mac, McDonald’s is bringing back a promotional campaign for the burger, first launched in 1987, through a partnership with Snapchat led by DDB Sydney, adam&eveDDB, and OMD.

The Big Mac Chant Challenge is a gamified rewards program that encourages participants to recite the chant, “Two all-beef patties, Special Sauce, lettuce, cheese, pickles, onions on a sesame seed bun” in four seconds or less.

The promotion leverages social media to encourage fan participation, especially among younger generations, by introducing them to the chant already well known to their parents and grandparents.

Described as “passing the baton of the chant between generations,” by DDB Sydney’s executive creative director, Matt Chandler, the move marks Snapchat’s first-ever AI-charged, voice machine learning campaign in Australia – quite the departure from 1987, when fans had to go in-store to compete.

The bespoke lens uses Snap’s speech recognition technology to detect the correct list of ingredients from a trained machine learning model. If speech is not a viable option for users,Snapchat has also devised an alternative option with disability consulting firm Get Skilled Access (GSA), allowing users to tap on ingredients instead. 

Snap Inc.’s head of creative strategy for APAC, Haran Ramachandran, said the augmented reality lens “transforms the chant into a tactile and engaging challenge, where everyone can join the fun.”

Winners will receive a voucher code for a small fries and Coke, redeemable with any Mac Family range purchased between 17 April and 8 May, including the return of the Mac Jr. and Grand Big Mac.

The game is also available on TikTok and the MyMacca’s app.

The promotion is the second iteration of the bigger Original Mouthful brand platform for the Big Mac, first rolled out across TV and OOH earlier this month. 

The platform is a nostalgic tribute to the Big Mac’s 56-year legacy, drawing on DDB’s history with the fast food brand. 

Its 60 second hero film, directed by Leilani Croucher, pays homage to the enduring popularity of the Big Mac over the decades in Australian culture, featuring the classic chant that was originally crafted in the 1970s by DDB’s then-creative leader, Keith Reinhard, who is still emeritus chair at the agency today.  

McDonald’s marketing director Samantha McLeod said: “We have already had such an incredible response to the first phase of our Big Mac campaign with super fans already reciting the chant they remember so well and younger generations now bringing new life to the chant as well.”

 

See also: DDB Sydney brings back world’s oldest burger chant for Big Mac

During a media briefing held at the DDB offices in Sydney’s Ultimo on Tuesday, McLeod described the rationale behind the efforts to innovate the Big Mac, especially as it competes within the increasingly cluttered quick-service restaurant (QSR) vertical.

She said The Original Mouthful platform is a mission to “reignite the passion of our existing Big Mac fans and recruit new fans” in response to the ultimate insight discovered during the team’s R&D phase: the most iconic burger in the world was being overlooked.

McLeod added that the return of the Mac Jr. and Grand Big Mac also represented the “new and different occasions we plan in now,” adapting to the evolving format changes of the QSR market.

While DDB strategy partner, Katharina Wynne, expressed how the imitation archival footage used in The Original Mouthful TVC tapped into cultural opportunities for McDonald’s to resonate with the cultural phenomena of ‘future nostalgia’ and ‘kidulting’.

“It was really about giving it relevance and resonance,” said Chandler, who said the team was inspired to recapture the innocent, unironic joy they saw in archival footage, the inspiration behind the latest recreation.

Not setting it in any one era, “we were trying to tell a story all the way through,” he said. 

Samantha McLeod, Matt Chandler, Katharina Wynne, and Haran Ramachandran

The Big Mac chant challenge will be supported by a TVC and online video rollout, featuring additional promotional ads with decade-specific treatments, encouraging fans to take part and share their efforts on socials.

 

This will be further supported by an organic and paid social strategy, plus responsive digital out-of-home spots, all pushing the chant with prompts, attempts, and fumbles.

Australian celebrities have already taken on the four-second challenge in the jungle on Network 10’s I’m A Celebrity…Get Me Out Of Here! Australia. The Today Show’s Karl and Sarah will also be taking on the tongue-twister, as will clubs from the NRL and AFL, who will go head-to-head to see who can recite the chant the fastest.

 

Credits:

Client: McDonald’s Australia
Chris Brown: Chief customer officer
Samantha McLeod: Marketing director
Liz Whitbread: Senior brand manager
Luke Elzerman: Experience optimisation manager
Chloe Brannagan: Brand manager 

Creative Agency: DDB Sydney
Stephen de Wolf: National chief creative officer
Matt Chandler: Executive creative director
Cam Hoelter: Group creative partner
Stephanie Allen: Senior copywriter
Andrew Torrisi: Senior art director
Paul Jansen: Senior designer
Sophie Hackett: Junior art director (social)
Amy Morrison: Junior copywriter (social)
Mandy Whatson: Group managing partner
Adam Blaynee: Group business director
Chloe McIvor: Senior business manager
Rene Shalala: Executive producer
Jess Taylor: Producer
Katharina Wynne: Strategy partner
Katy Andrews: Director social and content strategy

Creative Agency: adam&eveDDB London
Richard Brim: Chief creative officer
Sarah Todd: Chief growth and integration officer
Martin Beverley: Chief strategy officer

Production Company: Revolver
Leilani Croucher: Director
Michael Ritchie: Managing director/co-owner
Pip Smart: Executive producer/partner
Serena Paull: Senior producer
Andrew Commis: DOP
Damien Drew:  Production designer
Sophie Fletcher: Costume designer

Post Production: ARC Edit
Daniel Fry: Executive producer
Sally Quade: Producer
Elise Butt: Editor
Edel Rafferty: Colourist
Richard Lambert: Online artist
Patrick Campbell: Online artist/VFX

Sound & Music: Smith & Western Sound
Nick West & Dan Higson

Media: OMD
Emily Bosler: Head of McDonald’s
Zoe May: Head of strategy
Catriona Oran Barthram: Head of comms planning
Hattie Dinger: Director, entertainment partnerships
Taylor Hilditch: Account director
Anna Heslop: Senior account manager
Matt Wallace: Senior manager, sport partnerships
Christian Agliozzo: Manager, sport partnerships

Platform: Snapchat
Dan King: Senior client partner
Bethany Rao-Davies: Senior account manager
Haran Ramachandran: Head of creative strategy, APAC
Claus Stangl: Senior creative strategist 
Chris Lewis – Senior creative producer

PR & Influencer: Mango
Tabitha Fairbairn: Managing director
Ashleigh Vallance: Senior account director
Nada Duyker: Account director
Sidney Balfour: Senior account manager

MyMacca’s app and POS: Akcelo
April Tunstall: Business lead
Melanie Tozer: Senior account director
Alex Kostiouk: Senior project manager

CRM: Digitas
David Huang: Account director

See also: 
DDB Melbourne’s Andrew Rovenko on what award-winning Rocketgirl photos say about creative limits
DDB and VW launch RooBadge, designed to save kangaroos and cars
Paralympics Australia and McDonald’s sign three-year partnership

 There was plenty of hype when Hubbl was first revealed in late 2023. “Hubbl is like nothing in the market – it is TV and streaming made easy” was the promise.

