Henry Innis is Mediaweek’s Next of the Best leadership winner. The Mutinex co-founder and global chief executive tells Mediaweek that he’s a “sometimes brash but always learning and developing young leader.”

It’s been a big 12 months for Innis and Mutinex, including a sponsorship deal with the Ehrenberg-Bass Institute (EBI), and the launch of DataOS as a companion product to its GrowthOS market mix modelling tool. It all culminated with the recent appointment of Mat Baxter as APAC CEO. 

Vevo’s APAC managing director Steven Sos, presented the award to Innis, who said in an acceptance speech: “I just want to thank everybody in this industry, my team, who are the most fucking intelligent, amazing people to work with ever, and the entire industry, including clients, agencies, publishers, and all of you guys who have gotten behind us.

“You’ve made my dream come true, and I hope we can change the world of marketing effectiveness together.”

Mediaweek caught up with Innis on what the win means to him, and what we can expect next from him and Mutinex.

The awards have been judged by an all-star line-up. What does it mean to you to be recognised by this group of people?

It means a lot to be recognised by many of Australia’s great advertising names, particularly from such a diverse group of people. I very much appreciate their support and belief. But I’d also like to thank the wider industry who have supported us – people have really embraced Mutinex and gotten behind us.

I think that there’s been some unexpected but fantastic support – particularly from our customers, most of the holdcos, indies and the wider media publishers and technology community. That’s been the humbling thing.

Collaboration is key to building the next generation of companies and I’m thankful for how the industry has responded to Mutinex, and been forgiving and tolerant of a sometimes brash but always learning and developing young leader.

What makes your leadership style stand out?

I’m not quite sure. I think you should ask my team that question!

I think we are quite direct and candid at Mutinex. I’m a deep first principles thinker – deconstructing problems to their base elements is one of the most important principles I think. I enjoy writing and the clarity that comes with it. I’m very willing to debate ideas and be wrong fast.

Good leaders (and I would say I am emerging on this front) drive organisational clarity well. I think that is where good leadership needs to excel – driving clarity and decisiveness to drive systemised thinking and intelligence.

Who is your leadership hero? Where do you get your leadership inspiration from?

I admire great technology leaders. I know I will cop flak here, but [Jeff] Bezos and [Elon] Musk are standouts for various reasons. They have principled leadership, focus on outcomes and are ambitious beyond belief.

Focusing on clarity of principles is deeply important to me as a leader, as clarity of how something operates principally is how you drive and solve systemic issues.

Sheryl Sandberg for her ability to really bring together an advertising and technology business, which seems obvious now, but she was really the leader who I think changed digital advertising the most in recent years. 

More locally, I have been deeply influenced by Nick Garrett, who is able to be ferociously principled whilst maintaining a deep appreciation for humanity. I think Rose Herceg has always been another leader in a similar mould, who at an important part of my career, gave a lot to me to develop me quickly.

My partner, Gabrielle Hendry, is an incredible leader in her own right serving both the government and our country. I learn a lot from her – she’s inspired, determined and incredibly principled in how she deals with things morally.

Every good leader has a team that supports them. Who are the people – inside and outside of the industry – that you lean on for support?

I have a truly incredible team that supports me day in day out. I feel like I can be candid with many of them about the challenges and troubles that I have, and that is a great part of the Mutinex DNA.

One of my closest supporters and my right hand person at Mutinex is Renee Zhang, who is exceptional. She regularly challenges me, is a vocal and strong counterpoint to me and is a brilliant developing leader in her own right. I am lucky to have her on the team and I believe she’s a future founder in her own right. Ramee in my team, Pete, Nik and John Sintras are also regular challengers and collaborators. Mat Baxter increasingly so – but it’s very early days in our relationship!

I also have a number of mentors at the moment who help me through external to the business. To name a few – Chris Savage, Charlie Gearside, Justin Lipman and Nick Garrett. I’m sure I have forgotten someone.

My partner Gabby keeps me very grounded, mostly as she doesn’t give a shit about advertising or marketing.

Not ashamed to admit that I have also seen therapists from time to time throughout the Mutinex journey to cope with stress and anxiety of building it and having lots of people rely on me. I think seeking help and support is nothing to be ashamed of, and I’d encourage everybody to do so, and hope by sharing that people will see that it’s very normal to do.

What can the industry expect from you and Mutinex next?

I think a few things are important to get right at Mutinex more broadly. The most important thing to recognise is we are a product company – we have to keep sweating the product and focusing on it being the best it can absolutely be. The second we take our eye off product R&D is the second this business dies.

I believe GrowthOS and DataOS is such a powerful combination for any marketer looking to seize control of the financial narrative and make rapid, quick and profitable decisions that I hope we can build it to be ubiquitous.

But there’s a lot to do and a lot more value to build. We’ve shipped the ability to analyse creative ROI, sponsorship ROI, and super granular geo-features that are market leading lately. I’ve been staggered at how much usage they are getting – clearly our customers are loving the ability to finally prove how much sponsorships and creative investment are driving the bottom line.

I’d like to see us scale up a better working model for the industry. We must be collaborators and not contagions if we are to really help the industry, and I think that’s important to do so in our DNA. People don’t buy disruption in the long term. They buy genuine, focused impact on their business.

As for me, I think I have a lot to learn and amidst all of this need to ensure I stay grounded and focused. The mission is more important to me than the headlines. Sometimes it’s easy for me as a leader to get caught up in this – but as Savage said to me – it’s all about the product, the people, and the purpose. Do these things, and the rest of it will follow.

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Top image: Henry Innis

Campaigns from across Australia and New Zealand have started winning at this year’s Cannes Lions International Festival of Creativity, led by New Zealand’s Colenso BBDO, which won one of two Grand Prix in the Outdoor category on the first day.

Colenso won with its Adoptable By Pedigree campaign, which aims to democratise dog adoption ads using AI to transform the image of a shelter dog into studio-quality photography, in line with the brand’s ongoing ambition to end dog homelessness.

Outdoor jury president Marco Venturelli, chief creative officer of Publicis Groupe, France, said of the two Grands Prix this year: “For the two Grands Prix, I’ve asked my wonderful Jurors to split their tired brains in two.

“On one side, looking for how a beautifully crafted picture and perfectly formulated wording can still make us crazy jealous. On the other, to search for a sign of what the future of Outdoor may hold. Long live Outdoor.”

The outdoor category received 2,053 entries, and 57 Lions were awarded: 10 gold, 18 silver, and 27 bronze.

Dentsu Aotearoa also won a Silver Lion for its Aid Aisle campaign for Freshchoice.

