The Association for Data-Driven Marketing and Advertising (ADMA) welcomed Australia’s marketing elite to Sydney’s Sofitel Sydney Wentworth for its annual Global Forum.

This year’s theme was ‘Elevate for the Future’ and brought in local and international speakers to share valuable insights, interesting case studies, thought-provoking ideas and outlooks for the industry with Holly Ransom, founder and CEO of Emergent, as master of ceremonies for the day.

Check out Mediaweek’s recap of the ADMA Global Forum highlights below.

Andrea Martens – “No one says what is ahead is easy, but it is an opportunity for marketers to reset”

Andrea Martens, ADMA CEO, opened the day by reflecting on two challenges looming over the industry, Regulatory Reform and the Capability Crisis, and how ADMA aims to “reimagine and enable the marketing industry of the future, with data at its core.”

She also reflected on the theme ‘Elevate for the Future’ and said: “It’s more than just adapting; it’s about leading the charge in positively transforming our industry.

“Elevate means making conscious choices, knowing how to prioritise what will deliver the best for our teams, our companies and the communities we serve.

“To me personally – elevate materialises when there is a level of confidence that risk has been mitigated, within the frameworks we operate and the team’s we build; when optimisation isn’t just clear but it’s understood and innovation unfurls! It’s a great feeling – but it takes serious work.”

“No one says what is ahead is easy, but it is an opportunity for marketers to reset and Elevate our discipline at every level within the business and across the industry,” she added.

Andrea Martens

Tom Goodwin – “It’s only when you really rethink your job that things profoundly change”

Tom Goodwin, industry leader and co-founder of innovation consultancy All We Have Is Now, centered his presentation around the rapidly evolving landscape of business and technology, with a focus on prioritizing customer-centricity in marketing. 

He emphasised the importance of focusing on small changes that matter, while also highlighting the need for a more strategic approach to digital marketing. He suggested actions such as marketers experimenting more with AI technologies to better understand capabilities and limitations, while also having honest conversations about which metrics actually matter versus vanity metric being optimized for. 

He told ADMA attendees to rethink assumptions about jobs and use technology as a lever for more ambitious thinking rather than just efficiency.

“You have an ability to take a step back and rethink many of the assumptions that you make about the way you do your job,” he said.

“It’s only when you really rethink your job that things profoundly change.”

Tom Goodwin

Scott Galloway 

Scott Galloway, professor of marketing at NYU’s Stern School of Business and a serial entrepreneur, joined ADMA’s Global Forum from Chicago. He shared his predictions trends, which revolved around the challenges faced by traditional cable and ad-supported media companies, while highlighting the disruption and opportunity created by platforms such as Netflix and TikTok.

He also touched on the potential of AI to revolutionise the retail industry and the need for regulation to prevent misinformation and concentration of power.

He mentioned that traditional media companies should create a consortium to negotiate with AI language models over use of their content and believes companies should have employees learn about and understand AI as it relates to their industry/role.

Sarla Fernando

ADMA’s director of regulatory and advocacy, Sarla Fernando took to the stage to talk the long-awaited privacy reform and what marketers need to know.

Her presentation highlighted the challenges of managing sensitive information and focused on the importance of reflecting developments in technology and data with responsible marketing practices. She also discussed the importance of having a data response plan in place and why businesses should invest in cyber security and privacy training for their marketing teams.

When asked who is responsible for driving work within an organisation on data reform and responsibility, Fernando told with ADMA attendees: “I genuinely think you should start in the marketing team. I think marketing really needs to have a voice in this space.

Sarla Fernando

“If you don’t, the decision will be made by the compliance teams, the IT teams, everyone else in government teams,” she said. “If marketing doesn’t speak up and speak to the value of this data, how this data is needed and how it’s going to deliver growth, then we’re not going to have a really broad aspect for the business.

“I think what’s really important is for us to see what’s coming as an opportunity for marketers to have an amnesty. We’ve been doing wrong things for a while. We’ve made mistakes, not on purpose, but it’s an opportunity to get investment from your business, because we have to become compliant. Learn what we need to learn. Start from scratch,” Fernando added.

Panel: Unlocking the power of customer experience

CX panel saw Nine CMO Liana Dubois, Medibank’s chief customer officer Milosh Milisavljevic and Michelle Klein, chief customer and marketing officer at IAG discuss unlocking the power of customer experience.

Coming off the back of the Olympics, Du Bois shared that a learning Nine has taken on board is balancing the combination of live schedules, live streaming and on demand, and getting it right.

She explained that on only a couple of instances differences in time lead to misaligned coverage of certain sports and live events from the main channel that directed audiences to the digital or FAST channels. 

“When we popped the tile up to send people to 9Now for the men’s gym, or gymnastics or the synchronised swimming or whatever it was, they flew over there to tune in but then the schedule in Paris would finish 30 minutes earlier, and so it actually wasn’t there.

“What you then find, with that retention and that churn is that annoys people. That’s a really significant learning that we’re taking into the Paralympics and then really ongoing in terms of being multimedia organisation,” Du Bois added.

Liana Dubois, Milosh Milisavljevic and Michelle Klein.

Milisavljevic spoke about how Medibank turned pain points into innovative experiences that added value and differentiated the brand.

He noted that the brand picked key health experiences, called ‘value drivers’, such as pregnancy, self-diagnosed mental health issues and cancer diagnosis, and developed experiences, services and propositions around those.

“The other is a general well-being experience. We have one of the country’s largest health and wellbeing platforms called ‘Big Better’. We’ll progressively build a lot more value, motivation, options, and insights into how to conquer your health, and you don’t have to go into the health system.”

When asked about what CMOs and marketers should be upskilling their teams in to ensure effective leveraging of CX in the future, Klein said using the methodology of understanding behaviour that already exists, identifying a simple, fast and effective solution, executing and learning from it.

“A great example of this is the safety check on Facebook. That was a behaviour that customers and people were doing after the Nepal earthquake in 2015, posting ‘I’m okay’ and ‘I am safe.’ What they did was build a solution around that to make it easier for people to mark that they were safe in future crises, and that continues today.

“If you take that methodology of understanding behaviour, seeing what’s happening, trying to identify if there’s a match in what you can deliver to enhance that experience, and test and learn as you go. It’s quite simple, and it can lead to effective results.”

Liana Dubois, Milosh Milisavljevic and Michelle Klein

Joanna Robinson

Joanna Robinson, chief marketing officer of The Iconic, discussed strategies for engaging Gen Y and Gen Z consumers through her work with the e-commerce retailer and at bubble tea franchise Chatime.