The device was later launched in February this year and hit retail stores in March.

The message to potential customers continued to be bold: “Hubbl is the next quantum leap in entertainment technology. It is the solution to a complex Australian streaming landscape caused by the fabulous explosion of choice in streaming services available to Australians.”

To investigate the initial market reaction, Mediaweek spoke with the executive charged with running the Hubbl business, managing director Les Wigan. Wigan has been with the Foxtel Group for a decade. He’s been with News Corp for much longer including a tour of duty at Sky UK. He has worked on streaming businesses for some time. He was part of the teams that built and launched Kayo and then Binge.

Hubbl managing director Les Wigan

“It’s going well, we are very happy. But it’s still early days,” said Wigan. “Australians only discovered Hubbl on March 11 when we launched. The feedback on the ad campaign has been very positive.”

The ad campaign was created by Sydney agency JOY. The agency and Hubbl decided to invest in the highest-profile entertainment duo in Australia.

“Hamish and Andy were a great choice in terms of being trusted people who can really bring to life what Hubbl is about.

“Research testing we have done has been positive. Consumers who are starting to use the product are engaging with it.

“Having launched a few different products over the years – Kayo and Binge – the early signs are very positive. People who launch it are using it. Not just turning it on and then turning it off.”

He indicated Hubbl is at the start of a long journey. “It is now about building Hubbl awareness. It was pretty much a secret until we launched last month. There is an awareness piece and an education piece. We have always understood that, and something we experienced with Kayo and Binge as well. It’s not that people know what the products are straight away.”

See also: ‘Hubbl and Andy’ star in Foxtel tech’s launch campaign

There’s no content with Hubbl…or is there?

Although there is a perception that Hubbl comes without content, that’s not strictly true. “The fact we have built in the free-to-air platforms means there is an amount of content available,” Wigan corrected.

“While the service is centred around subscription services, there is a lot of FTA content. The way we have built the TV guide, whether you have an aerial or not, means people can easily search across platforms. I’ve had people telling me they have found shows on SBS and ABC because we profile FTA content on the channel guide.”

In addition to the FTA content, there is now are growing library of Kayo Freebies content available. A user needs a registered Hubbl device for that, but not a paid subscription.

“It’s also a great way to upgrade your TV experience. You can take the little Hubbl puck, plug it in and it reinvents your TV,” Wigan added.

Hamish and Andy at the launch of Hubbl

Hamish and Andy as product testers

Wigan said Hamish and Andy didn’t just sign on as spokespeople. They have been on a Hubbl journey.

“We originally sent Hamish and Andy a very basic beta product a number of months before we were ready to launch. They were using the product and wanted a sense of the experience before they got behind it. They gave us feedback as well.”

Hubbl roadmap

Wigan said one of the reasons that Hubbl partnered with Sky and Comcast is their tech ability.

“They have a huge engineering capability and we have a view of their roadmap for the next couple of years.

“We will have more apps coming soon. Stan and Paramount+ will be next to launch. We are also working with Optus to have Optus Sport up and running.”

Wigan said there is no date yet for viewers wanting Premier League on Hubbl. With the current season ending shortly, Wigan indicated an Optus Sport subscription will be available prior to the start of the 2024/25 Premier League season.

New Hubbl features coming will include enhanced personalisation. “With up to 18 apps on the platform, personalisation becomes important,” said Wigan.

“Now we are starting to get a significant numbers of users on the platform we can access the data to see what they are doing. We can then start to deliver more content they can engage with.

“We did something similar with Kayo Sports. When we launched we didn’t turn on personalisation straight away.”

Users can expect operational enhancements to Hubbl at least twice a year.

See also: Hubbl – Insider’s guide to new streaming management device

Hubbl Glass, the puck and the remote control

Subscription savings

In addition to Hubbl managing third-party subscriptions, Hubbl also wants to encourage use of Kay Sports, Binge, Flash and the new Lifestyle app.

Wigan: “Stack and Save is what we are calling the way people can manage subscriptions and save money.”

For example, if a subscriber took all four of those plus Netflix, there would be a saving of $15 off the monthly subscription fee. “It’s about giving consumers a reason to stay with those products. At a time when people are looking to save, Hubbl gives them an option plus, as we previously mentioned, an upgrade to the TV.”

Hubbl users can opt for ad-free tiers to make an extra saving.

Glass takes Hubbl to the next level

Hubbl Glass will appeal to a smaller market than the Hubbl puck. Wigan said: “The simplicity of Hubbl Glass is very nice. It has a nice premium feel and comes with built-in surround sound. It’s a brilliant plug-and-play option with one remote and one plug. The operating system automatically updates.”

Most content on Hubbl Glass will look pretty good. Although Wigan noted they can only rebroadcast whatever the quality of the image they received from third-party partners.

See also: Hubbl: The CEO interview – Patrick Delany on why you need this streaming device

Welcome to the industry HOT List of 2024, where Mediaweek Marketing & Agency editor-at-large and founder and CEO of TrinityP3 Marketing Management Consultancy, Darren Woolley, highlights and acknowledges the media and creative agencies, the industry bodies, and events turning up the heat.

Winter is coming. You can feel the chill in the air. But let’s look at those adding the heat and making a difference on this month’s Hot List.

Sizzling Hot

Production Companies

Ludo Studios, creators of the Emmy award winning animate hit series, Bluey, has done it again, partnering this time with real estate portal Domain to sell the Heeler’s iconic Queenslander home, featured in the show.