DDB Group Aotearoa won two Bronze Lions, one for its Ad-Ons campaign for McDonald’s and the other for Samsung NZ’s Different campaign.

In the audio and radio category meanwhile – which received 759 entries and awarded 23 Lions: four gold, six silver and 12 bronze – Howatson+Company‘s Touch campaign for Mastercard won bronze.

Ogilvy London and Sydney received one of 13 Bronze Lions in the print and publishing category for its 10 vs 10 campaign for Dove.

Plus VML Melbourne‘s FitChix work for Honest Eggs Co won a bronze Lion in the health and wellness category. 

Simon Cook, CEO at LIONS, said: “As we kick off the 71st year of Cannes Lions, we couldn’t be more excited to share the first round of winners across Monday’s Lions.

“I’d like to thank the Jurors who have joined us from all around the world to generously provide their wisdom, time and energy to choose the best creativity our industry has to offer.”

See also: The Monkeys, Ogilvy, and M&C Saatchi among local Cannes shortlists

Cashrewards has concluded its hunt for a chief marketing officer, hiring Zara Cobb to fill the vacancy left by Nicole Bardsley. As Mediaweek revealed in February, Bardsley left Cashrewards after two years to become head of marketing at Uber, Uber Eats, and Uber Car Share ANZ.

Anthony Seymour-Walsh, the CEO of Cashrewards, said that Cobb will support the business’ goals of growth, and enhancing the member experience.

“We are fortunate to have Zara join our team at a pivotal time in our growth and we are excited to benefit from her expertise across our many marketing initiatives and beyond,” he said.

Cobb began as CMO last week, bringing 20 years’ experience across Australia and the UK to the role, most recently as chief growth officer at Lendi Group, where she helped managed its merger with Aussie Home Loans. She spent almost six years at the company, joining in 2018 as CMO, and becoming group chief marketing officer in 2021, after the merger. In March 2023, she was elevated to chief growth officer in March 2023, before leaving the company in January.

Before joining Lendi, Cobb’s career was in media agencies across London and Sydney, with stints at Initiative, Mediacom, Match Media, and Blue 449. She finished at Blue 449 in 2018 as head of strategy and analytics, before the agency was absorbed into Spark Foundry in 2019.

“From the moment I met the team, I knew this was the absolute right next step – with an inclusive culture, a collaborative mindset and an ambitious plan for future growth I am honoured to play a part in Cashrewards’ success,” Cobb said of her new role.

Cashrewards is the country’s biggest cashback platform, with 2m members and more than 2,000 retail brand partners. It said its members have earned $200 million in cashbacks.

In April, Mediaweek reported that Cashrewards’ has posted a job ad for the CMO role. In the posting, the brand said: “The Chief Marketing Officer (CMO) is a pivotal role on the Cashrewards Executive Team responsible for shaping the organisation’s marketing strategy, planning marketing investment, driving customer acquisition and retention efforts and overseeing the execution of all marketing campaigns and initiatives.

“The CMO plays a critical role in driving business growth, building brand value, contributing to revenue growth and achieving business objectives. As the voice of the customer on the executive team, the CMO is responsible for shaping the ideal customer experience and identifying insights to continually evolve and enhance the product experience for both members and merchants.”

MYOB has appointed a bespoke agency model called NMBL, powered by M&C Saatchi Group, to handle its data, CX, creative, design, and PR accounts. 

MYOB and M&C Saatchi said the model was co-designed, and will aim to supercharge MYOB’s growth ambitions to bring the latest in business management innovation to every Australian business.

“As our business enters a new chapter, through NMBL, we are focusing on building the products and solutions people in business across Australia and New Zealand are asking for,” Dean Chadwick, MYOB chief marketing officer, said.

“We’re really excited to be working closely with specialists from the M&C Saatchi Group as NMBL.”

NMBL is made up of M&C Saatchi Group practitioners led by Benjamin Harrison (managing director, Re), Steve Coll (chief creative officer, M&C Saatchi Group), Scott Dettrick (ECD M&C Saatchi) Saynaree Oudomvilay (PR and comms lead, M&C Saatchi Sport & Entertainment), and Bobbie Gersbach (M&C Saatchi Performance).

Harrison said: “At M&C Saatchi Group, we are about building bespoke models around the needs of our partners, and ultimately their users. NMBL enables a connected approach from product design to comms, from buttons to billboards.
 
“MYOB is an iconic Aussie tech brand that’s been helping small businesses for over three decades to do big things. NMBL will help MYOB realise its big ambitions over the next five years in Australia and New Zealand.”
 
Chadwick added: “MYOB is laser focussed on helping Australians and New Zealanders in business do big things, whatever big means for them. Small businesses and sole traders are doing it tough out there, so we want the NMBL partnership to help MYOB support more Australian and NZ business people start, survive and succeed.”

M&C Saatchi also has a bespoke agency for Woolworths called Greenhouse. Over the past couple of years, bespoke models have risen in popularity, led by the creation of Smith St for Coles and +61 for Telstra. 

It’s a much needed win for M&C Saatchi, which will soon lose Tourism Australia – the pitch is down to the final two – and Dan Murphy’s.

Sharon Edmondston, group creative director at M&C Saatchi Sydney, recently left the agency as part of a restructuring of the creative department, and former CCO Cam Blackley and CSO Emily Taylor have set up creative shop Bureau of Everything.
 
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Top image: Natasha Connor, Justin Graham, Scott Dettrick, Gab McKenzie, Steve Coll, Saynaree Oudomvilay, Ben Harrison and Dean Chadwick

Tourism Tasmania has launched Odd Jobs, a campaign to encourage Australians to swap their day jobs for a uniquely Tasmanian Odd Job this Off Season.

The tongue-in-cheek campaign, developed in partnership with HAVAS Red and supported by Starcom, features 10 different experiences designed by the Tasmanian tourism businesses: wombat walker, oyster organiser, sauna stoker, wine whisperer, paranormal investigator, cave conductor, true snuer, star seeker, puffer nut, and soaksmith.

“As temperatures drop during winter, we know Australians are seeking a well-being boost and a break from the daily grind,” Lindene Cleary, chief marketing officer at Tourism Tasmania, said.

“In contrast to their busy working lives, each ‘Odd Job’ is an opportunity to plunge into the heart of Tasmania’s Off Season in the spirit of adventure, whether it be creative stimulation or outdoor exhilaration, the company of animals, artisans, or absolutely no one – there’s an ‘Odd Job’ to suit everyone.”

