ABC managing director David Anderson will resign after almost six years leading the national broadcaster.  

Kim Williams AM, ABC chair, has asked Anderson to stay in the role until a new managing director has been appointed to ensure a smooth transition.

This means he will remain in the role until early 2025.
 
Anderson was stepped into the managing director in May 2019, after acting in the role from September 2018. Anderson enjoyed a thirty-year career at the ABC across a wide range of television, digital strategy and executive roles.

In a note to all ABC staff Anderson said it was the decision had not been an easy one and “right moment for leadership renewal for the next stage of the ABC’s continued evolution.

“I am still very much committed to the importance of the ABC to the nation,” he said. “To have the opportunity to serve the Australian public and lead such talented and dedicated people across the country and overseas for what is approaching six years is humbling.

“I am grateful to Kim Williams and the Board for their support and their efforts to persuade me to stay on for my full second term. Their unabashed enthusiasm for the importance and future of the Corporation makes this decision easier. I am confident the timing is right for both me and the ABC,” Anderson said.

“Kim has asked that I stay on in the role until a new Managing Director has been appointed to ensure a smooth transition, which I expect will be at least until the start of next year,” he added.
 
“David Anderson is a loyal, devoted and talented ABC executive,” ABC chair Kim Williams said. “He has served the Corporation in the best tradition of committed public service over a long period.

“I have requested that he stay on in the role until a new managing director has been recruited and appointed. David’s agreement to offer support through the coming months to ensure a smooth the transition to a new managing director is welcome, generous and has been accepted.

“I have to say my admiration for him and his commitment to the ABC is undiminished and my respect grows ever greater. He is an exemplary executive in many ways.”

During his tenure as managing director, Anderson brought stability to the organisation during a challenging period that has included the ABC’s response to the COVID-19 pandemic. In 2019 he defended journalists, whistle-blowers and press freedom following raids on ABC offices by the AFP.

Anderson advocated for reinvestment in the ABC after several years of budget cuts, an increase in journalist numbers in regional Australia, and an expansion of services to audiences across the Indo-Pacific.

He has also led the national broadcaster through a period of rapidly changing audience habits and the transition to digital services.

Before stepping into the role of acting managing director in September 2018, Anderson was the director, entertainment and specialist, responsible for all ABC radio music networks, podcasts and specialist radio content, as well as broadcast television networks, on-demand products and services and network websites and apps.

His other roles have included director of television, director of the ABC’s digital network and director of strategy and planning.

The ABC Board will in due course begin the process to select a new managing director.

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Top image: David Anderson

ARN Media disappointed the market with the release of its first half figures this week.

Shares traded at .68c on the day before the results release. After the results, which saw profit slip, the shares traded at .59c and closed at 62c. Not that we are about to read too much into small day-to-day market movements.

Like many media stocks, they are trading well below year highs, which is this case, was just over a dollar early in 2024.

It could have been worse wads how one observer tried to put a spin on the results. ARN Media chief executive Ciaran Davis has set the bar high in previous years. By those standards, this was a poor result.

Most interest at the broadcaster this year was the ambitious launch of The Kyle and Jackie O Show into Melbourne. Davis explains below the show is on track. Not everybody is on board though. We reported earlier this week how Australia’s biggest-selling newspaper opined “Melbourne deserves better”.

See also: What’s wrong with Kyle and Jackie O? Has Melbourne invasion gone down the toilet?

Jonesy and Amanda with Ciaran Davis

ARN fighting in ‘smaller pool of ad dollars’

“A competitive result in what is a challenging market,” is how Davis put it to Mediaweek.

“In a market where we’re all competing from a smaller pool of advertising dollars, and I don’t just mean radio operators, we’re competing against other media, radio is still performing reasonably well compared to some other sectors.

“We’re starting to see the fruits of the labour come through around digital audio and the acquisition that we made in a regional broadcaster, which is now starting to get material growth coming through.”

Davis was referring to iHeartRadio and the 2021 $300m+ Grant Radio acquisition.

As to how ARN might turn things around in the back half of calendar 2024, Davis said: “[We are] very focused on audience delivery and the content teams are working hard on that. Our sales guys are doing a great job in terms of responding to briefs in a very short period of time. There’s pressure on CPMs, which you would expect in an environment like this.

“The ideas that we’re bringing back to clients are being well received. It’s maintaining that level of high service that we’re already delivering and good content into the back half as well. The feedback we’re getting from contract clients is OK. Also the level of briefs we’re seeing is good.