You can see the listing here. And make sure you call the agent, Bucky Dunstan, for a real treat for all those die-hard Bluey fans.

This runs hot on the heelers of Ludo Studios collaborating with Bunnings to create Hammerbarn stores in every state back in February this year.

Very Hot

Industry Bodies

From the people who bought you Fck The Cupcakes comes Yeah the Pies, a “blueprint for organisations to engage men the right way so IWD 2025 is not again another room filled with women and cupcakes” according to Innocean CEO and FTC founder Jasmin Bedir.

The launch at Innocean’s new offices in Sydney saw industry media men, including Peter Horgan (CEO OMG), Chris Freel (oOh! Media), and TrinityP3’s Stephen Wright baking up a storm.

Totally Hot

Creative Agency

What does every television rating hit need? According to SBS and creative agency and production company Jack Nimble: its own cologne. To herald the launch of season two of runaway ratings success Alone Australia, the duo have collaborated with acclaimed perfumer, Ainslie Walker, to produce Alone Cologne.

Walker described the cologne as: “Stale notes of campfire soot, rain-soaked dampness, and earthy moss. This is followed by overwhelming notes of rotten game flesh, which sing in harmony with smoked fish skin, unwashed skin, and greasy hair.”

Sure to be a big hit somewhere.

Hot

Creative Agencies

To all the Australian agencies that will collect awards at the 64th annual Clio Awards, on 1 May, at Gotham Hall in New York City, congratulations. Especially to The Monkeys (part of Accenture Song) – (6), M&C Saatchi – (4), and R/GA, CHEP Network, Dentsu Creative, and Rumble Studios – (1 each).

Why be the best in Australia when you can be the best on the world stage?

Tim Minchin in ‘Play it Safe’ by The Monkeys for The Sydney Opera House – Winner of Gold Clio Award for Film Craft 

Also Hot

Creative agencies

Okay, so while we usually see them in #1 spot, The Monkeys, part of Accenture Song, just missed out on placing in the top 10 of the Best 40 Campaigns Promoting Good category in WARC’s ACT Good Report 2024, a ranking celebrating the best creative campaigns from around the world that promote social and environmental responsibility.

The agency’s campaign for the Government of Tuvalu, The First Digital Nation, claimed the 12th spot and 15^th overall. So, come on Australia, there is plenty of opportunity to make a difference here. That would be hot!

Making a difference? Going above and beyond? We would love to hear from you – send details to [email protected]. 

Criteria for making the Mediaweek Hot Lists:
• Making a difference to clients, staff, the industry, and society at large
• Breakthrough campaign or idea that is a category game changer
• Challenging the status quo to drive innovation.

10 will relaunch its Late Night news bulletin on 29 April, led by 10 News First senior journalist Ursula Heger, 10 years after it axed the late bulletin.

The new Late Night national news bulletin will stream live on 10 Play and 10 News First’s YouTube channel weeknights at 10pm AEST and air at 10:30pm on 10.

The digital-first news bulletin aims to provide viewers comprehensive and contemporary coverage of all the biggest stories of the day, updating viewers on everything they need to know.

“10 is synonymous with Late News, and this new bulletin is a key part of our strategy of taking our news into the streaming future,” Martin White, VP of broadcast news, said.

“Ursula is a highly respected, top-class journo who’ll do a great job of continuing 10’s proud legacy of late-night news.”

Heger joined the network in 2011 and has reported on major stories for the network including covering the war in Ukraine, the funeral of Queen Elizabeth II, the Easter terror attack in Sri Lanka, the COVID pandemic, Black Summer bushfires, Royal visits to the Pacific, and Prime Ministerial visits to China, South Korea, Japan and the U.S.

Heger said she was looking forward to stepping into the late night news presenter role. She said: “10’s Late News with Sandra Sully was an important part of many people’s evening ritual for so many years. She and the team brought you the news that mattered to you: from live coverage of September 11 to the financial crisis that impacted everyone’s lives.

“I’m thoroughly looking forward to taking up the baton of 10’s new late news bulletin, as we bring you the latest breaking news, stories that matter, with analysis to help us all deal with an ever-changing world of new technology and shifting social norms. I will work to ensure 10’s Late News is important viewing to all of you. Giving you the facts, so you can make decisions for your lives.”

Rashell Habib, head of digital news and strategy added: “The late news will play a major part in catering to the ever-growing audiences consuming 10 News First at all times of the day and night and on multiple platforms, whether in bed, on the couch or on a late shift. The late news will cater to everyone, wherever they are.”

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Top image: Ursula Heger

The Hamish & Andy podcast returned from its summer break in March. The podcast ranker for March reveals they instantly shot back to the top of the chart. Not that Hamish & Andy dropped much during the hosts’ summer break. In February it was still in the top 10 at #6. The podcast reached almost 845,000 listeners in March.

The highest new Australian entry was Dan Does Footy (DM podcasts) which appeared at #54 on the list of Australian-only podcasts and #71 overall.

New to the overall top 10 was The Imperfects which climbed from #15 to #5.

7am dropped out of the top 10 down to #14.

The LiSTNR podcast network reached more than 7.1m listeners in March, up nearly 200,000 on the February ranker number.

LiSTNR has 20 podcasts in the top 50 of the Top 200.

LiSTNR’s The Howie Games, rose nine places to reach 228,102 monthly listeners and It’s A Lot with Abbie Chatfield, moved up one position to reach 206,565 listeners.

Big movers in the March Top 200 Podcast Ranker, included Matt and Alex – All Day Breakfast, which jumped an impressive 91 spots.

The return of the football seasons ignited listening on a number of podcasts including Triple M Footy AFL, which jumped 92 places.

Others that recorded audience increases included Triple M’s The Rush Hour with JB & Billy.

SCA executive head LiSTNR podcasts, Grant Tothill, commented: “LiSTNR has again shown audience growth across its owned and operated podcast slate and grown from February to March. Hamish & Andy has returned back to the number one position after a full month of publishing and LiSTNR remains the number one sales representation network. To see growth of our radio podcasts along with our original crime, popular culture, and sports podcasts, along with the debut of A Life of Greatness and Footy Talk – Rugby League is very encouraging. The results are testament that LiSTNR continues to offer advertisers great opportunity to connect with the growing LiSTNR podcast sales network audience.”