To bring the campaign to life across earned and social media, Tourism Tasmania has recruited Australian comedian, writer, and actor, Josh Thomas to give fellow mainlanders insight into the skills needed for an Odd Job.

A 60-second video on Tourism Tasmania’s website showcases Thomas ‘on the job’ across Tasmania. Thomas takes George the wombat for a morning walk, tends the flames as the sauna stoker, discovers his inner green thumb at Clover Hill’s vineyard, and finds tranquillity while immersed in the waters of Great Oyster Bay as an oyster organiser.

Georgina Thompson, client services director at HAVAS Red, said: “Leading into winter, burnout skyrockets. In Tassie, working with your hands, engaging in anti-ordinary hobbies, and connecting with the earth is second nature. We thought, why not work with Tasmanian tourism operators to offer Aussies some seriously Odd Jobs?
 
“Whether it’s breathing in the fresh Tassie air while walking George the wombat, getting in touch with your spidey senses while investigating paranormal activity, or living your train-spotting dreams, one of Tasmania’s Odd Jobs could be just the thing you need to reconnect this winter.”
 
Sherie Meka, precision manager at Starcom, added: “Our role was to drive awareness of the campaign, maximising the amplification of the unique digital video content featuring the campaign ambassador, Josh Thomas.
 
“We’ve used a mix of social platforms, Meta to drive scale, but also LinkedIn to promote the ‘Odd Jobs’ amongst professionals that may be in need of a break from the usual 9-5. The campaign will also run across digital audio and podcasts in partnership with ARN.”

Australians can apply for one of 10 hands-on, uniquely Tasmanian Odd Jobs until 8 July via the Discover Tasmania website.

Each successful applicant receives travel, accommodation, and a local artisanal goods.

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Top image: Josh Thomas

Binge has partnered with Mindshare and oOh!media’s POLY to launch season two of House of the Dragon by ‘burning’ a billboard. 

The billboard at Taylor Square in Sydney is ‘burned’ by a dragon using CGI technology.

The creative concept features several Australian landmarks “raising their banners to pledge their allegiance” to the duelling factions in the series—Team Green and Team Black. A dragon then breathes fire on the billboard, with the creative changing to appear scorched.

Fiona King, Binge marketing director, said: “The Binge brand is all about entertainment, storytelling and getting people talking. With the launch of House of the Dragon season 2, we had an incredible opportunity to fuse fantasy with reality in an innovative and creative way that aligns with what our brand is all about.

“Using CGI technology to fly a dragon in over the city landscape and breathe fire onto a billboard about the show is the perfect way to capitalise on this.”

Rob Delaney, creative strategist at POLY, added: “Out of home storytelling, much like House of the Dragon itself, is rich, multifaceted and provides a canvas for continued creativity and innovation. With faux OOH advertising gaining global traction, we’ve taken it to the next level and created a new concept, combining CGI and an OOH special build to drive audience interaction and engagement across physical and digital environments.

“This has been a true collaboration between Binge, Mindshare, and POLY, and we can’t wait to see the reaction to virtual dragons flying over Sydney and interacting with our Taylor Square site.”

The House of the Dragon ad campaign is live across TV, OOH, transit, retail, social, and digital.

As part of the broader marketing campaign, the streaming service will also reveal CGI banners dropping from iconic landmarks across Australia as part of a global activation where cities pledge their allegiance to the green or black councils.

“Over the past year, we have seen faux-OOH executions take the internet by storm,” Sarah Newcombe, group planning director at Mindshare, said.

“Now we’re delighted to bring this concept one step further, taking it beyond the social media feed and onto the streets of Sydney with a real-life creative swap after the CGI event – a concept dubbed ‘faux-real OOH’ which we love.”

Binge has also worked with Bunsters Worldwide to create limited edition hot sauce – one green and one black. Other activations as part of the marketing campaign include a special fan screening event at the IMAX Melbourne theatre, custom made House of the Dragon branded wines thanks to Treasury Wines, and special Fox Sports integrations.

King added: “The biggest show in the world is back and through our noisy unmissable marketing campaign, we’re leaning into the major plotlines of the show to get people talking.”

It’s probably fair to say not many Mediaweek readers know too much about Megan Burslem and ABC Classic breakfast.

In a year where Kyle and Jackie O have been a focus as they move into other markets, Burslem broadcasts live on ABC Classic from 6am until 10am nationally five days a week.

She’s adding a TV hosting role to her CV next week as she co-presents Classic 100 in Concert on June 29.

For her radio show, Burslem arrives around 5.30am at the ABC Melbourne studios, next door to where Patricia Karvelas host RN Breakfast. The ABC Classic breakfast team includes Burlsem, a producer and a music programmer.

It’s a very different product, of course, to all commercial radio breakfast shows – AM and FM. The obvious – there are no ads – except for ABC promos. There is more music than possibly any other breakfast radio station. Monday’s show included 36 separate pieces. All are lovingly detailed and time-coded for listeners to the podcast.

After listening to lots of commercial radio breakfast shows, it seems a very gentle way to wake up.

Burslem (top, centre) with the rest of the 2024 ABC Classic family

How big an audience does Classic FM have?

Over 300,000 every morning in metro markets only plus the audience listening to the podcast. The station ABC Classic has a metro audience of 769,000 with close to 300,000 in Sydney and over 200,000 in Melbourne.
Source: GfK Survey 3, 2024.

What’s on in ABC Classic Breakfast

After the 6am ABC News, Megan Burslem takes control of the mic for 3 hours and 54 minutes every weekday morning. And it’s live. “We’re there with you every morning,” she replied to Mediaweek when asked if there was much radio trickery involved. “Only on a special occasion,” she added, perhaps an interview or performance prerecord.

There’s news every hour plus breakfast staples like traffic and weather. Every state gets a local news bulletin.

The demand for traffic updates indicates many of the audience are commuters. “A lot of people are on the move at that time of day, moving from home to work, and they’re commuting with us using the ABC Listen app.

“Our biggest audience seems to be working parents and we’re part of their morning routine. We’re providing them a calming environment, moments of clarity for families.”

The breakfast podcast is the way some listen. Burslem was quick to point out the Classic brand offers more than just her own program: “ABC Classic has a range of podcasts that are really interesting. We’ve got short ones, we’ve got longer ones, we’ve got musical shows, film music, game music.

“In addition to key programs like Breakfast and Drive, we have Passenger, which is a program that takes you to different musical cultures around the world.”

Burslem plays a range of composers who are household names. But also a mix of what some might call more obscure delights. Plus a huge range of Australian contemporary music.

“Breakfast is about having fun. So we play Scottish reels and we play Swedish folk song and all sorts of music that is maybe not what you think of when you hear the term classical.”