Robinson highlighted the importance of understanding Gen Y and Gen Z and noted that by 2033, these two generational segments will represent nearly half of the population in Australia.

She also outlined six key insights into what Gen Y and Gen Z are looking for in brands: understanding them, purpose-led brands, adding value and authenticity, being social first, entertainment, and personalisation.

Joanna Robinson

Robinson also stressed the need for brands to stand for something beyond products, such as sustainability and diversity through its initiatives such as People and Planet Positive, and Incubator Program with First Nations designers.

“We know that our customers needs are evolving, and we always need to try to meet those needs. Yes, it’s about digital first. Yes, it’s about driving an emotional connection, and yes, it’s about personalisation,” she said.

Mark Ritson – “I want to draw a big line between formal training in marketing versus all of this guerrilla shit which has no syllabus”

Brand consultant, marketing professor and Marketing Week Mini MBA founder Mark Ritson joined ADMA via livestream with his keynote, Marketing capability crisis: How we fell off the map and how to find out way back.

He talked about the deterioration of marketing quality over the past decade and highlighted a crisis in creativity and effectiveness, noting that only 32% of British marketing teams know the four P’s of marketing – product, price, place, and promotion.

Ritson pointed out that the majority of marketers don’t have formal marketing training. Data he sourced from LinkedIn of people with training in marketing that have marketing in their job title revealed Ireland at the top of the list with 39% of marketers have a training in marketing.

That was followed by Canada, Australia, New Zealand, the US and then the UK with a quarter of marketers have any training and marketing. While he was opened to the different styles of learning, from university to corporate or on the job training, organisational training from a not-for-profit or online courses offered by industry experts. 

Mark Ritson joining ADMA conference via livestream

“What I don’t mean by training is going on YouTube and picking up shit. I don’t mean listening to Gary Vee speeches of any kind. I don’t mean going on LinkedIn and having debate about shit. I want to draw a big line between what I would call a formal training in marketing. It means done by people who actually are qualified to train and teach, versus all of this guerrilla shit which has no syllabus, which has no pedagogy, and often just takes you down a particular line to a particular intellectual ghetto without any clear approach.”

Ritson’s solution: the newly launched Capability Compass, which aims to address the need for continuous skills development in an industry marked by rapid technological advancements and changing market demands.

“There’s good training and there’s bad training,” he said. “We need to be able to more quickly and and efficiently work out what is what, and work out which courses are right for which companies and which people, and ultimately, make marketing better in the companies that give a shit about it, not because it’s a charity, not because it’s the right thing to do. Ultimately, marketing is a wonderful corporate function that will make most organisations much stronger if it’s done better.”

Lucinda Barlow – “self deprecation is a shortcut to humility and likeability”

Lucinda Barlow, head of international marketing at Uber, took to the ADMA stage to talk about the brand’s pop cultural shift, the impact of self-deprecating humor on Uber and the role of brands in pop culture.

For Barlow, self-deprecating humor was keys to Uber Eats success after losing 85% of global mobility business to COVID-19.

“(Self deprecating humor) is a very specific form of humor that Australians have mastered as part of our culture. There is so much power in laughing at yourself. It’s a great level leveler. It breaks down barriers. It brings people in on the joke.

“Self deprecation is a shortcut to humility and likeability, and so Uber Eats leverage shameless good old Aussie self deprecation brought to life by celebrities willing to laugh at themselves and laugh at the very tropes and constructs of advertising.

Lucinda Barlow

“It reminded people why they should like us, and that makes sense, because Aussies are some of the funniest people on the planet. We know how to laugh at ourselves,” she added.

Barlow noted that other markets wanted in on the success an the unique tone of voice and campaign construct codified across North America and Asia Pacific markets.

“Eventually, self deprecating humor became adopted as the default global tone of voice for Uber Eats, and even Uber in many markets,” she added.

The new series of Mint Pictures production Great Australian Walks premieres on SBS and SBS On Demand this week. The second series of the show triples the attraction for viewers. There’s not one great host, but three this time around.

Joining original host Julia Zemiro on the series are additional hosts Gina Chick and Susie Youssef.

Mint Pictures creative director Dan Goldberg told Mediaweek: “They are all fabulous in their own right, but as a trio they offer diversity on all levels.” Goldberg explained that each host fronts separate episodes – Zemiro hosts three, including the season opener, Chick, the winner of the first season of Alone Australia, does three and Youssef does four.

Julia Zemiro hosted the first series of 10 episodes solo. “That was a huge amount of work,” said Goldberg. “We shoot the episodes in record speed and it’s a lot of travelling to each destination and then walking.”

The first series of Great Australian Walks went to air last year – exactly 12 months ago. Goldberg said as soon as SBS saw the ratings for the first episodes they started talks with Mint Pictures about a recommission.

“It was great the series quickly found an audience. I was apprehensive because you just never know how something will go after you deliver it to the network. The series has a calming, soothing tone about it and it takes viewers to places that they either want to go to or they might have already been to.”

The producers keep the location costs down by keeping the crew small. This series had two cameras, a sound person, a producer, a director and a runner. “We also have a dedicated drone operator,” said Goldberg explaining how the show secures its wonderful aerial images of the Australian landscape.

Mint Pictures crew with Julia Zemiro (far left) at Uluru for Great Australian Walks on SBS

How to go walking with Mint Pictures

“We are looking for walks that everyone can do on this series,” said Goldberg. “We want them to be easy to moderate and prefer something that can be finished in one day. Maybe 10 to 15 kilometres.

“It’s not just about epic scenery. The walk is a device for us to meet local people who tell stories about the locations.”

Before the Mint Pictures team arrive, there has been a visit already from a producer or writer on a recce (reconnaissance trip). “We go for two or three days and cast the contributors,” said Goldberg. “There might have already been some pre-screening for that from the office in Sydney. We also research the walk thinking about places to stop, use the drone, a whole lot of considerations.”

While weather is an important factor. Goldberg said because they are making a documentary, they usually go with what is provided by nature. “In Uluru recently we had a day of rain and we just had to embrace it. That then becomes part of the story. We just don’t have the budget to sit around and wait maybe up to a week for the rain to pass.”

In series two of Great Australian Walks the producers were largely greeted by sunshine, but there is a hint of wind and rain in some episodes.

The production was originally pitched during Covid-19 when walking was “one of the last things we were legally allowed to do” explained Goldberg. “In season one, there were parts of the country we weren’t able to get to. With borders open, season two has been able to travel across the whole country.”

Cinematographer Bruno Kataoka (left) and Dan Goldberg at Uluru

Mint Pictures and SBS

The production house and the broadcaster have a long relationship. “We have been working with them for the last decade or so,” said Mint’s creative director. “We have done many documentaries, and we love working with them. Our DNA and their DNA is fairly similar so we tend to pitch a lot of content to them.”