Jase and Lauren appeared for the first time on the chart representing their new home at Nova. Overall it ranked #151. It was a much more respectable #108 on the Australian podcast chart.

iHeart noted its strength in the podcast ranker top 10 with half of the titles including Audioboom’s Casefile which was the number #1 true crime podcast (#2 overall).

iHeart’s binge release of Casefile Presents: The Easey Street Murders saw it ranked #63.

ARN’s head of digital audio, Corey Layton, said: “The iHeart slate delivers the highest engagement with more podcast hits delivering over 1 million monthly downloads than anyone else. Our partners and team continue to capture Australia’s imagination, which brands are benefitting from.”

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News Corp Australia and NRMA Insurance have launched the Help Our Highway advocacy campaign, calling for urgent action to fix Queensland’s Bruce Highway. 

The Bruce Highway covers more than 1,670 kilometres from Brisbane to Cairns and is a critical transportation corridor for freight, local communities, and other motorists. For years, the road has dealt with safety concerns, congestion, flooding, and funding issues. Hundreds of people have lost their lives on the stretch of road. 

Help Our Highway is a three-phase print and digital editorial campaign that will begin today and continue until December. 

The campaign will include conversations with state and federal MPs, consultation with lobby groups and local communities, and research and surveys to identify issues and solutions.

Coverage in all of News Corp Australia’s Queensland mastheads will support the campaign, with The Courier-Mail, The Sunday Mail, Gold Coast Bulletin, Sunshine Coast Daily, The Gympie Times, The Morning Bulletin, Daily Mercury, Townsville Bulletin and Cairns Post all getting involved.

The Courier-Mail editor Chris Jones said the campaign will be one of the biggest advocacy campaigns Queensland has ever seen, and that today marks the launch of an “unmissable, state-wide declaration of intent endorsed by every editor in Queensland.”

“On every newspaper front page and on every digital homepage today you will see an editorial blitz calling for urgent action. We’ll be calling on the Queensland Government, the Premier, and the Transport Minister to take action and we’ll continue that pressure all the way to the Queensland election and beyond.” 

NRMA Insurance chief customer and marketing officer Michelle Klein added: “NRMA Insurance has a long history of helping Australians protect what matters and that includes staying safe on and off the road. We’re not only there to help when things go wrong, we play an active role in helping prevent incidents from occurring in the first place.

“Our claims data shows there has been a 48% increase in the number of incidents on the Bruce Highway between 2019 and 2023. More needs to be done to ensure the safety of Queenslanders when driving on this important stretch of road. That’s why we have united with News Corp Australia to advocate for meaningful change. Throughout this campaign we will use our own insights and expertise to help Queenslanders stay safe on the Bruce.”

The Help Our Highway campaign partnership was developed by Newsamp in conjunction with Initiative. 

Initiative Media chief strategy and product officer Chris Colter added: “Newsamp’s unique depth of community insight uncovered the one thing Queenslanders want help with most… their Highway. By bringing together NRMA Insurance’s heritage of help and expertise with the unrivalled cross-platform scale of News Corp Australia, we have a real opportunity to not just generate action but create true generational impact.”

oOh!media has revealed its launch partners for the digital Woollahra out of home street furniture network, including JLR Australia, MECCA, and LVMH’s prestigious brands Tiffany & Co., TAG Heuer, and Fendi.

The network is the first phase of oOh!’s Premium Sydney offering.

The screens are powered entirely by renewable energy and located in 10 affluent eastern Sydney suburbs including Double Bay, Bellevue Hill, Darling Point, Point Piper, Vaucluse, Paddington, Woollahra, Watsons Bay, Rose Bay, and Edgecliff.

The audiences in the area have a median salary of $250,000 and property prices are 3.7 times higher than Sydney’s median. 

oOh! has launched the fully digital street furniture network following Woollahra Council’s decision to award the long-term contract in July last year.  

See also: First bus shelter installation marks beginning of oOh!media’s Woollahra expansion

Rowena Vas, head of communication at JLR Australia, said the team was “delighted to be part of oOh!’s launch across the Woollahra network” as the brand is set to display its new 2024 Range Rover Sport campaign for the first time. 

“We are thrilled that our digital campaign will be powered by 100% renewable energy, which is in line with our 2030 sustainability targets.” 

Paul Sigaloff, chief revenue and growth officer at oOh!, said the Woollahra network “represents an exciting milestone for oOh! and marks the first phase of our Premium Sydney network vision. 

“We’re delighted to welcome luxury brands such as, JLR, Tiffany & Co.,TAG Heuer, and Fendi as launch partners. They understand the value of the audience, and their swift involvement reflects our ongoing commitment to deliver cutting-edge out of home advertising solutions for all brands.” 

See Also: Paul Sigaloff on MOVE 2.0’s ‘imminent’ launch and TV’s decline

Woollahra is the first stage of oOh!’s Premium Sydney OOH network that is set to include the new Sydney Metro City and Martin Place Retail precinct.  

Sydney Metro City includes eight new CBD stations – Barangaroo, Martin Place, Gadigal (Pitt Street), Crows Nest, Victoria Cross (North Sydney), Waterloo and new Metro platforms at Central and Sydenham; while the Martin Place Retail precinct will be the new home to Macquarie’s global headquarters and features retail and dining spaces as well as a new underground connection for Martin Place Station customers. 

Kia has put a name to its maiden entry into the fiercely competitive Australian ute market. The latest work from Kia introduces The Tasman in a celebration of the rugged landscape of its namesake, Tasmania, accompanied by the tagline: “Dust settles. We don’t.”

The Kia Tasman has been highly anticipated since the auto brand’s blockbuster campaign first teased the then nameless vehicle in March.

Kia’s general manager of marketing, Dean Norbiato, previously told Mediaweek the campaign, which brought together a cast of 20 Australian sporting icons, had “taken on a life of its own,” generating over 1.3 million organic views and 82 million media impressions in just four days.

Debating the name of the new Kia ute through a series of elbow-nudging one-upmanships, the ad foreshadowed the launch of what Norbiato described as “the most Australian Kia ever.”

See Also: 82m impressions in four days: How Kia’s big ute ad exceeded CMO and Innocean’s expectations

The news from Kia comes at a time of prolific advertising efforts for vehicles in Australia.