There is plenty of live audience feedback each morning via a text line.

How do you score a gig hosting on ABC Classic?

Dr Burslem explained: “I was doing a PhD in musicology. I was a classically trained viola player. I thought I don’t want to do this. I don’t want to be a classical musician. It’s not for me.

“A friend of mine suggested I should be on radio. I kind of laughed him off.

“Eventually I thought, that’s a good idea. I emailed ABC Classic and asked, are you looking for anyone? And they said, yeah, we are.

“A few weeks later, I was on air. I started on night music, which is our overnight program.

“That lasted for around three months. I moved around for a few shows. I spent two years at ABC Jazz presenting mornings. Then it was back on to drive for a year on Classic.”

Burslem has been hosting ABC Classic breakfast since the start of 2023.

See also: ABC appoints ARN’s Emily Copeland as head of music across six platforms

ABC Classic 100 2024 infographic

What’s the Classic 100?

Since 2001, the ABC’s Classic 100 poll has asked listeners to vote for the music they love, and then counted down the results over one dedicated weekend.

For the 2024 poll, 120,231 votes were cast in Australia’s biggest classical music poll. From classical music for the stage to music for the screen, there were votes cast for a total of 899 individual works.

The ABC reported more women than men voted in 2024 – 61% – with another 35% of voters being male. There was 4% self-describing as non-binary or preferring not to say.

The majority of voters said they were 65 or older, but people of all ages voted. ABC Classic noted the music of Bluey has been building a new generation of classical music fans.

The Classic 100 archive across the years. They have an impressive graphic design studio.

Classic 100 Concert on ABC TV

Burslem explained: “For the past two years ABC Classic has staged a concert with the Melbourne Symphony Orchestra performing the works that people voted for and featuring the instruments that people voted for.

“This year, the theme was Feel Good. It was all about music that makes you feel good, which is uplifting anthems, all those kinds of things.

“The Melbourne Symphony Orchestra is performing live a TV broadcast with conductor Ben Northey.”

The Classic 100 in Concert, premieres Saturday, June 29th at 7:30pm, on ABC TV. It is also being live-streamed on ABC iview and simulcast on ABC Classic.

Co-presenting the special with Megan Burslem is Jeremy Fernandez.

Avid Collective has revealed a new structure for its senior executive team, with founder Luke Spano moving from MD to CEO.

Commercial director Ezechiel Ritchie has also been elevated to the newly-created role of general manager.

Under the new structure, Spano will shift the majority of his focus to strategy, international expansion, and new business.

“This new structure allows both Ezechiel and I to divide and conquer in achieving Avid’s short and mid-term growth goals, while also giving increased focus to the long-term growth opportunities for Avid,” Spano said.

“This evolved operational structure gives us the best chance of expanding, and Ezechiel’s promotion will help us step into the next phase of our growth. We’ll do that through larger commercial partnerships and a more sophisticated internal structure
– both of which Ezechiel is best placed to lead, given his extensive experience leading high-growth businesses.”

Ritchie will lead the day-to-day business operations across all functions, and manage all larger commercial partnership discussions with brands and agencies. He will continue to report to Spano.

“It’s a very exciting time to be at Avid, as we continue with our mission to make advertising an interesting and engaging part of our lives, enhancing our experience, rather than interrupting it,” Ritchie said.

“The impact of our innovation over the past two years is reflected in our company’s remarkable growth and I’m thrilled to be able to support the team to continue this growth trajectory over the years to come.”

Ritchie joined the team in November last year, following senior leadership stints at Jellysmack, Taboola and Google.

“The impact he’s already had in his first six months at Avid has been extremely valuable, and I’m excited to see how he continues to elevate from a more central place within our business,” Spano added.

“Avid has recorded incredible growth over the past year and we’re now in an exciting position to be able to focus on bigger opportunities. We have a real chance to be a global business, on the back of our best-in-market native content solution but achieving that requires deeper focus. These structural changes are designed to support our aggressive growth plans and get the most out of our talent.”

The new structure follows the appointment of Niki Jones as head of operations and enablement, Rob Ewing as head of agency partnerships, and former commercial director Tom Gunter’s move into the product and solutions director role.

Amy McCarthy has been appointed as executive producer of Nine’s A Current Affair, following the promotion of Fiona Dear, who is now the network’s director of news and current affairs.

McCarthy has been the EP of daytime news in the Sydney newsroom for the past decade, where she lead the 9News live coverage of news events locally and globally including live coverage of the Black Summer bushfires, the NSW floods, and the COVID-19 pandemic.

“A Current Affair has never been stronger, and Amy’s appointment comes at an exciting time as we aim to grow our audience by embracing new ideas and innovative approaches,” Dear said.

“Amy is a natural leader known for her creativity, mentorship, and collaborative spirit. She has a unique talent for storytelling and an unwavering commitment to journalistic integrity.

“Amy’s leadership style is defined by her ability to bring out the best in her team, her willingness to seek assistance when needed, and her dedication to mentoring junior staff while collaborating with senior colleagues.

“Her vision aligns perfectly with A Current Affair’s goals of not only maintaining its strong identity and loyal viewership but also expanding its reach and transforming into a dynamic, multi-platform program.”

McCarthy added: “I am so proud to be part of the ACA team. As a journalist, this show is as good as it gets – the incredible team find and tell stories that speak for Australia and hit the heart. It’s a big next step for me but I’m so ready for the challenge.”

In her new role, Dear oversees the roster of Channel Nine programs, from the 6pm news bulletins, breaking news teams, Today, A Current Affair, and 60 Minutes.

Before Dear’s promotion, rival Seven promoted Chris Salter to Melbourne news director, replacing veteran Shaun Menegola. Salter will report to newly-appointed editor-in-chief and director of news and current affairs Anthony De Ceglie.

See also: Nine promotes Fiona Dear to director of news and current affairs

Linkby, the ad tech start up led by Pedestrian co-founder Chris Wirasinha, has successfully raised an $4m in a Series A round. 

This round was led by investors Perennial Private Investments, which has previously backed the likes of Koala, Instant Scripts, and Spriggy.

OIF Ventures, which led Linkby’s Seed round, followed on with an investment two times its pro-rata rights.

The Series A raise will enable Linkby to continue to grow its global teams across North America, the UK and Australia – which, after a recent flurry of key hires, now puts the team at 60+ – as well as supercharging its product roadmap.

Wirasinha said the raise is a testament to the hard work the team at Linkby has put in over the last four years.

“We’ve seen our markets in the US and UK grow to account for more than 80% of our total revenue, while using Australia as a testing ground for new launches,” he said.