“We are looking at the operational side of the business and seeing if there are other ways we can pull out more efficiencies.”

As to some of the upbeat ad spend forecasts being released, Davis said they seem to be a little high and there is no sign from those sort of increases in the market yet.

Industry consolidation

Pushing for ARN expansion via acquiring the Triple M network has proven to be an expensive undertaking. It cost ARN $4.5m according to Davis. The amount is exaggerated by the fact the plan failed, so far. It also looks high when the profit for the period is $10m.

Davis wouldn’t be drawn on is there still a deal to be done? However, he sounded like he thinks it might eventuate.

“We’re still strong advocates on the merits of the [SCA] deal. We’re still strong advocates on the need for consolidation.”

But he also added he was focused now on what he labelled as “business as usual” which means keeping Gold 104.3 and WSFM.

ARN CEO Ciaran Davis and chief content officer Duncan Campbell with Kyle and Jackie O 

Has Kyle and Jackie O’s raunch misjudged Melbourne?

Audiences in Sydney, and those that listen in other markets on demand, don’t seem to have a problem with the explicit content featured usually in the first hour of Kyle and Jackie O. But are those in Melbourne, and maybe some advertisers, resisting it?

The listeners: Davis said, “Kyle and Jackie have a very large following, have done for over 15 years. I think they’re straightforward. Their unscripted style is what makes them successful.

“We’re not looking to change a winning formula. Nor are we trying to sort of create a Melbourne-focused show or a Sydney-focused show. It’s content that’s universal in appeal.

“We’re happy with the progress to date in the Melbourne market. We didn’t expect in our business planning that it would go number one. They’re not as well-known down there.

“They’ve had 14 years of consistent number ones and broadcasting in Sydney.

“The expectation of many other people was that it would [#1] be and that it would do what it did when it came to KIIS, when it left 2Day FM back in 2013. That’s a different scenario because they were well known at a loyal base on 2Day, who did transfer with them.

“Listening to radio is habitual. We know that. We know that to change habits takes time, takes marketing, takes good content. That’s in our business plan and we’re quite happy with it.”

The advertisers: “Our clients know they get excellent results when they advertise with us. They know it’s a unique product. We’re not looking to dilute that. If a client ever has concerns, we’re happy to discuss and look at solutions. And again, they know the results that it delivers for them.”

Digital revenues into positive territory

The iHeartRadio digital and podcast play reported its smallest loss ever in a six month period – $1.9m. Davis added: “June was a very good month. And it was both EBITDA and cash flow positive in June. [iHeartRadio] will be EBITDA and cash flow positive for quarter four and in 2025.”

Nine Publishing has told retailers selling its metro daily newspapers that the prices of the print products are increasing.

The move comes just weeks after News Corp lifted the prices of its metro dailies and its national daily The Australian.

The two publishers share print facilities around Australia and face similar pricing pressures.

The head of newsagent industry body newsXpress, Mark Fletcher, has reminded colleagues in the trade about how little they are making from the sale of newspapers.

A breakdown of the wholesale pricing of Nine newspapers for retailers

“At 10% (or less) gross profit per title, we need to wonder about the value of stocking these products,” said Fletcher.

“They are loss-making in all but the newsagencies doing the biggest sales. We have to sell 10 copies of a paper to cover the cost of one being stolen and, yes, newspaper theft in newsagencies is a problem.

“Years ago we would make 25% of the cover price. Today, as this table shows, we are at 10% or less.

“Just as newspaper publishers are managing their businesses for the ultimate exit from the print medium, so must newsagents. Smart newsagents have been working toward this inevitable day for many years.”

Newspaper print prices

At Nine Publishing at present, The AFR Weekend costs $5.50. The weekday Australian Financial Review is $5.00. There is no indication yet that the business daily will be changing its prices.

The price rises at the Nine metro dailies means The Sydney Morning Herald and The Age will lift from $4.40 to $4.80 on weekdays, and from $5.40 to $5.80 on Saturdays.

The Sunday newspapers The Sun-Herald and The Sunday Age will increase from $4.40 to $4.80.

Subscription pricing

There has been no indication yet if digital subscription pricing will change. For The Sydney Morning Herald, discounted digital pricing starts at just $2 a week and rises to $12.50 a week for seven days of the printed paper and full digital access. The full price for this “Ultimate Everyday” package is $25 monthly.