In February, DDB relaunched Volkswagen’s local passenger vehicle platform for the first time in seven years in a bid to help restore Australia’s love for the car brand with Let’s Go for a Drive.

This was followed by the March announcement that the creative partnership, along with wildlife rescue organisation Wires, was starting trials for the latest regional road safety innovation, the “RooBadge”, after four years of product development.

Earlier this month, auto manufacturer JAC Motors announced it had selected Sydney-based agency We Are Different as its earned, social, and influencer agency partner in Australia following a competitive pitch process.  

We Are Different has been tasked with introducing the Chinese auto brand to the Australian market, with a focus on the launch of its first Australian-delivered passenger vehicle, the JAC T9 Ute.

See Also:
“Longevity is the hope”: DDB’s mission to restore Australia’s love for Volkswagen
DDB and VW launch RooBadge, designed to save kangaroos and cars

Newsamp first took on Glenfiddich’s Fashion Week campaign after the brand worked with Afterpay’s Australia Fashion Week. Partnering with News Corp’s Vogue Australia, the team aimed to put Glenfiddich at the forefront of new luxury.

“It’s such a big cultural centre point in our calendar, particularly around fashion,” Emily Van Arendonk, strategy manager at Newsamp NSW, told Mediaweek.

Emily Van Arendonk

“There’s always a real groundswell of interest in either working with us around that time, or how to make a brand’s sponsorship work harder. That’s really where Glenfiddich stood. 

“They had already done so much amazing work in understanding what they wanted to say and how they wanted to be perceived by this particular audience, and we know what our audience wants to hear when they’re going through magazines, and what they’re expecting from brands in those spaces.”

Van Arendonk said the team have “quite a few different spikes throughout our calendar,” with major events drawing brands in to work with the team – “we have so many amazing brands under our umbrella that there’s always something on.”

For brands, Van Arendonk said making the most of the momentum gained by large events involved pulling in multiple voices from around the business, to collaborate in ways “that maybe other publishers aren’t always able to.”

“The best thing about Newsamp is that we’re more than just a brief response area of the business. Within my own team, I have a research and insights partner, and I have a solutions partner who is in constant contact with editorial. 

“What that means is when we have something coming up in our calendars, we can double-check and see what research we have, or if we need to do more research to understand where consumers are at. We can tap into all these different funnels of the business to bring together something really great.”

The results of the campaign were “amazing” according to Van Arendonk, who said the two focuses for the brand were distinction and occasionality – “knowing when and why you would pick a Glenfiddich product up to drink.” 

When Kantar measured the impact of the campaign, it found that brand awareness lifted by 3.5 times, and that brand perception increased by 7% with the campaign material.

“We also saw a lift of 12% in regards to luxury perception for the brand, and that was something that I was super proud of as well,” said Van Arendonk. 

“You can lift awareness, you can lift distinctivity, but shaping that conversation for the brand and shaping how people perceive it is really important.”

The Newsamp team worked with dentsu’s iProspect on this campaign, with Van Arendonk laughing that, “in the media world  – between clients, agencies, publishers – things get lost and messy and confusing. But working with iProspect and having the Newsamp division all together made it really clean.”

Heloise Parlett, client director at iProspect, added: “With an ambition to accelerate the growth of Glenfiddich’s luxury credentials, we aimed to deliver an integrated media approach that was authentic to Glenfiddich and the ideals of modern luxury.

“With an in-depth understanding of the audience, we were able to identify that the synergies between Glenfiddich and Vogue made this ideal content partnership to deliver on our objectives. We were pleased with the strong results, and especially the positive sentiment that was delivered through the work.”

See Also: AMEX, delicious. Month Out, and the impact of long-term partnerships

–

Top Image: Emily Van Arendonk

By Nina Christian, marketing futurist and global marketing mentor

In today’s digital era, where the sheer volume of information feels like a relentless wave crashing over us, a common belief has crept in: volume is a virtue.

We think that the more information we gobble up, the better equipped we are to make decisions, right? Unfortunately this belief, while seemingly logical, often leads to the opposite – information overload, decision paralysis, and a constant stream of random inputs that can leave us feeling more overwhelmed than enlightened.

Many of us take some time to think about what we put into our physical bodies, through meal planning or identifying what foods we want to eat more/less of, so that we have more energy, feel more nourished and have healthier bodies. We decide what we want to eat, and when – how often we allow ourselves to indulge, and base it around what is realistic for our lifestyle – at home and at work.

We can apply the same principles to our diet of content. This way the power to control our content intake rests with US. Because the influences we open ourselves up to (by consuming their content) have a tangible impact on our outlook and wellbeing.

Of course, everyone performs better when they are energised, motivated and in the zone. Conversely, information overload, or ‘infobesity’, can cause us to become dull, think less clearly and function less effectively.

So when everywhere you look is “must-have” content, how can we work out what’s most beneficial to consume?

The Reality: Quality Over Quantity

Here’s a novel idea: What if we focus on the quality and relevance of the information instead of just the quantity? Imagine intentionally selecting our sources and focusing on content that resonates with our values, or current focus area. 

Suddenly, information overload shifts into a streamlined flow of insights that actually enhances our work and personal growth.

Here are my top tips for how to work out what to focus on to get the most out of your content (and out of yourself).

Be Intentional

Before you dive into your next research binge or social media scroll, pause. Ask yourself what you’re looking for and why. This little moment of intentionality can help steer you through the sea of content more purposefully.

Curate Your Sources

Not everything out there is worth your time. Pick sources that consistently add value and align with your brand and personal ethos. This means choosing content that both challenges and inspires you, in moderation, and without overwhelming your senses.

Schedule Information Intakes

Designate specific times for consuming content. This isn’t just about discipline; it’s about lifestyle, protecting your mental health, and giving yourself the space to process and integrate this info into your strategy. Trust me, your brain will thank you. Trust Your Gut

Amid all the digital noise, don’t forget to listen to your intuition. Sometimes, the best insights come from within, informed by our experiences and values. Let your intuition guide you to what feels right to consume.

Mindful Consumption 

There is content that drains and content that energises. Pay attention to how information affects you. If it’s inspiring and energising, great! If it’s causing stress or overwhelm, it might be time to hit the little “x” in the top right corner of your screen.