“That includes our ‘Pubfeed’ product, which is now powering the infinite scroll experience across 50 global websites on both a CPM and CPC basis. We’re pumped to work with a huge range of brands from Aesop and Fenty to ALDI and Disney+ and are excited to ship product faster, scale our teams and expand further into international markets.”

Linkby’s platform is now used by more than 1,500 brands to create advertising campaigns across a global network of over 250 premium publishers, newsletters, and creators.

Ryan Sohn, co-founder and portfolio manager at Perennial Private Investments, said Linkby’s global footprint position is evidence of the positive impact the company is delivering for brands.

“Their platform takes a process that previously could take months and allows brands to do it in minutes, driving trust, awareness and performance,” he said.

“It’s rare for an Australian start-up to have achieved product market fit across the US and UK so rapidly and we’re thrilled to be partnering with Linkby to help them keep scaling and turn ‘Linkby’ into a verb!”

Jerry Stesel, co-founder and general partner at OIF Ventures, added: “We first partnered with Chris, Adrian and Andrew and the entire Linkby team in 2021 and we are thrilled to be backing them again on their next stage of growth.

“They are incredible operators and continue to impress us as they build a world-class team and product. We believe the team’s vision for transforming and redefining the way advertisers and brands partner with premium audience owners around the world will take Linkby to new heights.”

Recently, Wirasinha told Mediaweek “we’re learning so much from how to raise money from venture capital investors to how to grow internationally.”

He also explained that the US and UK are key markets for the start-up.

“Linkby’s two biggest markets are the US and UK respectively, so experiencing how to operate in new markets with their own distinct cultures has been an exciting part of the journey.

“The US market is our largest and accounts for half of the revenue of the business. We’re working closely with some of the biggest content creators in the world from the likes of USA Today in publishing to Morning Brew in newsletters.”

See also: Linkby’s Chris Wirasinha on his experience as a second-time founder

Vinyl Group, which owns The Brag Media, has successfully completed the institutional component of its Institutional Entitlement Offer and raised $3.29 million before transaction costs.

A Retail Entitlement Offer, which is fully underwritten and will open on Wednesday 19 June, will raise the remaining $2.12 million.

Josh Simons, CEO and executive director of Vinyl Group, told the ASX: “We are emboldened by the results of the institutional component of the Entitlement Offer as we move on to the retail component for all eligible shareholders.

“We will be able to start the new financial year on strong footing to focus on our key growth activities.”

The company told the ASX: “New shares that will be issued under the Institutional Entitlement Offer will rank equally with existing fully paid ordinary shares.”

It also noted that the “settlement of New Shares” will happen on Wednesday 19 June, with new shares to be allotted on Thursday 20 June.

Last week, Vinyl Group said it was looking to drive growth as the business pushed towards a $5.4 million accelerated entitlement offer.

The offer is a 1-for-17 offer of new fully paid ordinary shares at $0.098 per new share – meaning that eligible existing shareholders will be able to subscribe for one new share for every 17 shares held, as the company works to raise proceeds of approximately $5.4 million, up $5.15 million.

The offer is fully underwritten by Peloton Capital and Red Leaf Securities. Backing the company are CEO of WiseTech Global, Richard White, executive chairman of Soul Patts, Robert Millner, executive director and CEO of Vinyl Group, Josh Simons, and non executive director Ken Gaunt who have indicated that they will commit $2.4 million through taking up the entitlement and shortfall offer.

At the time, Vinyl Group told the ASX it will look to use the funds to “accelerate user acquisition efforts on its Vinyl and Vampr platforms,” and to “reduce technology costs of the Jaxsta platform” as well as growing the company’s media business, The Brag Media. It has paused trading until the transaction is finalised.

The move comes after Luke Girgis left The Brag Media – owned by Vinyl Group – earlier this month. The publisher and managing director exited six months after he sold the business to Vinyl Group in a $10m deal: $8 million cash, plus a further $2 million in cash or stock based on financial performance.

Vinyl Group announced the leadership change, which it said followed a “thorough review of The Brag Media.” Jessica Hunter has been promoted to head of The Brag Media, and Lars Brandle promoted to head of content. Poppy Reid remains editor-in-chief.

–

Top image: Josh Simons

Nova Entertainment has promoted Josh Halling to the role of group commercial director, responsible for the direct and independent agency channels.

Halling, who was previously Nova Entertainment Sydney’s commercial director, will now report to Nova’s chief commercial officer, Nicole Bence.

In this new group commercial role, he will lead Nova’s Sydney and Melbourne direct and independent agency teams to drive and execute national strategic initiatives.

Halling brings 20 years of commercial radio expertise across multiple networks to the role, including 12 years with Nova Entertainment, where he has held multiple senior roles across the commercial team.

“Josh’s promotion reflects Nova’s continued commitment to investing in our all-of-audio sales team,” Bence said of Halling’s appointment.

“His credentials are second to none, and with over two decades of experience in commercial radio, I’m confident Josh will play a critical role in driving the outcomes necessary for us to lead the market.”
 
To further build credentials in this space, Nova Entertainment has signed a three-year partnership with Boost Media International to maximise its exposure to the significant number of advertisers not currently taking advantage of audio as a performance marketing channel.
 
This three-year deal with Boost is an Australian audio exclusive partnership and marks a significant step in Nova’s ongoing commitment to being its clients’ performance partner in audio, the business said.
 
“Clients no longer buy airtime or commercials, they buy outcomes,” Halling said of the new partnership with Boost Media International.
 
“We’re excited to work with Boost, who understand the importance of results for advertisers, and the potential of audio in delivering those results.”

In April, Mindshare won Nova’s media account following a competitive tender process. The incumbent, Carat, had worked with the brand 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.”

The partnership with the GroupM agency commenced at the start of the month, with the first work slated for Q3.

See also: ‘It was the right time for us’: Nova hands media account to GroupM’s Mindshare

–
 
Top image: Josh Halling

The Australian government has launched the fifth phase of its domestic violence prevention campaign, Stop it at the Start, to teach adults about the hidden trends of disrespect in young people’s online and offline worlds – so they can help them navigate it.

Created by BMF in collaboration with the Department of Social Services, the integrated national behaviour change campaign will roll out across TV, cinema, online, social, and digital.

As part of the campaign, the Department of Social Services has launched the ‘Algorithm of Disrespect™️’, an interactive educational tool which simulates the average young Australian’s online experiences and interactions.

The virtual experience highlights examples of the influences and influencers, and array of content and conversations, which often populate social media feeds.