See also: As birthday celebrations finish, The Australian lifts prices of print products

Seven West Media WA has announced a series of senior editorial appointments.

Christopher Dore has been appointed editor-in-chief of West Australian Newspapers and The Nightly. He has been acting editor-in-chief for the past three months.

Sarah-Jane Tasker has been appointed editor of West Australian Newspapers. She will continue as editor of The Nightly until a successor has been appointed.

The role of Anthony De Ceglie will not change. The former editor-in-chief of The West Australian remains editor-in-chief of Seven West Media, a role he took on when he moved to Sydney as director of Seven’s news and current affairs.

Sarah-Jane Tasker

New roles for Jessica Page, Adrian Lowe

Jessica Page has been appointed as The West Australian’s new state political editor, joining from 7NEWS Perth where she was a senior reporter. Former senior business reporter on The West Australian Lowe has been appointed editor of The Sunday Times.

Seven West Media WA chief executive officer, Maryna Fewster, said: “Chris is without doubt Australia’s most accomplished editor-in-chief with unrivalled experience in digital and print publishing, having worked across the country as a journalist and in many senior newsroom and executive roles, including as editor of The Courier-Mail, The Daily Telegraph and The Australian.

Christopher Dore

“He is universally recognised as a leader in our industry, and has an exceptional record for driving standout, groundbreaking journalism and producing incredible newspapers.

“Chris is also known for digital innovation and transformation, so it is exciting to have him join us at such an important time for the media generally, and for our business as we continue to evolve and forge a strong future.

“Sarah-Jane is a brilliant editor. She is a trailblazer, becoming the first female editor of The West Australian, which is such a great achievement. She has done a magnificent job launching The Nightly, no easy task to build such an incredible product from scratch and has led the team to exceptional results in its first sixth months,” Fewster added.

New data from IPSOS iris shows the unique audience for The Nightly, the national news website that features a digital-only newspaper, jumped by 14% in July, adding an extra 322,000 readers for the month.

The West Australian’s weekday readership grew by 10.5% in the June quarter, while the Saturday edition increased its audience by 11.5%. Over the same period, The Sunday Times grew a remarkable 26.2%.

The official Roy Morgan figures also reveal that audience growth for West Australian Newspapers measured across combined print and digital products has grown faster than any other major news outlet in Australia over the past year.

Cross-platform readership, combining print and digital audiences over a four-week period, raced past 3.91 million for West Australian Newspapers, up 4.7%.

See also: Seven West Media CEO Jeff Howard explains new revenue sources and digital sport impact

Annie Flynn (pictured) has joined Werner Film Productions as its new head of productions. 

Flynn brings with her a 20 years of experience spanning feature films, television drama, comedy, documentary, and live stage shows.

Flynn was part of the producing team on the multiple award-winning Australian feature film, The Wedding Party. Her experience also includes line-producing AACTA and Logie award-winning shows such as Love Me, Crazy Fun Park, and the Emmy-nominated Please Like Me. Other notable credits include Twentysomething, Australian Epic, Safe Home, Human Error, Fake and Season 3 of Fisk.

Fake

Flynn said: “I am absolutely thrilled to be joining Werner Film Productions as head of production. Having previously worked with the team on Crazy Fun Park, I know firsthand the incredible talent, passion, and dedication that goes into every project. I look forward to contributing to the continued success and growth of Werner Film Productions and am excited about the innovative and compelling stories we will create together.”

Joanna Werner, company director of Werner Film Productions, expressed her enthusiasm about Flynn’s appointment: “Annie’s vast experience and exceptional track record in production make her a perfect fit for Werner Film Productions. We are excited to welcome her to the team and look forward to the creative and innovative contributions she will bring to our projects.”

In March, Werner Film Productions was acquired by BBC Studios Productions Australia.

Werner Film Productions specialises in the development of original drama series including The Newsreader for ABC, which was also broadcast on the BBC, and Surviving Summer for Netflix. 

The deal provided Werner Film Productions with the backing to grow its production of drama series for Australian and global audiences.

Werner Film Productions will continue to be led by company director Werner and managing director Stuart Menzies and will operate alongside BBC Studios’ local production arm as an independent label, with both companies producing their own projects. 

See also: BBC Studios Productions Australia acquires Werner Film Productions

The Coogee-based independent creative agency Emotive has revealed a slew of new creative hires and promotions.