Connect with Purpose 

Use information not just for personal gain but as a way to connect with others. Share insights, engage in discussions, and strengthen community connections based on shared values and learning. And not just online or in “content” but in your everyday conversations too!

Turning Accumulation into Action

If there are defined, relevant, easily actionable items that you want to recall for the future, I suggest you set up a tab in OneNote, Trello or Evernote, or whatever note-taking solution you use (iPhone Notes will do!) and jot that down, referencing where you heard it, when, by whom, and what the action step is. That way you can revisit it later when you’re in the right headspace for that item. Otherwise, you’ll just have more “stuff” your brain is trying to deal with that ends up swirling around for compartmentalising for later, and this is a huge contributor to mental fatigue.

Tackling information overload isn’t just about filtering content; it’s about changing our

approach to digital consumption. Remember, it’s not about who knows the most, but nurturing our creativity and mental agility, and through this, equipping us to develop connections through our own content and personal interactions that are both meaningful and lasting.

Your time is precious. Your energy is priceless. Spend it wisely.

See Also: Nina Christian: Marketing in the information overload age

–

Nina Christian is a Marketing Futurist, & Global Marketing Mentor who helps people do their marketing in a more human way. 

She is a Certified Practicing Marketer (CPM), Life Member and Fellow of the Australian Marketing Institute & AMI State Chair (Vic) and for 20 years was director of marketing agency Braveda (Winner, Best Marketing Agency, Australian Marketing Excellence Awards).

Several years ago Nina saw the world of marketing shifting – this time as people became their own brands.  With this, she created a new business as a thought leader, combining her expertise in brand building with personal positioning, resulting in a breakthrough praxis known as Marketing Me® which she delivers globally to business leaders, professionals and entrepreneurs.

She is the author of the book Marketing Me: Take Charge of Your Personal Brand and Make Your Mark on the World which helps professionals who want to market themselves authentically, but don’t understand what makes them truly unique and significant or have the confidence to express their value in a way that feels good.

Being a hands-on mum of five children, Nina Christian has developed a knack for simplifying complexity. As a result, her systems and processes are practical, accessible and impactful.

BMF has announced a series of promotions within its creative and innovation departments, including Dave Roberts and Tom Hoskins to the shared role of group creative directors.

Josie Fox and Harry Stanford have been promoted to creative directors.

Additionally, Kiah Nicholas, Emily Field, Lisa Down, and Leila Cranswick will take on the combined titles of innovation leads and associate creative directors. This is the latest significant transformation of BMF’s innovation offering since the appointment of chief innovation officer Tara McKenty in May last year, who moved from her post as creative head at Google after nine years.

The promotions follow the departure of BMF chief creative officer, Alex Derwin, who is exiting the creative agency to set up his own shop after almost nine years, as Mediaweek revealed. 

Derwin described Roberts and Hoskins as exceptional talents, demonstrating unwavering dedication and profoundly impactful creative leadership.

“They have a proven track record of creating long ideas that shift perceptions, change behaviour, and resonate in culture,” said Derwin.

“They are the definition of true BMF-ers, and I’m thrilled to see them get this much-deserved recognition.”

See Also:
• Exclusive: BMF chief creative officer Alex Derwin to depart, launch own agency
• BMF welcomes Tara McKenty as chief innovation officer and co-ECD and promotes David Fraser

Joining BMF as creative director in 2021, Hoskins has led the Australian Government account, overseeing large-scale behaviour change campaigns, including efforts to help end child sexual abuse with One Talk at a Time and encouraging Australians to Fight Cybercrime in your Downtime. He has also steered campaigns for ALDI Australia and TAL insurance.

Similarly, Roberts, who joined in 2019, has delivered a notable portfolio of work including a series of children’s books and merchandise for Murdoch Children’s Research Institute, Tip Top’s brand platform Baked into Australia, Just Wow for Uluru – Voyages, as well as Minds Wide Open for The Sydney Morning Herald + The Age.

McKent added that Nicholas, Field, Down and Cranswick have been instrumental in building and amplifying the agency’s “creative firepower and robust innovation offering.”

“Their track record of award-winning brilliance speaks volumes, and we’re thrilled to see them continue to make effective, world-class work for our diverse portfolio of clients,” said McKent.

Earlier this month, BMF drove Tourism Australia’s latest Off Season campaign, inviting Australians to become “winter people” – the tourism body’s biggest winter campaign yet.

See Also: BMF leads Tourism Tasmania’s biggest Off Season campaign yet

–

Top Image: Tom Hoskins, Lisa Down, Leila Cranswick & David Roberts (Top Row, L-R) Josie Fox, Harry Stanford, Kiah Nicholas & Emily Field (Bottom Row, L-R)

Emotive has promoted Aoife Lehane to account director, and made a series of hires to its account management and creative teams.

Lehane joined Emotive 12 months ago from Droga5 Dublin. She will be working alongside business director, Andrea Dalton Doran, on the Optus account. 

Emotive has also named two senior account managers. Ruki Ahad moves from Ogilvy, where she worked on the NSW and Federal Government accounts, while Tyler Ronaldson has been tapped from Clemenger BBDO, where she worked across YES23, insurance, and betting clients.

Jenna Fisher joins as creative operations manager from her most recent post as senior producer and operations director at Wave. Prior to Wave, Fisher has tenured at agency roles in the UK and Australia including VCCP, BWM Dentsu, and Havas.

Emotive’s chief executive officer, Simon Joyce, said it is an exciting time of growth for the agency as it pursues its ambition to create one-of-a-kind work, with new work launching from the likes of Google, San Remo, and Optus.

See also: San Remo releases first work with Emotive, revamps 23-year-old ‘We’re Family’ brand platform for next generation

“Key to the growth is always our culture defined by the best talent and an additive mindset. Aoife, Ruki, Tyler and Jenna embody exactly that,” said Joyce.

In February, Emotive hired former founder and executive creative director of Poem, Matt Holmes, in a new role as head of public relations and earned creative at the creative agency, bolstering its integrated ‘fame’ offering.

Holmes announced his departure from Poem in October last year. He exited the agency following a sale of his 50% of the business.

See also: Emotive taps ex Poem co-founder Matt Holmes for new ‘fame’ offering

–

Top Image (L-R): Aoife Lehane, Ruki Ahad, Tyler Ronaldson & Jenna Fisher

LinkedIn has revealed the leading employers for career growth in Australia in its 8th annual Top Companies List.