Directing people to the ‘Algorithm of Disrespect™️’, the launch films follow the journey of one young person as they try to navigate a world of disrespect alone. Depicted through a dramatised online world, the films show how it’s easy for kids to find themselves led astray when navigating the hidden trends of disrespect.

Initially launched in April 2016, Stop it at the Start is a long-term multi phase campaign which is aimed at influencers of young people and aims to address the seed of violence – disrespectful behaviour.

Jessica Sutanto, planning director at BMF, said while domestic violence requires holistic, system change at every level, every phase of Stop it at the Start has been a step toward driving long-term change.

“From getting people to recognise how the seeds of disrespect can grow into violence, to highlighting our role in perpetuating that, to encouraging intervention in an instance of disrespect, to moving to prevention by showing the benefits of having conversations about respect, phase five is now about showing parents and influencers of children how to uncover hidden conversations about disrespect before they cause harm,” she said.

Last week, BMF launched work for the Australian government aimed at encouraging Australians to give up vaping and smoking.

Credits:

Client: Department of Social Services
Branch Manager, Campaigns and Strategic Communication: Mardi Stewart
Director, Campaigns: Kristy Breugelmans
Co-Campaign Manager: Eleni Carrejo
Co-Campaign Manager: Sarah Beckfaunt
Campaign Officer: Liam Walford
Campaign Officer: Parissa Sabet
Campaign Officer: Helina Tran

Creative Agency: BMF
Chief Creative Officer: Alex Derwin
Chief Innovation Officer and Executive Creative Director : Tara McKenty
Associate Creative Director & Innovation Lead: Kiah Nicolas
Senior Copywriter: Nathan Pashley
Head of Art & Design: Lincoln Grice
Chief Strategy Officer: Christina Aventi
Planning Director: Jessica Sutanto
Chief Executive Officer: Stephen McArdle
General Manager: Richard Woods
Group Account Director: Victoria Venardos
Senior Account Manager: Anja Cherry
Head of TV: Jenny Lee-Archer
Senior Agency Producer: Emma Friend
Head of Creative Services & Integrated Production: Simone Takasaki
Creative Services Director: Clare Yardley
Senior Content Producer: Holly Whiteley
Director: Al Moore
Editor: Al Moore, Jeni Rohwer
Digital Lead: Sam Elliott
Digital Producer: Haydon Fanning
UI/UX Designer: Janet Tyler
Front-end Developer: Blake Kus

Digital Agency: Orchard
Director: Joel Kefali

Production Company: Good Oil

Edit: Arc

Sound: Otis Studios, Rumble Studios, Beatworms

Slingshot and The Works, part of Capgemini, have unveiled an integrated campaign with VitaPet to launch new dog food, Food4Life.

The creative, developed by The Works, captures the many silhouettes and personalities pets show at different ages, while their pet food stays with them for life.

Slingshot and VitaPet partnered with Nine, which is creating and amplifying content across their entire network to build a relationship with pet parents.

The centrepiece of the Nine campaign is a four-part TV series hosted by David Campbell, featuring celebrity guests and dog owners Paul Gallen, 2023 The Block winners Stef and Gian, Ruan Simms and Belinda Russel.

The show sets out to uncover how dogs have an ability to make people better humans. Dogs4Life launched on Saturday 1 June and will run across Nine and 9Now.

“VitaPet is a leader in natural treats and a brand loved by pets and their owners. Launching a high quality dog food in grocery was a natural next step,” Damien Pincus, creative partner and founder at The Works, said.

“VitaPet Food4Life is a brilliant innovation in the category and we’re excited to approach the launch in a different way. Working with Nine has created a fruitful partnership for the brand.”

To align with the creative and emotive nature of the pet food category, Slingshot developed an integrated media approach building awareness and connection across TV, BVOD, OOH, branded content, and social media.

The campaign creates new moments of connection between pet parents and VitaPet through media, as well as meeting dogs and their owners in moments where they are connecting but no media formats exist.

To achieve this, Slingshot sent out roaming billboards to key dog walking and play areas across the eastern seaboard.

Simon Corbett, CIO and founder at Slingshot, said: “We love working with clients who lead their category with innovative thinking and VitaPet’s Food4Life is a great example of that.

“We are extremely proud of the great collaborative effort behind the scenes to bring this campaign to life and are excited to share it with Australian dog owners.”

Credits:

Client: Masterpet
Head of Marketing: Aaron Chillingworth
Digital Marketing Manager: James Dowe
Brand Manager: Meredith Howe

Media Agency: Slingshot
CIO, Founder: Simon Corbett
Head of Strategy: Molly Blacker
Group Business Director: Brittany Cooper
Business Director: Taylor Kanty
Implementation Planner: Madeleine Weinstein
Media Assistant: Saxon Phillips

Creative Agency: The Works
Creative Partner: Damian Pincus
Art Director: Jackson Tate
Copywriter: Cameron Burnett
Strategy: Daniel Pankraz
Creative Project Lead: Millie-Mae Twort
Creative Project Manager: Sarah Warner
Director: Simon Kelly
Producer: Fabiana De Abreu

Production company: Colour Sock

Media partners:
Nine
oOh!media
Street Fighter Media
Yahoo

IAB Australia has urged the Australian advertising industry to take Made for Advertising (MFA) sites more seriously and work collaboratively to minimise ad spend on these sites and with any associated participants.

To help with understanding the issue, the IAB Executive Tech Council has issued a Made for Advertising guidance paper with clear definitions and recommendations.

The guidance paper describes MFAs as a blatant waste of investment for brands that expose their ad campaigns to such sites, and says that MFAs are harmful for publishers that invest resources into quality content. It also noted MFAs result in poor consumer experiences, which erodes trust in the industry.

Jonas Jaanimagi, IAB Australia’s tech lead, said: “Our goal with this document is to support each part of the ecosystem with guidance that will not only reduce exposure to MFA sites – but as a direct consequence, reduce wastage, benefit genuine publishers, ameliorate consumer experiences online, and ultimately improve both campaign performance and advertising ROI.

“Our guidance is not exhaustive, but we highly recommend that buyers, sellers and vendors review and consider these recommendations. We welcome feedback from all on our guidance.”

IAB has indicated that it will be providing additional information later this year and has invited industry participants to provide case studies, analytics-based insights, or further recommendations.

MFA sites are built on catchy headlines, clickbait, and controversial content to drive traffic and ad revenue.

IAB said that MFA sites are not always sources of fraudulent inventory, however, once a brand’s campaign gets stuck in the world of MFA, it leads to wasted ad spend.  