Further to the appointment of Ashleigh Bruton into the newly created role of head of fame and off the back of campaigns for Google, Optus, Revlon and St Hugos, Emotive has bolstered its creative offering further with the arrival of a new creative team in Al Hill and Lucy Karsai.

Hill has worked at Example and McCann, and is a musician who has curated a decade of live music including Wu-Tang Clan, Solange, Ryuichi Sakamoto, Ice Cube, Ziggy Ramo and H.E.R during his role as senior producer of contemporary music at Sydney Opera House.

Karsai has a background spanning both traditional and innovative creative agencies, including Example, McCann, and Edelman. Her portfolio includes clients such as Coca-Cola, Mastercard, Smirnoff, PayPal, and Microsoft.

Alongside the new hires, Edward Macaulay has also been promoted to associate creative director.

Darren Wright, group creative director, Emotive said: “We don’t want to be the biggest indie in town, but we do want to be the best. That means hiring and backing smart, ambitious, interesting creatives and giving them opportunities to do the best work of their lives. Ed’s promotion is recognition of his commitment to making and taking those opportunities and I can’t wait to see what Lucy and Al are going to do.”

As well as the creative hires, Emotive has bolstered its client service offering. Andrea Dalton Doran has been promoted to client services director.

Liam Walker has also been promoted to business director, and Elisa Donato is a new hire as senior account manager.

Simon Joyce, CEO & founder, Emotive said: “We’ve had an incredible year, pushing out some of our boldest work yet. This success is a direct result of our ongoing investment in our team and our drive to further elevate our creative culture.

“These new appointments and promotions reflect that momentum and watching Andrea evolve into a powerhouse account leader and seeing Ed’s creative reach the next level has been a real highlight. Looking ahead, our ambition has never been higher, and we’re on track to make this one of our best years yet.”

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Top image: Top L-R: Ed, Lucy & Al
Bottom L-R: Andrea, Liam and Elisa

Natalie Wolfe has been appointed to the role of editor of 7NEWS.com.au, reporting to Seven Network director of news and current affairs and Seven West Media editor-in-chief, Anthony De Ceglie.
 
Wolfe will have editorial oversight of 7NEWS.com.au and will be responsible for driving digital growth, managing the website’s editorial team, live news coverage and blogs, original journalism and lifestyle content, videos, podcasts, digital and social content and the app, which was launched in June.
 
She was most recently deputy editor of The West Australian newspaper based in Perth, where she steered the daily news agenda and oversaw the state’s biggest-selling newspaper.

Before The West Australian, Wolfe held a key senior editorial role with news.com.au for six years. She worked in London with News Corp’s national editorial team and was an assistant editor at Daily Mail Australia.

De Ceglie said: “Natalie is one of Australia’s most exciting young leaders in the journalism profession. Her senior experience with news.com.au and the Daily Mail, coupled with her most recent role as deputy editor of The West Australian newspaper, make her a unique standout in the cross-platform space.

“I’m very excited about how Natalie will help drive 7NEWS.com.au into its next era as Australia’s number one website for breaking news while fully harnessing all the broadcast video that Seven is so uniquely placed to deliver to Australians online,” he added.

Wolfe said: “I’m thrilled to be returning to Sydney to steer 7NEWS.com.au into this exciting next phase. I’m grateful for the opportunity to work alongside the 7NEWS leadership team as we evolve our digital-first future, and I can’t wait to lead our incredibly talented online team as we break the big yarns and tell stories that matter utilising the full breadth of the network’s media platforms.”

Wolfe’s appointment comes after Seven West Media Western Australia announced a slew of editorial appointments at The West Australian, Sunday Times.

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Top image: Natalie Wolfe

By Helen Johnson, Tangram’s managing director and partner

In my 20-odd years working with agencies, particularly in advertising and creative sectors, one thing stands out: agencies love change.

The excitement of strategising, dreaming up big ideas, and envisioning a transformed future is palpable. But when it comes to actually implementing those changes—when it’s time to get down to the nuts and bolts – many fall flat.

Let’s be honest: agencies often underestimate how tough change is going to be. It’s easy to get swept up in the momentum of big ideas, but the real work begins when you have to execute them. And that’s where most agencies struggle.

Communication Is Key—But So Is Reality

I’ve seen so many agencies put together comprehensive communication plans, all ready to ‘take people on a journey’ through the change. But do they really understand the pushback they’ll face? How much resistance are they prepared to accept? Change isn’t just about motivation and positive messaging – it’s about facing the tough challenges head-on. If you’re not ready to deal with people resisting or outright refusing to adapt, then you’re not ready for change.