Commonwealth Bank leads the rankings, followed by NAB and Telstra. Australian Super follows in fourth spot, while Rest round out the top five.

The data-backed ranking examined different aspects of career progression, such as how employees are promoted, adding new skills, gender diversity, and more.

Google’s parent company, Alphabet Inc., is in sixth place, followed by software company Atlassian and Danaher Corporation, which are in eighth place.

Graphic design platform Canva has moved from the top startup companies list to make its debut on the Top Companies List at the ninth spot, rounding out the top ten is software company Adobe.

Cayla Dengate, LinkedIn Career expert and senior news editor, said this year’s top companies demonstrate the importance of investing in the employee experience in today’s employment landscape.

“Whether it’s launching learning initiatives, such as upskilling their staff in artificial intelligence, or flexible work arrangements, companies that who are at the forefront in these areas not only attract but also retain workers in our rapidly evolving workplaces.”

She noted that LinkedIn’s Top Companies list is a resource for job seekers and career builders looking to identify companies that set workers up for success, explore open jobs and connect with people they may know.

Dengate added that 14 of the top 25 companies were new to the list and showed a growing focus among employers on building long-term success with their employees.

“And with the skills needed for a job in Australia set to change by 66% by 2030 due to the impact of technologies like AI, it’s now more critical than ever that companies invest in their people’s growth and enhance their skills,” she added.

25 Top Companies in Australia:

1. Commonwealth Bank 
2. NAB 
3. Telstra 
4. Australian Super
5. Rest
6. Alphabet Inc
7. Atlassian
8. Danaher Corporation
9. Canva
10. Adobe 
11. ANZ 
12. SAP
13. McKinsey & Company
14. Optus 
15. ServiceNow
16. ResMed
17. Mastercard
18. Powerlink Queensland
19. Amazon
20. Volvo Group
21. Team Global Express
22. Medtronic
23. EY
24. Halliburton
25. Vestas

Yahoo Academy, now in its 13th year, has revealed that its 2024 program will be judged by industry leaders including Rob Campbell, Simone Gupta, Tim Sharp, and Kathryn Williams.

It has also released the list of 30 emerging industry leaders chosen to participate in this year’s program. The cohort includes people from major holding companies, indie agencies, and brand marketers in Australia and Singapore.

From 14 to 15 May, the attendees will participate in a curated and immersive learning experience designed to help them master the skills needed to thrive in the future of work.

Over the two days, the participants will be mentored by industry experts with workshops including Campbell, head of strategy, Colenso BBDO;Gupta, co-founder, Supermassive; Sharp, founder and principal, GEN8; and Williams, owner, KMint.

The two days will culminate in a Pitch Off that will see the delegates break into teams to solve a real business problem for Australian charity Musicians Making a Difference (MMAD). They will be challenged to apply what they learned from the workshops to a practical, team-based challenge.

The winning team of the Pitch Off will receive a trip to a leading media and marketing conference in June, including flights, 4-nights’ accommodation, and conference tickets.

John McNerney, managing director of Yahoo AUSEA, said this year’s program has been designed to help delegates master a range of skills that will be essential in a more automated future workplace.

“At Yahoo, we are excited to offer practical and innovative approaches to solve partner business challenges, which is something we are dedicated to help spread across more of the industry.

“We’re proud of the Yahoo Academy and its impact over the last decade, providing a unique career development experience for many of today’s industry leaders.”

Trent McMillan, founder and chief digital officer of Kaimera, noted that the Yahoo Academy has been an “incredible platform for cultivating the next generation of agency leaders”, which is something the independent agency is committed to.

“Our ongoing engagement with the Academy has enabled our rising stars to access critical learning and networking opportunities, and we’re excited to see the fresh thinking and ideas our delegate brings back from this year’s event.” 

Brad Palmer, national programmatic director at JCDecaux Australia and New Zealand, added that the Yahoo Academy has been a space that has provided a foundational layer to advancing the future leaders of the media industry.

“JCDecaux is thrilled to have our nominees included in the 2024 program to build a deeper understanding of the omnichannel landscape, foster industry connections and develop their skills for future success.”

The Yahoo Academy Class of 2024: 

• Jasmine Phua, Team Lead, CPXi Asia
• Tom Doran, Digital Media Coordinator, Endeavour Group
• Santiago Aristizabal, Performance Associate Manager, EssenceMediacom
• Judith Kottwitz, Client Dev Manager, Group M Nexus
• Shriya Tewari, Client Solutions Executive, Half Dome
• Connor Dempsey, Investment Manager, Initiative
• Tate Boden, Associate Digital Director, Initiative
• Alexandra Whitehouse, Senior Programmatic Manager, iProspect
• Daniel Caruso, Senior Programmatic Account Manager, JCDecaux Australia
• Daniel Miller, Senior Platforms Manager, Kaimera
• Luke Pritchard, Addressable Manager, Kinesso
• James Hill, Addressable Account Director, Kinesso/IPG
• Navzeeth Bijayananda, Associate Director – Performance, Mindshare
• Marcus Billingham-Yuen, Client Strategy Manager, News Corp Australia
• Shelby Healey, Account Director, OMD
• Sophie Cole, Senior Account Manager, OMD
• James Porteous, Digital Director, OMD WA
• Arunima Sharma, Digital Manager, PHD Media
• Angelica Frago, Digital Manager, Publicis
• Benjamin Smith, Senior Digital Trader, Qantas Loyalty
• Mike Tekeu, Senior Programmatic Trader, Slingshot Media
• Charlotte Delay, Senior Exec, Spark Foundry
• Kati Wilmer, Associate Digital Director, Spark Foundry
• Amirah Mokhtar, Digital Manager, Starcom
• Peter Tait, Client Planner, The Speed Agency
• Xuan Vo, Senior Account Manager, Them Advertising
• Cara Thomson, Planning Manager, UM
• Liam Wilson, Strategist, UM Australia
• Kate Hughes, Digital Manager, Zenith
• Matt Taylor, Digital Executive, Zenith Media Brisbane

The Yahoo Academy has produced 360 graduates to-date. Participants in the program must have 1-7 years of digital media experience, currently work within a media agency or marketing team and have a passion for the digital media industry.