Media quality concerns regarding MFA websites are increasingly significant for advertisers. In June 2023, the ANA released a report indicating that 21% of impressions and 15% of spending via programmatic buying were wasted on MFA sites.

These websites typically rely on attention-grabbing headlines, clickbait, and controversial content to boost page views and ad revenue. MFA sites often provide substandard content and employ tactics such as pop-up ads, auto-play videos, and other intrusive advertising methods to maximise revenue.

–

Top image: Jonas Jaanimagi

Comedian and presenter Luka Muller will join triple j Breakfast with Concetta Caristo from Monday, 1 July, as Bryce Mills moves to triple j Lunch with co-host Dave Woodhead.

Muller is a comedian, writer, presenter and podcaster who has performed at comedy festivals in Australia and across the world, all while holding down his triple j Weekend Arvos gig alongside Jordan Barr.

“I can’t even begin to process how excited I am to join triple j Breakfast,” he said.

“I’ve been tuning into the station since I was 10-years-old. Listening to the Breakfast show on my way to high school shaped my taste in music and introduced me to the idea of becoming a comedian, which has shaped my entire life ever since. Oh God, even saying that out loud, I’m getting overwhelmed.

“I’ve been friends with Concetta for years, before either of us worked at triple j, so joining her is huge. I can’t wait to do heaps of fun stuff together and hope to connect with triple j listeners in the same way I felt connected with the station as a teenager.”

Bryce Mills will leave the breakfast show on Friday 21 June, and will join Woodhead on the lunch show.

Speaking of the move, Mills added: “triple j Breakfast was the dictionary definition of a dream job for me. I’d lie in my bed in high school, stare at the roof and imagine myself one day doing the things I’ve been privileged enough to do over the last three and a half years.

“I’m so thankful to our listeners who have shared their deepest, darkest and weirdest stories and secrets with us every morning.

“When triple j came to me with the opportunity to start something brand new with my mate Dave Woodhead, I did a lot of reflecting and figured that now was the perfect time. I’ve left no stone unturned on Breakfast, and now I get to help launch a brand new Lunch show that hasn’t existed before. The chance to have a normal circadian rhythm again is honestly just a bonus at this point.”

Caristo and Muller will host triple j Breakfast on weekdays from 6am – 9am from 1 July. Lunch with Dave & Bryce will be on weekdays from 12pm to 3:30pm starting Monday 8 July.

In the most recent radio ratings survey, triple j held a 3.3% share in Sydney, and a 2.5% share in the breakfast slot. In Melbourne, it fared worse, with a 2.5% share overall and 1.9% in breakfast.

Paper + Spark has been appointed the brand strategy and communications partner for Australian hospitality group, Al Aseel.

Lebanese restaurant chain Al Aseel was founded in 2002. It has seven restaurant locations across Sydney, including the recently unveiled 300-seat venue at Accor Stadium.

Paul Everson

Paper + Spark will develop the overarching brand strategy and creative direction to elevate awareness and affinity for the Al Aseel Food Services business and its sub-brands. The creative communications and marketing consultancy’s remit spans above and below-the-line advertising, digital and social marketing, public relations, and partnership activations.  

“We are thrilled to have been chosen to work with Al Aseel on their next stage of growth. As business and communications partners, we look forward to working with the team to bring their vision and ambitions to life,” Paul Everson, chief growth officer at Paper + Spark,  said.

“This appointment is testament to our team’s dedication, creativity, and strategic expertise. And as a bonus, we are obsessed with Al Aseel’s food.”

Anna Edwards

The partnership is already underway, and Anna Edwards, head of marketing, said the agency has already “made a tremendous impact on our business in just a few short months.”

“We are incredibly impressed by their strategic lens, creative firepower and can-do attitude, especially in our fast-paced hospitality industry. They have developed a solid brand strategy for our next phase of growth that we look forward to unveiling in due course,” Edwards said.

She added: “We are a business on a huge growth trajectory, and we needed a partner that could support our vision and ambitions while guiding us across both business and communications strategies.”
 
See also: Paper + Spark ranks seventh on the AFR BOSS Best Places to Work list

Neon Black has been picked as Sydney Markets’ PR agency, tasked with spearheading strategic communications activity across its suite of brands.

Those brands include the Growers Market, Produce Market, Sydney Flower Market, Paddy’s Markets, Fresh for Kids, and The Fresh Awards.

The creative communications agency specialises in PR and media relations, events, social media, marketing, and creative.

Ned Tesic, PR and brand manager at Sydney Markets, said: “We’re excited to announce the appointment of Neon Black as our new PR agency.

“Their expertise across food, hospitality, and agriculture, combined with their innovative approach to storytelling, resonated deeply with us. We look forward to collaborating with them to further elevate our brand presence.”

Soraya Calavassy, director and co-founder of Neon Black, added: “We instantly connected to Sydney Markets and its mission. Sydney Markets isn’t just a market; it’s a vital link connecting growers, wholesalers, and consumers. It’s a place where stories of dedication and passion unfold daily, influencing millions of lives across NSW and ACT.

“We are excited to utilise our extensive experience in adjacent industries to continue to earn the trust of media and consumers through the power of PR, amplifying the essence of Sydney Markets and unveiling its rich tapestry of traditions and stories to a broader audience.

“Whether you’re perusing the flower market, sifting through produce at the wholesale market, or checking out the many delights you can unearth at Paddy’s Markets, the fabric of Sydney Markets is incredibly rich and is filled with generations of fascinating people and their stories ripe to be shared with Australians.”

Neon Black’s portfolio spans food, entertainment, technology, education, beauty and lifestyle, entertainment, early education, technology and marketing. The agency also represents brands such as BritBox, Sukin, Rakuten Kobo, Gozney, and MindChamps.

TOP 5

1. Inside Out 2 – $8,338,490 (debut)

Disney/Pixar’s Inside Out 2 opens with the second biggest debut of the year, falling a touch short to Dune: Part Two’s $8,610,408 debut in March. The film introduces a new array of emotions for a now-teenage Riley, including Anxiety voiced by Maya Hawke and Envy, voiced by Ayo Edebiri. Coming in first place this week, Inside Out 2 took $8,338,490 in its first week, averaging $12,731 over 655 screens.

Synopsis: Joy, Sadness, Anger, Fear and Disgust have been running a successful operation by all accounts. However, when Anxiety shows up, they aren’t sure how to feel.

2. Bad Boys: Ride or Die – $2,472,533 (1)

The new film in the Bad Boys franchise is directed by Adil and Bilall, who are rumoured to be in talks with Marvel to direct the upcoming fourth Spider-Man film, starring Tom Holland. Coming in second place this week, Bad Boys: Ride or Die took $2,472,533 in its second week, averaging $4,995 over 495 screens.