Two of the senior team as SBS curating this content includes Joseph Maxwell, SBS head of unscripted, and Bernadine Lim – senior commissioning editor for documentaries and hands-on for Great Australian Walks.

When is the next Slow TV?

One gripe Mediaweek has with SBS is the disappearance of the Slow TV format after some spectacular series that Mint Pictures delivered.

“It’s not all over,” said a hopeful Goldberg. “Every now and then we rekindle the conversation because we loved making Slow TV.” He reminded us the first series featured the great Australian train journey The Ghan and it had very strong audience numbers.

“The most staggering thing was the show was a subject on talkback radio for five days in a row – either claiming it was the best piece of television they had seen, or the worst thing they had ever seen! [Laughs]

“You know you have struck a nerve when you crop up so much on talkback radio.”

The first Slow TV special from Mint Pictures and SBS featured The Ghan

Other slow TV programs tracked the Indian Pacific Sydney to Perth train, a memorable Kimberley cruise from Broome to Darwin and then a detailed peak inside a chocolate factory at Cadbury in Tasmania and Victoria.

Another recent production from Mint Pictures was Hitler’s Jewish Soldier?, also on SBS, the first in the 2024 season of Australia Uncovered.

The feature-length version from Mint Pictures, titled The Jewish Nazi?, won best feature documentary at Cannes World Film Festival late last year.

See also: SBS’s ‘Australia Uncovered’ documentary collection explores untold Aussie stories

What’s next from the production house?

That is always a frustrating question when talking to a TV producer. There is always stuff in the pipeline, but they either pretend they don’t know what’s next or claim they are not allowed to tell. The latter is the case here. Although Goldberg did buckle a little about what he is now working on.

“We have just been commissioned to make a six-part series. I can’t reveal the details, but I can tell you it involved four big names. We are in pre-production. We are also in production on a five-part podcast series. It is with an international network and it’s our first podcast.

“We are also in negotiation with a major publisher for a spin-off from some of our properties.” How about a Ghan coffee table book? Yes please!

Mint Pictures is also continuing to work with Rachel Griffiths. She has hosted two series about Australian art with the pro co. “We are developing a third series with her.”

This week, ABC News has launched a new design, features and functionality for the ABC News website.

ABC is also bringing back the ABC TV News Theme composed by Peter Wall and Tony Ansell, which was in use from 1986 to 2005. 

The new theme made its on-air debut on Monday on the ABC NEWS Channel and can now be heard on every state and territory 7pm bulletin.

“I’m delighted it’s coming back – I think it’s our best work,” Wall said. “Many people grew up listening to it and it’s wonderful new audiences will now also be able to discover it. Tony’s arrangement and Dick Montz’s piccolo trumpet have really stood the test of time.”

Ansell passed in 2000, but Wall provided input to the 21st-century version, including finding the original tape of 24 individual music tracks. ABC senior audio creative and sound designer David McDonald worked on the updated arrangement and remix.

ABC News Mail has also had a makeover and rounds up the overnight breaking news and key conversation topics.

The redesign is led by the company’s in-house creative team, with an expanded colour palette and a wider range of typefaces. The new graphic design incorporated shapes that are direct traces of the ABC logo.

New features for ABC News’ website and app:

• Top Stories shows the key news of the day at a glance
• Everyone’s Talking About jumps straight into the top-trending news stories
• Local News to you puts news from local areas on homepages
• New navigation toggle
• Expanded menu options
• Video Shorts

​The re-design is consistent across the ABC NEWS website and app and on social platforms, such as Instagram, TikTok and YouTube. 

ABC director of news, Justin Stevens said: “We’re delighted to introduce an updated look and experience for the public however and whenever they use ABC NEWS across any platform.

“Every week more than 40 per cent of Australians come to ABC NEWS across digital, TV and radio and we want to make sure we’re providing all of them the most impactful and contemporary experience, that matches the strength and excellence of our journalism.

“The new design is impactful and appealing for audiences and gives us a consistent look across all platforms. Our audience accesses our journalism across all platforms and mediums and the design needs to reflect that. The upgrade to the web and app improves the experience for users and adds features to let them personalise their news service.

“I’m thrilled to welcome back the iconic ABC NEWS theme. It captures the excitement and passion everyone in ABC NEWS has for news and current affairs.”

iProspect has partnered with Rolling Stone Australia to introduce audiences to the Seven Network’s new lineup of international coaches for the 2024 season of The Voice, through a content series, to bring them closer to audiences through the season’s run.

The series kicked off on Monday evening with a lineup of new coaches, with multi-platinum-selling artist Guy Sebastian welcoming new recruits – singer-songwriter LeAnn Rimes, GRAMMY-nominated Adam Lambert and award-winning Australian musician Kate Miller-Heidke – to the spinning red chairs.

The six-part content series, ‘Discover The Voice’, with Rolling Stone Australia has been designed to bring new audiences into the TV show by connecting music lovers more directly with the coaches. Launching ahead of the premiere of the new season, the content series highlights the coaches.

The series will focus on how the global coaches bring star power to the panel, emphasise Guy and Kate’s local expertise and knowledge and will also bring to life key moments during the show.

Hattie Swinburn, iProspect group strategy director, said: “Rolling Stone is an ideal partner to draw audiences The Voice. The new coaches have an established following, and the content showcases the musicality of the international and local talent.”

Jess Hunter, head of The Brag Media said, “We’re excited to partner with The Voice and iProspect in this collaboration that taps into Rolling Stone’s music expertise. This content series offers fans an exclusive glimpse into the coaches’ creative processes and musical insights, deepening the connection between audiences and the music they love.

“This partnership with Rolling Stone speaks directly with music enthusiasts and provides The Voice with a distinct opportunity to reach and engage with new audiences.”

Credits:

iProspect
• Client Director Luke Amasi
• Group Strategy Director Hattie Swinburn
• Client Manager Faiq Rafique
• Client Executive Zoe McGregor
• Head of Client Partnerships Jason Smith
• Strategy Director Edward Heaney
• Group Investment Director Vera Manalac

Seven
• Director Marketing Larissa Ozard
• Head of Consumer Marketing Marni Crutchley
• Senior Marketing Manager, Entertainment & 7plus Kerstin Hennessy
• Senior Marketing Executive Michela Toose

The Brag Media (Rolling Stone)
• Group Partnerships Manager Jack Castles
• Head of Sales & Partnerships Batoul Peters
• Project Director Emilyn Jones
• Senior Creative Strategist Anan Salvarinas

70% of professionals in the media, marketing and creative sectors have experienced burnout in the past 12 months, according to the 2024 Mentally Healthy Survey.