Endorsement by a senior manager was also required to secure a place in the final cohort.

See also: Yahoo Academy opens nominations for its 2024 program

By Alexa Scarlata, Research Fellow, Media & Communications at RMIT University, and Ashleigh Dharmawardhana, Research assistant, School of Media and Communication at RMIT University.

Do you find yourself endlessly scrolling through streaming channels, wondering what to watch among the hundreds (or thousands) of options? Do you worry about spending more money on yet another subscription just to watch the latest show everyone is talking about? Do you miss the days when we had just five channels to choose from – and someone else was making the choices about what was playing? Do you ever just wish you could watch Home and Away, 24 hours a day, every day?

Well, there is a channel for that.

On “FAST TV” – or, free ad-supported streaming TV – in Australia, you can watch a channel entirely dedicated to Home and Away, or another that plays Border Security non-stop. You can watch Mythbusters on a loop, or hours and hours of Baywatch.

You can watch channels curated by genre, like “Cooking & Culture” or “Property Dreams”, or by sporting code. Some channels recreate those you might remember from your Foxtel days, like MTV Reality and Nick Toons, or The Movie Hub and “Throwback TV”.

TV Report 16 April 2024:

Nine TV Report

LEGO Masters

Nine’s evening began with episode 3 of LEGO Masters.

The teams were faced with the first elimination challenge of the season whilst building a classic fairy tale with a genre twist. 

Sam and Emilio were the first group to be eliminated from the competition as their Peter Pan build didn’t impress Brickman. 

A Current Affair

Over on A Current Affair, police are probing the contents of a drink after a woman dies at a health retreat and visits Bondi Junction to see the sea of flowers as the city mourns lives lost.

Seven TV Report

Farmer Wants a Wife

On Seven, Farmer Wants a Wife saw the end of the first day on the farm and the farmers received a text from host Sam Armytage instructing them to choose two ladies for a double date the next morning, before making the tough decision to send one of them home. 

After spending quality time with their chosen two, the farmers farewelled the partner they couldn’t see a future with:

Farmer Bert: April
Farmer Dean: Kate
Farmer Dustin: Kara
Farmer Joe: Chelsea
Farmer Tom: Abby

Home & Away

Before Farmer was Home & Away as Theo stood by Valerie and Cash was called to protect Stevie.

10 TV Report

The Project

The Project on 10 looked into the Sydney church stabbing being declared a terrorist act and spoke to Peter Daicos and Felicity Ward.

I’m A Celebrity… Get Me Out Of Here!

On 10’s I’m A Celebrity, Khanh Ong was the next celeb to leave the camp. During his time in the jungle, Khanh used his chef skills from MasterChef Australia – and the tips and tricks he picked up during his time on Australian Survivor to make the most of the limited camp kitchen.

See also: “It just hit me right now”: Frankie Muniz’ devastating family revelation on I’m a Celebrity

ABC

7:30

On 7:30, Sarah Ferguson interviewed NSW Premier Chris Minns and Supermarket bosses were grilled at a fiery Senate inquiry.

SBS

Great British Railway Journeys

Michael Portillo reached the Kent seaside resort of Herne Bay, where he discovered a pioneering aviator who began her working life as a typist in Hull, but whose epic achievements made her an international celebrity.

Monday 15 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 1,929,000, a total TV national audience of 785,000, and a BVOD audience of 50,000.

Nine’s A Current Affair recorded a total TV national reach of 1,763,000, a total TV national audience of 1,175,000, and a BVOD audience of 74,000.

Seven’s Farmer Wants a Wife recorded a total TV national reach of 1,747,000, a total TV national audience of 893,000, and a BVOD audience of 70,000.

Also on Seven, Home & Away recorded a total TV national reach of 1,340,000, a total TV national audience of 862,000, and a BVOD audience of 94,000.

10’s airing of I’m A Celebrity… Get Me Out Of Here! recorded a total TV national reach of 1,256,000, a total TV national audience of 623,000, and a BVOD audience of 59,000.

See Also: TV Report 15 April 2024: ‘Fast food’ gets a whole new meaning during LEGO Masters’ go-kart battle

People 25-54

Nine’s LEGO Masters:
• Total TV nation reach: 726,000
• National Audience: 344,000
• BVOD Audience: 32,000

Nine’s A Current Affair:
• Total TV nation reach: 576,000
• National Audience: 359,000
• BVOD Audience: 43,000

10’s I’m A Celebrity… Get Me Out Of Here!:
• Total TV nation reach: 552,000
• National Audience: 294,000 
• BVOD Audience: 36,000

Seven’s Farmer Wants a Wife:
• Total TV nation reach: 545,000
• National Audience: 263,000
• BVOD Audience: 39,000

Seven’s Home & Away:
• Total TV nation reach: 415,000
• National Audience: 278,000
• BVOD Audience: 55,000

People 16-39

Nine’s LEGO Masters:
• Total TV nation reach: 320,000
• National Audience: 147,000
• BVOD Audience: 17,000

Nine’s A Current Affair:
• Total TV nation reach: 263,000
• National Audience: 148,000
• BVOD Audience: 22,000

10’s I’m A Celebrity… Get Me Out Of Here!:
• Total TV nation reach: 229,000
• National Audience: 114,000 
• BVOD Audience: 23,000

Seven’s Farmer Wants a Wife:
• Total TV nation reach: 229,000
• National Audience: 113,000
• BVOD Audience: 22,000

Seven’s Home & Away:
• Total TV nation reach: 177,000
• National Audience: 116,000
• BVOD Audience: 34,000

Grocery Shoppers 18+

Nine’s LEGO Masters:
• Total TV nation reach: 1,415,000
• National Audience: 549,000
• BVOD Audience: 40,000

Nine’s A Current Affair:
• Total TV nation reach: 1,329,000
• National Audience: 897,000
• BVOD Audience: 59,000

10’s I’m A Celebrity… Get Me Out Of Here!:
• Total TV nation reach: 966,000
• National Audience: 486,000 
• BVOD Audience: 47,000

Seven’s Farmer Wants a Wife:
• Total TV nation reach: 1,356,000
• National Audience: 702,000
• BVOD Audience: 56,000

Seven’s Home & Away:
• Total TV nation reach: 1,043,000
• National Audience: 681,000
• BVOD Audience: 75,000

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