Emma Martin, CFO at Edelman, said something that really stuck with me. “What kind of leader are you during change? Are you the one at the bottom of the mountain, pushing people up and rounding them up? Or are you dragging them from the top, kicking and screaming to the summit?” The truth is, you need to be both. Leadership in change management requires a delicate balance – part cheerleader, part enforcer, and sometimes, part therapist.

The Framework for Success: More Than Just a Good Idea

Successful change management isn’t just about having a good idea or even a strong communication plan. It’s about having a solid framework that supports the entire process. This includes a clear understanding of the consequences if things don’t go as planned and a robust system for measuring progress along the way. Agencies are often guilty of waiting until things are perfect before they start gathering data, but in reality, you need to be ironing out the kinks while you go.

What’s often overlooked is the importance of engaging the right stakeholders – not just the loudest voices or the most excited about the change, but those who have a deep understanding of the day-to-day operations. These are the people who will be instrumental in making the change stick, yet they’re often sidelined.

The Common Pitfalls: Bad Leaders, Wrong Teams

The biggest pitfall? Bad leadership. I’ve seen it time and again – leaders who are out of touch with the daily realities of their teams or who buy into the strategic vision without fully understanding the operational implications. Good leaders know the value of having the right team in place, a team that’s not only skilled across disciplines but also fully invested in the vision for the future.

And let’s not forget about resources. We’ve all been part of the business that pours everything into setting up for change but doesn’t invest in the follow-through. We assemble the right team, set up the necessary tools, and then… 

The momentum fizzles out and the day job takes priority. Change isn’t a sprint; it’s a marathon, and you need to be prepared to see it through to the end.

Navigating Disruption: Keep Moving Forward

In times of disruption – and let’s face it, the industry is experiencing great volatility now – it’s crucial to keep addressing issues as they arise. Don’t let your team give up or revert to old habits. Pivot, adapt, and keep pushing forward. The moment you take your foot off the gas, you risk losing everything you’ve worked for.

It’s a tough reality, but if you don’t push through the hard parts, it’ll cost you more in the long run. Reality hits hard when you’re already swamped with your day job, but that’s the nature of the beast. Change management is a relentless process, and those who survive are the ones who can adapt without losing sight of their underlying strategy.

The Time to Act Is Now

The advertising industry is at a crossroads. We’re navigating uncharted waters with technology, shifting work environments, and increasingly complex client demands. How you manage that change will determine whether you sink or swim. If you’re not prepared to roll up your sleeves and do the work, don’t be surprised when your big ideas don’t get off the ground.

To effectively manage change, whether it’s a system implementation, process shift, or broader transformation, these five key strategies will help your agency transition run smoothly:

1. Clear Vision: Ensure that everyone in the agency is aligned with the vision and objectives of the change. This means clear communication from leadership, and making sure that every team member understands how the change aligns with the agency’s overall goals.

2. Engage All Voices: Involve a broad range of stakeholders in the change process, not just leadership or the most vocal employees. By democratising change, you ensure that diverse perspectives are considered and that those impacted by the change are part of the decision-making process.

3. Boost Motivation: Generate quick wins and address employee pain points early in the change process. By showing tangible benefits quickly, you can build momentum and keep employees motivated to see the change through to completion.

4. Upskill: Invest in training and capability development to empower your team with the skills and knowledge they need to thrive in the new environment.

5. Transition & Adoption: Focus on embedding the new processes, systems, or behaviours into the daily workflow so that the change becomes sustainable and ingrained in the company culture.

See also: Helen Johnson: Indies must compete against holdcos in AI battle

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Top image: Helen Johnson

Mediaweek’s Media Movers charts the biggest people moves in the industry over the past week.

This week includes News Corp to Nine, HWT change and Nine Publishing exits

Former News Corp Australia’s head of sales – NSW independent agencies and major direct, Michael Desiere has been appointed to a newly created partnerships role at Nine, working with its ad platform, Nine Ad Manager.

Desiere left News Corp in early June after 22 years with the business. He confirmed to Mediaweek that his exit was not connected to the wider editorial restructure that also happened during that time.

Run for the Kids chair Tom Salom has stepped 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 appointed Genevieve Brammall as the new chair.

Nine Publishing confirmed 85 redundancies across its five publications including The Australian Financial Review, The Sydney Morning Herald, The Age and digital-only titles WAtoday and the Brisbane Times.
 