This finding, in addition to other insights uncovered in the survey, brings to light the ongoing challenges in the media industry related to workload, expectations and the evolving nature of workplace environments.

Conducted by Never Not Creative and supported by The Mentally Healthy Change Group and UnLtd, this year’s survey gathered responses from over 2,000 professionals across Australia, New Zealand, the US and the UK.

The results indicate that while there have been some improvements in attitudes towards mental health, the prevalence of burnout and overall poor mental health remains a concern.

The study explored how working conditions post-Covid may affect levels of mental wellbeing. Flexible working environments proved to be the best for mental health, with those with a flexible working environment reporting the least amount of depression and anxiety.

There were modest differences between working environments with those working from home showing higher levels of depression (38% vs 33% for those working in an office), whilst for anxiety those working in an office showed higher levels (40%) compared to those working from home (31%).

It also highlighted generational differences, with younger professionals under 30 reporting significantly higher levels of anxiety and depression.

While there were not significant numbers of participants who identified as non-male, non-white, non-hetero and non-leaders, there were signs of higher levels of depression and anxiety (52% reporting medium levels of anxiety vs 22% of male, white, hetero, leaders) – something that the group recognises needs to be explored further.

The study also showed the importance of inclusivity and understanding of neurodiversity with 10% of the industry identifying as neurodivergent (17% in creative industry).

Andy Wright, founder of Never Not Creative and co-chair of the Mentally Healthy Change Group, said: “Businesses have had varied approaches to going back to work after COVID, so work environment was a big area of focus for us this year.

“What appears to be best for employees from a wellbeing perspective is to give them choice. True flexibility correlates with lower signs of anxiety and depression.

“The burnout statistic was concerning and higher in the industry compared to Australian workers (70% in media, marketing and creative sectors vs 53% Australian workers*).”

Wright added: “It’s a clear indication that as an industry we often work hard, putting our work ahead of our own needs, but that means we need employers to put the necessary support structures and empathy levels around us to safeguard overall wellbeing.”

The systemic changes that were ranked highest in terms of improving mental wellbeing at work were commitment to better ways of working and exploring new processes, clearer role descriptions and feedback on performance, more diversity in leadership positions and more sustainable business models.

The full findings of the Mentally Healthy 2024 Survey will be published on the Never Not Creative website in coming weeks. They will be used to inform future initiatives by Never Not Creative, The Mentally Healthy Group and UnLtd, aimed at fostering healthier workplaces across the industry.

If you or someone you know needs support, please contact:
Lifeline: 13 11 14
Suicide Call Back Service: 1300 659 467
MensLine Australia: 1300 78 99 78
beyondblue: 1300 22 4636

Publicis Groupe ANZ has introduced FLUENT, a new service aimed at enhancing brand impact through strategic partnerships with talent and influencers, which is now available to clients and talent through the holding group‘s agencies.

The FLUENT team will be led by Skye Lambley, CEO of Herd MSL ANZ and Salterbaxter Australia, in collaboration with Peter Galmes, director at FLUENT, and Christine Yangoyan, head of talent and influencer at FLUENT TALENT.

The team will work closely with specialists from Publicis Groupe ANZ in e-commerce, customer engagement, and data, including Davy Rennie, CEO of Digitas and Balance Internet Australia, and Dan Tintner, MD of Razorfish Australia.

FLUENT’s approach focuses on three main areas: identifying and collaborating with talent and influencers, integrating partnerships into e-commerce to drive conversions, and applying a proprietary ‘Return on Influence’ measurement framework to assess the effectiveness of these partnerships.

“We believe in the impact Australia’s most influential faces can have in marketing campaigns, and the growing need for brands to be able to quantify this influence,” added Lambley.

“Our vision is to transform talent into dynamic storefronts, unlocking brands in the realm of e-commerce like never before and driving measurable impact through our ‘Return on Influence’ model to measure the power of talent.”

The ‘Return on Influence’ measurement framework is designed to quantify the ROI for talent and influencer collaborations. The framework will be particularly focused on e-commerce and media, exploring ways to leverage shoppable content to enhance the effectiveness of these partnerships.

A central element of FLUENT is FLUENT TALENT, a service designed to streamline talent discovery, management, and creative collaboration. The service will manage its own talent roster while also working with established talent management agencies.

FLUENT TALENT will be responsible for casting talent for a range of campaigns, including social media initiatives, TV commercials, outdoor advertising, and brand partnerships.

“As we navigate a complex and always evolving media landscape, talent and influencers have become a critical part of the mix,” said Michael Rebelo, CEO Publicis Groupe ANZ. 

“With FLUENT, our focus is on creating strong connections between the talent and brands that influence Australians to act; while providing clients with a new robust measurement framework to track the return on their investment.”

See also: Phoebe Burgess and Zyrtec launch ‘Zach and Zoe’s Hide and Sneeze’ storybook via Publicis Groupe

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Top Image: Peter Galmes, Skye Lambley, Dan Tintner, Davy Rennie & Christine Yangoyan

The Agrarian Kitchen Restaurant in New Norfolk, Tasmania, has been named Restaurant of the Year in this year’s Gourmet Traveller Annual Restaurant Awards, marking the first time a Tasmanian establishment has claimed the prize in the award’s 45-year history.

Are Media’s Nicole Byers, Jane Huxley & Joanna Hunkin

The Australian luxury food magazine, owned by Are Media, announced the winners at a gala event held at Sydney’s Catalina restaurant in Rose Bay, presented by S.Pellegrino. Among the top chefs in attendance were Josh Niland, Alla Wolf-Tasker, Peter Gilmore, and Kylie Kwong.

Full profiles of the winners, along with the Annual Restaurant Guide, will be featured in the September issue of Gourmet Traveller, available on Monday 26 August 2024.

Tony Muratore, George Saba, Joanna Hunkin, Eliza Davey, Geoff Martin, James Sergi & Adrian Papandrea

Kylie Kwong

“The Gourmet Traveller Restaurant Awards recognise the incredible depth and diversity of Australia’s dining landscape and are always a highlight of the hospitality calendar,” said Joanna Hunkin, editor of Gourmet Traveller. 

Chef-owner Rodney Dunn of The Agrarian Kitchen accepted the Restaurant of the Year award, alongside his wife and business partner Séverine Demanet and head chef Stephen Peak.

Rodney Dunn, Severine Demanet, Stephen Peak

“The Agrarian Kitchen has followed a remarkable trajectory – from a small farm and cooking school in the Derwent Valley to what is now a global dining destination,” said Hunkin, who also presented the award.