Total Australian Box Office gross to date: $8,049,986

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

3. The Garfield Movie – $833,753 (2)

Sony’s newest iteration of the Monday-hating, lasagna-loving cat is voiced by Chris Pratt, who is now known as Garfield, Star-Lord in the MCU, and the voice of Mario in the Super Mario animated films. Coming in third place this week, The Garfield Movie took $833,753 in its third week, averaging $2,259 over 369 screens.

Total Australian Box Office gross to date: $7,344,980

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

4. Furiosa: A Mad Max Saga – $541,578 (3)

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

Coming in fourth place this week, Furiosa: A Mad Max Saga took $541,578 in its fourth week, averaging $1,764 over 307 screens.

Total Australian Box Office gross to date: $9,201,760

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

5. IF – $330,735 (4)

Actor and Director John Krasinski is taking off his horror (A Quiet Place) directing cap and putting on his family/comedic directing cap with Paramount’s IF. The film took $330,735 in its fifth week, averaging $1,160 over 285 screens.

Total Australian Box Office gross to date: $8,609,593

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

Top 6 – 10

6. The Exorcism
7. Kingdom of the Planet of the Apes
8. The Watchers
9. The Fall Guy
10. The Way, My Way

Sunday 16 June 2024: VOZ Total TV Ratings Overnight Top 30 – Programs ranked on reach

Total People TV Ratings

Nine’s Travel Guides recorded a total TV national reach of 2,142,000, a total TV national audience of 1,150,000, and a BVOD audience of 98,000.

Nine’s NRL – Knights v Panthers recorded a total TV national reach of 1,238,000, a total TV national audience of 442,000, and a BVOD audience of 47,000.

Seven’s Dream Home recorded a total TV national reach of 1,876,000, a total TV national audience of 788,000, and a BVOD audience of 51,000.

Also on Seven, 7NEWS Spotlight recorded a total TV national reach of 1,142,000, a total TV national audience of 526,000, and a BVOD audience of 25,000.

10’s airing of MasterChef Australia recorded a total TV national reach of 1,156,000, a total TV national audience of 649,000, and a BVOD audience of 58,000.

See also: TV Report 16 June 2024: Jarome Luai leads Panthers to victory against Knights in Newcastle

People 25-54

Nine’s Travel Guides:
• Total TV nation reach: 725,000
• National Audience: 405,000
• BVOD Audience: 54,000

Nine’s NRL – Knights v Panthers:
• Total TV nation reach: 399,000
• National Audience: 140,000
• BVOD Audience: 28,000

10’s MasterChef:
• Total TV nation reach: 442,000
• National Audience: 242,000 
• BVOD Audience: 32,000

Seven’s Dream Home:
• Total TV nation reach: 570,000
• National Audience: 242,000
• BVOD Audience: 29,000

Seven’s 7NEWS Spotlight:
• Total TV nation reach: 340,000
• National Audience: 148,000
• BVOD Audience: 14,000

People 16-39

Nine’s Travel Guides:
• Total TV nation reach: 261,000
• National Audience: 141,000
• BVOD Audience: 25,000

Nine’s NRL – Knights v Panthers:
• Total TV nation reach: 192,000
• National Audience: 67,000
• BVOD Audience: 17,000

10’s MasterChef:
• Total TV nation reach: 177,000
• National Audience: 99,000 
• BVOD Audience: 18,000

Seven’s Dream Home:
• Total TV nation reach: 220,000
• National Audience: 94,000
• BVOD Audience: 14,000

Seven’s 7NEWS Spotlight:
• Total TV nation reach: 107,000
• National Audience: 39,000
• BVOD Audience: 7,000

Grocery Shoppers 18+

Nine’s Travel Guides:
• Total TV nation reach: 1,623,000
• National Audience: 883,000
• BVOD Audience: 79,000

Nine’s NRL – Knights v Panthers:
• Total TV nation reach: 938,000
• National Audience: 335,000
• BVOD Audience: 36,000

10’s MasterChef:
• Total TV nation reach: 914,000
• National Audience: 518,000 
• BVOD Audience: 47,000

Seven’s Dream Home:
• Total TV nation reach: 1,439,000
• National Audience: 616,000
• BVOD Audience: 41,000

Seven’s 7NEWS Spotlight:
• Total TV nation reach: 906,000
• National Audience: 425,000
• BVOD Audience: 20,000

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 17 June 2024:

Nine TV Report

Do You Want To Live Forever

Nine’s evening began with the premiere of Tracy Grimshaw’s new show, Do You Want To Live Forever.

Hosts Grimshaw and Dr Nick Coatsworth lead viewers on a quest for longevity. The program met 8 everyday Australians who embark on a 12-week experiment to see if they can wind back their body clocks and add years.

A Current Affair

Over on A Current Affair, the program met a doctor who has inherited $24 million of a terminally ill patient’s estate and met with residents who are outraged as dumpers use private property as a local tip.

Seven TV Report

Dream Home

On Seven, Dream Home saw Lara give Taeler a taste of her own medicine with a revenge shop that dims the lights on Taeler.

Home and Away

Before Dream Home was Home and Away as Mali discovered the truth about Iluka, Kirby’s date goes cold on her and Bronte steps up her manipulation.

10 TV Report

The Project

The Project on 10 reported on protests as the Chinese Premier met Anthony Albanese, spoke to Ariarne Titmus on going to her second Olympics and also spoke to stars of the new Despicable Me film Will Ferrell, Kristen Wiig and Steve Carell.

MasterChef Australia

On 10’s MasterChef, the mega Mystery Box of the episode included the most ingredients ever as the cooks had just 30 minutes to pull of a winning dish, with the bottom three sending their makers into a pressure test.

Have You Been Paying Attention?

Have You Been Paying Attention saw Marty Sheargold, Melanie Bracewell, Alex Ward, Ed Kavalee and Sam Pang all compete to see who’s been paying attention the most with host Tom Gleisner and special guest quizmaster Mariafe Artacho del Solar.

ABC

7:30

On 7:30, Sarah Ferguson interviewed Liberal Senator James Paterson and Britain’s second-largest city is so far in debt it’s struggling to keep streetlights on.

SBS

Amazing Railway Adventures Nick Knowles

From the Viking capital of Trondheim, through tree-lined fjords and snow-capped mountain scenery, Nick Knowles travels north through pretty Mosjoen with its brightly painted wooden waterfront houses to the coastal city of Bodo.