Among those to have successfully applied for voluntary redundancies are the AFR’s senior correspondent Aaron Patrick, the SMH’s chief sports writer Andrew Webster, the Herald’s former gossip columnist and one-time Mediaweek reporter Andrew Hornery, senior writer Helen Pitt, North American correspondent Farrah Tomazin, books editor Jason Steger, The Age’s culture editor Osman Faruqi, Indigenous Affairs editor Jack Latimore, and the AFR’s Ben Potter and Michael Pelly.
 
Veteran SMH cartoonist John Shakespeare is also leaving the company.
 
7News Brisbane has suffered another significant loss with veteran journalist Steve Hart announcing his departure from the network to join WIN News in Wollongong.
 
Journalist and newsreader Sharyn Ghidella will return to Network 10 as presenter of Queensland’s 10 News First. Starting in September, she will present Queensland’s 10 News First bulletin from the network’s Brisbane studios.
 
In 1990, Ghidella was recruited by Brisbane’s Channel 10 newsroom as an on-the-road reporter and update presenter.

Two years later, she transitioned to Nine in Sydney, starting as a reporter before being promoted to present Daybreak, and early-morning news program. She soon became the regular newsreader on the Today Show.
 
In 2007, she joined the Seven Network and presented the network’s Brisbane bulletin since 2013. Ghidella recently departed Seven after a 17-year tenure with the network.
 
“Returning to 10 News First feels like coming home,” Ghidella said. “Network 10 provided me my first opportunity to work in a metropolitan newsroom and I have nothing but fond memories of my time there in the early 90s.
 
“To be returning to present a new local news service, with even more content relevant to Queenslanders, represents an exciting opportunity for me.”

The In-House Agency Council (IHAC), in partnership with -lution has launched the 2024 IHAC Connect In-House Agency Summit, the only conference in Australia dedicated to deep-diving on the challenges facing in-house and hybrid agency teams. 

This year’s event takes place in Melbourne on Wednesday 11 September and features an international keynote from Claire Nance, head of global gaming business success strategy at Activision Blizzard – the gaming company responsible for releases like Call of Duty, World of Warcraft and Candy Crush. Nance will cover how her in-house agency drives growth in a competitive gaming marketplace.

Other speakers announced so far include Sarah Hetherington, executive manager creative services at Commonwealth Bank, Cat van der Werff, executive creative director at Canva, Ben Oliver, head of media at Treasury Wines, and Georgie Bugelly, group head of agency services at Asahi.

Additionally, -lution’s Nick Thomas and Tim O’Neill of Time Under Tension will provide crucial discussions on AI integration, while recruitment experts Lea Walker and Ryan Kelly will share strategies for attracting top talent in-house.

Chris Maxwell, CEO of -lution and executive chairman of IHAC, says: “We’re delighted to bring back the Summit for a second year, after delivering a hugely successful inaugural event last year.

“The trend towards in-housing and hybrid agency models is only accelerating, and the IHAC Connect Summit is established as the region’s premier event for those working in or considering these models. It’s an invaluable opportunity for the industry to share best practices, gain new insights, and connect with peers from leading brands like Asahi, Honda, Sportsbet, Foxtel, Bank of Queensland, and many more.”

Nick Thomas, partner and chief strategy officer at -lution, added: “As Australia’s leading experts in in-house and hybrid agency models, -lution is thrilled to partner with IHAC for this summit.

“This event brings together our partners and the IHAC community to exchange insights on the benefits and challenges of running successful in-house or hybrid agencies. We welcome all client-side marketers who are keen to explore these models as a way to enhance effectiveness, drive efficiency, and build internal capabilities.”

IHAC Connect will be held on 11 September at The Timberyard, Port Melbourne from 8:30-5 pm.

Netflix has said it has achieved a 150% plus increase in upfront ad sales commitments over 2023, in line with its expectations. 

Netflix made the announcement off the back of its second year of Upfront negotiations, where broadcasters and streamers pitch their upcoming schedules to the advertising community. 

Netflix closed partnerships for a number of its upcoming films and series including Squid Game, Wednesday, Outer Banks, Happy Gilmore 2, Ginny & Georgia, and Love is Blind as well as deals around live events including WWE Raw.