“The work Rodney and Séverine have put into transforming the property and its gardens, and establishing a truly sustainable food  system, is extraordinary. Tonight’s honour recognises that thoughtfulness and commitment and  is testament to the fact that good things take time.”

Alla Wolf-Tasker received the Readers’ Choice Icon Award for her regional Victorian restaurant Lake House, which celebrates its 40th anniversary this weekend.

Alla Wolf-Tasker

“What Alla and her family created at Lake House really established the archetype for Australian regional dining that continues to inspire and inform chefs and restaurateurs across the country,” said Hunkin.

“Alla’s vision and hospitality has been shaping the industry for 40 years – and welcoming diners  with warmth and care has been Lake House’s signature since day one.” 

Sydney-based chef Pasi Petanen of Cafe Paci was named Chef of the Year, the night’s only peer-voted award, as well as the New South Wales State Winner. Also in NSWs, Sydney’s King Clarence was named Best New Restaurant.

Pasi Petanen

In Adelaide, The Ayubi Family of Parwana Afghan Kitchen received the Outstanding Contribution to Hospitality honour, while Maxwell Restaurant in McLaren Vale was named South Australia’s State Winner.

Chef Mischa Tropp was named Best New Talent following the launch of his debut restaurant Toddy Shop in Melbourne’s Fitzroy, where he celebrates the flavours of Kerala inspired by his mother’s traditional recipes.

In Victoria, Chauncy was named Best Destination Dining, while Vue de Monde was crowned State Winner.

Brisbane chef Sarah Baldwin, owner and operator of Joy, was named Restaurant Personality of the Year for her unique and personal approach to running the tiny 10-seat restaurant, while Restaurant Labart in Burleigh Heads was named Queensland’s State Winner.

Finally, in Western Australia, Busselton’s South West Wine Shop claimed the title of Wine Bar of the Year, with Perth Italian diner Casa named the State Winner.

The Gourmet Traveller 2024 Restaurant Award winners

Restaurant of the Year:
The Agrarian Kitchen Restaurant, New Norfolk, Tasmania 

State Winners: 
ACT: Pilot (Canberra) 
NSW: Cafe Paci (Sydney) 
QLD: Restaurant Labart (Burleigh Heads) 
SA: Maxwell Restaurant (McLaren Vale) 
TAS: The Agrarian Kitchen Restaurant (New Norfolk) 
VIC: Vue de Monde (Melbourne) 
WA: Casa (Perth) 

Readers’ Choice Icon Award:
Lake House, Daylesford, VIC 

Chef of the Year: 
Pasi Petanen, Cafe Paci, Sydney, NSW 

Outstanding Contribution to Hospitality:
The Ayubi Family, Parwana Afghan Kitchen, Adelaide, SA 

Best New Restaurant:
King Clarence, Sydney, NSW 

Best New Talent:
Mischa Tropp, Toddy Shop, Melbourne, VIC 

Best Destination Dining:
Chauncy, Heathcote, VIC 

Wine Bar of the Year:
South West Wine Shop, Busselton, WA 

Restaurant Personality of the Year:
Sarah Baldwin, Joy, Brisbane, QLD 

Things are going very well for Netflix this year. The streaming service jumped out of the gates with the Australian drama Boy Swallows Universe which attracted huge audiences globally. It also garnered a swag of TV awards with possibly many more still to come.

Netflix has always been about quantity AND quality. Boy Swallows Universe was followed up by a steady stream of content to suit all tastes. Those that love premium drama saw several series voted Show of the Week on the weekly podcast TV Gold.

See also: Boy Swallows Universe was TV Week Logies biggest winner – Netflix owned drama awards

Some of those other series included Ripley, The Gentlemen, Heartbreak High S2, Baby Reindeer and A Man in Full. And we are only in August.

Highlights to come later in 2024 include the much-anticipated series from Ronde and Easy Tiger in October.

Netflix has such brand awareness and reach that it is able to undertake targeted, niche, almost boutique, marketing activations for some of the world’s biggest TV show.

A couple that dazzled Mediaweek in the past few days were for the return of the hit franchise Emily in Paris. It’s a brand that is so well known, but Netflix wasn’t about to let it slip back on air without prompting awareness.

The first bit of fun was something we saw called Emily in Paris Eurosummer Phototour (above and below) available for free one weekend at the Intercontinental Sydney. Overseen by Netflix ANZ director of marketing Tony Broderick, it featured what must have been a cost-effective execution that would have attracted fans of the Paris-based social media marketing executive Emily Cooper.

(Broderick is also the model in these shots taken from that social media marketing executive’s feed.)

Netflix with Medium Rare

The other, and slightly more elaborate Emily in Paris adventure, was dreamed up with News Corp’s Medium Rare content agency which is the home of the JONES magazine and other David Jones-related multi-channel campaigns.

In their own words, Medium Rare explained how Netflix partnered with the retail media side of David Jones’ business, AMPLIFY:

From the moment shoppers approach and enter David Jones’ flagship stores in Sydney (Elizabeth Street) and Melbourne (Bourke Street Mall), they’re welcomed into the chic world of Emily in Paris via impactful takeovers on outdoor window displays, digital screens, point-of-sale counters and activations across the store.

Both David Jones and Emily in Paris share a love for fashion and inspiring sartorial choices. David Jones also recognises the cultural moments that will be relevant to its audience base, with Emily in Paris consistently topping Netflix charts and being talked about by Gen Z, millennials, Gen X and boomers. Likewise, Netflix recognises the opportunity of influencing shoppers’ streaming choices while they’re shopping, strolling by or scrolling on their phones.

The partnership showed the power of “non-endemic” brands thinking outside the box and tapping into new and enhanced opportunities to engage with shoppers at scale, in a way that works for audiences, brands and channels.

Driving the work was Isabella Severino, national sales and partnerships manager for David Jones AMPLIFY at Medium Rare.

As Emily Cooper would say, “We’re on the precipice of the rest of our lives.”

Ticker, the independent international news and business network, marked its fifth anniversary on Monday, August 19. The milestone was marked with a star-studded cocktail party at its headquarters at Ticker Park, Melbourne.

Ticker began as an ambitious venture in the streaming space and has since transformed into a global news source, with studios in Australia and the United States.

Reflecting on the journey, CEO and founder Ahron Young expressed pride in the network’s evolution and resilience through the past five years. Young remains the major shareholder in the business.

“When we launched Ticker in 2019, our vision was to create a news brand that stood for authenticity and delivered content for a new generation,” said Young. “Over the past five years, we’ve navigated some incredibly tough periods, including the broader changes across the media landscape.

“We have never been a victim of our circumstances though, and have ploughed ahead with bold ideas and risky programming moves to test what audiences are interested in watching.”

At launch, the channel was Australia’s first dedicated streaming news and business network. Since 2019, the team has interviewed thousands of news guests and business leaders.

Ticker revenues fund expansion

To a question from Mediaweek about the business model, Young told us: “Year on year, Ticker has grown revenue, and we have managed to bootstrap ourselves throughout the five-year journey. We have continually re-invested our revenues into expansion, which is my priority at the moment.”

Young highlighted a commitment to innovation as a key factor in its success.

“We haven’t just built a news brand, we’ve invented a whole new revenue model that capitalises on changes to the broader industry. I consider myself as CTO (Chief Technology Officer) – always looking for inventive ways to do things better. We had the good faith to arrive at a time when technology could be harnessed to build a future-focused newsroom that emphasises what’s in front of the camera.

“We celebrate live television and our growth is driven by that passion.”

Looking to the future, Young revealed Ticker’s ambitious plans for more live programming, particularly in the US market. “We’re incredibly excited about what’s ahead. With our new studios across the US and more streaming partners requesting our service every week, Ticker is poised for significant growth.

“This expansion will allow us to reach even more viewers and invest in independent journalism, at a time when we need it most.”

The anniversary celebration served as both a reflection on the past and a launchpad for Ticker’s next chapter.

Who’s who at the fifth birthday party

Prof Tim Harcourt – the Airport Economist and professor at UTS who flew down for the event. The Airport Economist channel streams exclusively on the Ticker App as its own standalone channel.
Kate Save – CEO of BeFitFood and Winner Telstra Vic Business Awards 2022 – Host of The Inspired CEO on Ticker.
Penny Lane – CEO and Founder of My Perfect Cosmetics and host of In The Driver’s Seat on Ticker.
Samuel Levi – CEO of LuxeSticks – host of Take Your Shot on Ticker.
Nataneal Bloch – former advisor to the French government and host of Euro Bloch on Ticker.
Dr Steven Enticott – CEO of CIA Tax and host of Ticker’s Money Minute.
Phil McMartin – owner of Claxton Communications

Some of the other show hosts on Ticker at present:

Chris Judd – AFL legend and host of Talk Ya Book
Caroline Bowler – CEO of BTC Markets and host of Crypto Corner.
Natalie Giddings – CEO at Hoozu (within IZEA Worldwide) and host of The Creator Economy
Harry Sanders – Founder and CEO of Studiohawk, and host of Messy Business.

See also: Ticker launches five FAST channels with new programs on a new app

About Ticker

Ticker is a global news and business network that delivers live and on-demand streaming content across multiple platforms. Launched in 2019, Ticker has grown into an international brand with studios in Melbourne, Australia, and New York, USA. Ticker promises viewers real, authentic news coverage that focuses on politics, money, tech and leaders.

Half Dome has been appointed to handle performance media and SEO for specialist insurance provider NTI.

The independent media agency will be responsible for managing all performance media, SEO and strategy, plus CRO and data analytics, in partnership with tech agency Digital Immersion. 

NTI, a joint venture between Insurance Australia Limited (CGU Insurance) and AAI Limited (Vero Insurance), is an Australian specialist insurance provider in the transport and logistics sector, offering comprehensive insurance products, including truck, mobile plant and equipment, cargo, marine, and roadside assistance, as well as risk advisory services.

Its brands include NTI (Commercial truck, mobile plant & equipment and marine insurance solutions), Truck Assist (truck roadside assistance and a direct-to-consumer truck insurance offering), Parcel Protect (an innovative shipping & delivery insurance solution for e-commerce merchants) and CoRsafe (a supply chain end-to-end chain of responsibility management system).

“Right from the first meeting, NTI and Half Dome just clicked,” Will Harms, Half Dome’s co-founder and head of clients, said. “Our product is perfectly suited to helping them unlock their next phase of growth across media strategy, performance and SEO, and our teams get on like a house on fire. They’re also super smart marketers so I know we will do some great work together.”

Will Harms

Charlie Mayne, digital marketing and media manager at NTI, said: “We were impressed with Half Dome’s responses during the pitch process – not only did they clearly know their stuff, but it also felt as though we were on the same page, both professionally and personally, from the outset.

“NTI’s in the midst of significant growth and evolution, and we’re excited to have chosen the right partner to challenge us and propel us forward – we’re looking forward to getting stuck in with the team.”

Jason Kibsgaard, head of marketing at NTI, added: “Half Dome’s response to our pitch was thoughtful, detailed and demonstrated a fantastic understanding of how we can work together to grow our business. The entire team was engaged throughout the process, and we are looking forward to working together with them moving forward.”

Jason Kibsgaard

The appointment to Brisbane based NTI contributes to the independent agency’s growing presence across Australia. With clients now based in Melbourne, Sydney, Perth and Brisbane, it further highlights the agency’s capabilities in delivering innovative media solutions across diverse Australian markets.

Joe Frazer, co-founder and head of growth at Half Dome said this move into the Queensland market was an exciting next step for the agency. 

“We are really excited to be working with NTI as our agency continues its growth trajectory. We are proud to continue delivering market-leading work for clients across Australia who are like-minded and want to do boundary-breaking work.”

–

Top image: Joe Frazer

Magpie Pictures has announced new development producer and business executive appointments in a strategy designed to build on the success of its recent TV series Swift Street, which screened on SBS.

The new roles, funded by Screen Australia Enterprise Business support, will see Matthew Kelly, a media and communications executive, join founding producer Lois Randall and newly promoted general manager Meredith Hussey.

Claire Lindsay and Ree Evans will job-share a new development producer role and will be based at the company’s Northern Rivers’ (NSW) offices.

Randall said: “These new appointments, and Meredith’s promotion, will build the development and production capacity of the company.

“Magpie Pictures produces bold and impactful scripted television. We are passionate about female-led, diverse and regional stories. Our ambition is to take audiences on a deep dive into a different point of view that will change the way they see the world.

“We have earned a reputation for our rigour in supporting creators to write with a fresh authentic voice, and we’re excited about our new slate which includes highly distinctive original concepts from new and experienced writers, and adaptations of works from Australian women novelists set in unique worlds.”

She added: “With Enterprise Business support we aim to take advantage of new creative and market partnerships and opportunities to produce game-changing scripted series. We know it’s an increasingly competitive global market but we believe Magpie Pictures is offering something fresh and original.“

Matthew Kelly will support Magpie Pictures as a consulting business executive and EP. His previous roles include principal legal counsel at Foxtel and senior lawyer at Screen Australia, Matt will advise on business strategy and development.

Claire Lindsay and Ree Evans will job-share a new development producer role. Lindsay has over a decade of experience in First Nations and factual entertainment production.

Evans has 25 year’s experience in film and television production and script services, and has recently undertaken professional development with Pixar and UCLA Extension programs.

–

Top image: Lois Randall, Ree Evans, Claire Lindsay, Meredith Hussey

Run for the Kids chair Tom Salom is stepping down after 17 years spent building the Herald Sun Transurban annual event into a key fundraiser for the Good Friday Appeal.

Herald and Weekly Times chairman Penny Fowler, who also serves as chairman of the Good Friday Appeal, said Salom had played a critical role in making the Herald Sun Transurban Run for the Kids into Victoria’s premier charity fun run.

Fowler has announced Genevieve Brammall as new chair.

“Tom has played a remarkable role and I would like to extend a personal thanks to him for giving so much time to help raise funds for the Good Friday Appeal,” Fowler said.

“I have no doubt everyone involved in the Run For the Kids would express similar gratitude.”

Since the inaugural event in 2006, Run for the Kids has raised $22.9 million, money generated by the hundreds of thousands of committed runners, walkers and volunteers who have taken part. In 2024, 25,000 people raised more than $1.22 million with Transurban contributing an additional $80,000 to take its annual donation to $1.3 million.

The 2024 event raised $1.3m

“We are passionate about supporting our communities and I am delighted Tom is passing the baton to Genevieve,” Fowler said.

“We wish her all the very best in her new role and appreciate Genevieve volunteering her time as she guides us into a new era.

“I would also like to thank our wonderful partner Transurban for their partnership with us over such a long period – not least for opening its roads to Victorians every year.”

Transurban CEO Michelle Jablko said: “Run for the Kids is a milestone event for Melburnians, and we’re thrilled to be once again supporting this important cause.

“It’s a privilege to host thousands in our community as they make their way across CityLink to raise vital funds for the Royal Children’s Hospital.

“We welcome Genevieve and are looking forward to working closely with her to plan another successful race in 2025.”

Genevieve Brammall

Genevieve Brammall, News Corp Australia’s head of consumer PR and talent relations, is no stranger to charitable fundraising, having represented News Corp Australia as a member of the Murdoch Children’s Research Institute Development Board for 10 years.

“As a mum of two teenagers, I have witnessed first hand the incredible expertise and care of the team at the Royal Children’s Hospital on many occasions throughout their childhoods.

“I’m delighted to have the opportunity to contribute proactively to raise vital funds for the Good Friday Appeal.”

The 2025 Run for the Kids event will be held on Sunday April 6.

Allergy relief brand Zyrtec Australia has launched a campaign to raise awareness of childhood allergic rhinitis, partnering with popular media figure Phoebe Burgess to create a storybook for parents and guardians of young children. 

The work was produced by Publicis Groupe Australia’s integrated agency solution for Kenvue, which brings together talent from the Groupe‘s Spark Foundry, Leo Burnett, Herd MSL, and Arc Worldwide to service the consumer health company.

The campaign introduces Zach and Zoe’s Hide and Sneeze, a book inspired by Burgess’s experience raising children with allergic rhinitis, using the bedtime story routine to educate parents about allergic rhinitis and its symptoms.

The storybook will be offered as a free gift with Zyrtec product purchases at select pharmacies, as well as a downloadable e-book from local grocery stores.

The campaign follows a recent Zyrtec survey revealing that nearly 40% of Australian parents are not fully aware of the common allergens affecting their children. This is despite research showing that the likelihood of children having allergies is comparable to that of adults, with 56% of children and 58% of adults affected.

Allergic rhinitis, commonly associated with hay fever, can cause sneezing, runny noses, and itchy eyes. Unlike hay fever, these symptoms can be triggered year-round by allergens such as dust, pet dander, and mold.

“Zyrtec Storytime seeks to close the awareness gap of allergic rhinitis in parents, which can potentially lead to symptom confusion and misdiagnosis,” said Oliver Wright, self-care business unit director at Kenvue Australia.

“Our research has found that as many as two-thirds of Aussie parents have taken their child out of school or daycare due to symptoms related to allergic rhinitis, causing out-of-pocket costs. Through Zach and Zoe’s Hide and Sneeze and the accompanying integrated campaign by Publicis Groupe, we’re thrilled to harness the bedtime story ritual as an opportunity for families to learn about allergic rhinitis through imaginative storytelling.”

The campaign will rollout across multiple formats, with healthcare professional packs distributed to pharmacists to educate parents. It will also feature PR activations and a content and social media partnership with independent women’s media group, Mamamia.

“The Zyrtec Storytime campaign is a wonderful example of what can be achieved through collaboration, creativity and a coming together of multi-channel expertise,” added Helge Gruettke, chief client officer with Publicis Groupe Australia.

“This awareness campaign is rooted in a clear insight that many parents can relate to, providing them with an opportunity to discuss the effects of allergies with their children through fun storytelling.”

The campaign follows Publicis Groupe’s recent agreement to acquire influencer marketing company Influential, as advertising spend in the creator economy is poised to surpass linear TV.

See also: Publicis Groupe reports market share gains, Australia slower to grow

Credits

Kenvue
Oliver Wright, Business Unit Director 
Emma Thurlow, Group Marketing Manager
Simone Tawadros, Marketing Activations Manager 
Amelia Vidler, Brand Manager 
Alexandria Nunez, Brand Manager 
Emelia McAdam, Integrated Communications Manager
Dedei Armah, Assistant Brand Manager

Publicis Groupe 
Helge Gruettke, Chief Client Officer (Publicis Groupe)
Kirsty Chase, Operations Director (Publicis Groupe)
Anna Vaindirlis-Brak, Integrated Business Director (Publicis Groupe)
Amelia Burdon, Client Director (Spark Foundry)
Anastasi Tsiamis Client Manager (Spark Foundry)
Lachlan Kent, Strategy Director (Spark Foundry)
Bryony Czujko, PR and Earned Media Lead (Herd MSL)
Tom Sanders, Creative Director (Herd MSL)
Elizabeth Mitchell, Account Director (Herd MSL)
Kallie Hunter, Publicity Lead (Herd MSL)
Sarah Findlay, Senior Account Executive (Herd MSL)
Simon Malik, Account Manager (Herd MSL)
Cece Chieng, Business Director (Leo Burnett)
Johnson Diep, Conceptual Designer (Leo Burnett)
Corinne Heffernan, General Manager (Arc Worldwide)
Dan Myers, Head of Multimedia Operations – Production (PXP)

Top Image: Phoebe Burgess

ARN’s InspHERation Series held its third annual event last Friday, focussing on the theme of empowerment within the media industry.

The InspHERation Series is designed to support women in media by offering inspiration and practical advice for success.

Jess Cameron & Brittany Hockley

This year’s event included a keynote discussion by Brittany Hockley, co-host of the popular Life Uncut podcast, followed by a panel featuring leaders from Perth’s media industry. Panelists included Paige English, head of Perth at Initiative Western Australia, Michelle Testa, client partner at Carat Western Australia, and Cindy Henderson, marketplace director at Perth Essence Mediacom.

Hockley’s keynote emphasised the mission of her podcast, which she co-hosts with Laura Byrne, to encourage women to embrace their unique qualities. She also shared practical advice for women navigating the media industry, offering strategies for career growth.

In their panel discussion, English, Testa, and Henderson spoke about their experiences in the industry and how they work to empower women in their workplaces. They also shared practical tips for women in the audience, applicable to both the workplace and the broader industry context.

The event highlighted the importance of supportive networks and the resources necessary for women to succeed in their careers.

“Empowering and celebrating the incredible women in this industry is something I am extremely passionate about,” said Jess Cameron, ARN agency account director and the driving force behind the InspHERation Series.

“I’m very fortunate to have the opportunity to do so with the InspHERation Series. Hosting this year’s event with discussions from Brittany Hockley, Paige English, Michelle Testa, and Cindy Henderson was absolutely incredible.”

Jess Cameron

“I’m so proud of Jess and the team for rolling out the InspHERation Series again for a third year,” added ARN agency sales director, Aaron Bryant.

“The important discussions we are having are especially relevant as we welcome young professionals into our industry. We aim to create a better environment for them.” 

See also: ARN extends radio partnership for 64th TV WEEK Logie Awards

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Top Image: Brittany Hockley

Olympic sponsors Samsung, Coca Cola, and Toyota have secured the greatest interest online across both reach and engagement, according to data from Meltwater.

Samsung stole the show globally gaining the highest reach (189m) and engagement (1.11m) of all the major sponsors. Coca Cola scored the second highest engagement (845k) and Omega the second highest reach (62.8m). Sentiment for all brands was overwhelmingly positive or neutral.

Ross Candido, VP Australia, New Zealand and Southeast Asia, Meltwater, said “Providing athletes with a phone was a brilliant move with many using them to take selfies at the medal ceremonies, giving huge exposure. What we assume was Samsung’s assumed exclusive tagging arrangement by the official Olympic social accounts also shows the power of a focused digital strategy and effective hashtag use.

“Their success suggests a strategic exclusivity arrangement and smart influencer partnerships, demonstrating the immense impact a well-executed social campaign can have.”

Through an Australian lens, Toyota secured the highest reach, but Coca Cola saw the highest engagement among social media users. 

See also: CMOlympics: Vin Naidoo on the power of Toyota’s ‘Team Everyone’

Omega, Qantas, and Hancock Prospecting also saw good reach.

Also performing well on social media were Australia’s female athletes. 

Social data from August shows that swimmer Ariarne Titmus’ performances in the pool earned her an Australian social gold, with posts about her and by her generating more than double the reach and engagement of all other athletes, both at home and abroad. 

Ariarne Titmus

Jess Fox was a close second, with swimmer Kaylee McKeown, cyclist Grace Brown, skateboarder Arisa Trew, BMX racer Saya Sakakibara, swimmer Mollie O’Callaghan, and pole vaulter Nina Kennedy coming in as highly commended.

Tennis (18m+) and swimming (16m+) took gold and silver position in terms of social media activity.

Hockey (~9m) came in third, with basketball and football also featuring prominently.

Notably, boxing took gold in terms of the total number of posts mainly due to the controversy surrounding Algerian boxer, Imane Khelif.

Breaking won the highest number of engagement actions, likely due to breakdancer Raygun going viral.

Monday 19 August 2024: VOZ Total TV Ratings Overnight Top 30 – Programs ranked on reach

Total People TV Ratings

Nine’s 9News recorded a total TV national reach of 2,064,000, a total TV national audience of 1,308,000, and a BVOD audience of 105,000.

Nine’s The Block Premiere recorded a total TV national reach of 1,918,000, a total TV national audience of 1,013,000, and a BVOD audience of 156,000.

Seven’s The Voice premiere recorded a total TV national reach of 1,910,000, a total TV national audience of 977,000, and a BVOD audience of 80,000.

Also on Seven, Home & Away recorded a total TV national reach of 1,425,000, a total TV national audience of 953,000, and a BVOD audience of 135,000.

10’s Have You Been Paying Attention recorded a total TV national reach of 1,245,000, a total TV national audience of 744,000, and a BVOD audience of 31,000.

People 25-54

Nine’s The Block:
• Total TV nation reach: 755,000
• National Audience: 457,000
• BVOD Audience: 97,000

Nine’s 9News:
• Total TV nation reach: 641,000
• National Audience: 376,000
• BVOD Audience: 56,000

Seven’s The Voice:
• Total TV nation reach: 616,000
• National Audience: 312,000
• BVOD Audience: 43,000

10’s Have You Been Paying Attention:
• Total TV nation reach: 529,000
• National Audience: 323,000
• BVOD Audience: 19,000

People 16-39

Nine’s The Block:
• Total TV nation reach: 375,000
• National Audience: 224,000
• BVOD Audience: 59,000

Nine’s 9News:
• Total TV nation reach: 263,000
• National Audience: 153,000
• BVOD Audience: 29,000

Seven’s The Voice:
• Total TV nation reach: 247,000
• National Audience: 117,000
• BVOD Audience: 23,000

10’s Have You Been Paying Attention:
• Total TV nation reach: 203,000
• National Audience: 127,000
• BVOD Audience: 10,000

Grocery Shoppers 18+ TV Ratings

Nine’s The Block:
• Total TV nation reach: 1,470,000
• National Audience: 782,000
• BVOD Audience: 125,000

Nine’s 9News:
• Total TV nation reach: 1,606,000
• National Audience: 1,026,000
• BVOD Audience: 84,000

Seven’s The Voice:
• Total TV nation reach: 1,512,000
• National Audience: 787,000
• BVOD Audience: 64,000

10’s Have You Been Paying Attention:
• Total TV nation reach: 990,000
• National Audience: 597,000
• BVOD Audience: 25,000

Data © OzTAM and Regional TAM 2024. Not to be reproduced, published or communicated (electronically or in hard copy) in whole or in part, without prior written consent of OzTAM and Regional TAM.