For Season 3 of Bridgerton – Netflix’s sixth most popular English-language TV series of all time – it secured multiple international on-screen title sponsors including Pure Leaf, Amazon Audible, Puig, Booking.com, Stella Artois, and Hilton.

Bridgerton Season 3

The announcement comes as the streamer announced in May it would be launching its own in-house ad tech platform, which will be tested in Canada in November and launched globally in 2025.

Marketers can now set up private 1:1 marketplace deals directly with Netflix through The Trade Desk, Google’s Display & Video 360, or Xandr. Netflix says it is also working to extend the capabilities across different buy types including a programmatic guarantee in November.

Amy Reinhard, president of advertising at Netflix said: “We’ll continue to improve the Netflix ads plan to ensure our members are delighted by the experience while simultaneously creating solutions that deliver results for our marketers, putting brands at the center of the best shows and films in the world, to a highly valuable and engaged audience.”

Netflix reported a strong 2024 Q2 with 17% revenue growth and an operating margin of 27% vs 22% last year.

The streaming business now expects full-year 2024 reported revenue growth of 14% to 15% (up from 13% to 15%).

Netflix global membership surged over 16% YOY from 238m to 277m. If that sort of increase is maintained, Netflix will be looking at 300m plus subscribers sometime in 2025. As co-CEO Ted Sarandos said on the earnings call, if subscriber growth continues it will increase the US$17b annual content spend proportionally.

Numbers of subscribers are not released for individual countries. Australia is part of the APAC region for Netflix. The growth there was significant – 40m to 50m in the past 12 months. The growth in the Indian market would account for much of that.

The best guidance we have to the number of customers in Australia comes from Telsyte about 11 months ago when the Netflix subscribers base was reported to be just over 6m.

See also: Netflix Q2 2024 results: Ad tier drives subscriber growth + partnerships yes, bundling no

“TFM started as a favour for a friend, and we’ve grown from there, mainly through referrals,” Taylor Fielding, CEO of TFM Digital, told Mediaweek as it celebrated its third anniversary.

In the last financial year, the independent agency has grown 42%. Fielding said that while launching the agency at the height of the pandemic had its challenges, the demand in niche media services for franchises and local area marketing developed.

As the agency marks its third anniversary, Fielding shared reflection on TFM Digital’s journey and changes, leadership style, advice for upcoming talent and the year ahead.

MW: You recently celebrated your 3rd anniversary, what’s been the biggest change over that period?

TF: “I think it was Steve Jobs who spoke about the importance of what you say no to. And we’ve learned from experience it’s one of the hardest things. In the past we’ve set up video or design departments, as we had been asked by one client for these services. But we know we’re better at media planning and buying. And now we’re confident and clear in the vision that this is our area of expertise. We don’t need to be full service for anyone.

“Trust in your people and the process. We started as a specialist, and today even more than when we started we’re living that purpose and vision.

“We’ve got another whole team away weekend planned for September, to ensure we’re revisiting our purpose of building better connections for businesses, and how we realign to ensure we’re on track.

“And then it’s about investing in our people. We have a number of development programs for all levels of staff.

“One which I’m most proud of is our Leadership Pathways where we will offer employee share ownership plans (ESOP) for those people who continually smash targets and without whom our business would not be the same. You need those who will travel through the best and worst of times with you, which is why Warren Buffet has had the same 25 or so people working with him at Berkshire Capital since the 1990’s.” 

MW: Where do you draw inspiration from?

Taylor Fielding: Remaining curious. Believe it or not, I used to sail competitively back in the day. I love the strategy, switching tactics to gain the most of the environment you’re all competing in, it’s cut-throat outside of the boat but completely the opposite in it. That us against the world mentally really stood me in good stead when first starting out. 

“And I remember I was always fascinated by the sponsorship side of things in sailing which bled into other areas of sport sponsorship given how much our country and society is dominated by it. I wanted to understand the metrics at work that influenced the value within the industry, unpicking it all with a childlike curiosity.” 

TFM Digital team celebrating Book Week 2024

MW: What (most) informs your leadership style?

TF: I’d say, appreciating the value of communication.

I’ve worked in and for bigger companies that rule with an iron fist, dictating how things should be done. And by the time the news of a new process filters down to you, there’s no context for the why. If one approach has been dropped in favour of another, it could have been that one was unsustainable, or there were financial pressures, but people don’t like being told to do something unless they understand why.

I aim to make everything a little more open at TFM. We have an open plan office, where I can base myself within the team to be aware of what’s happening, and get the chance to celebrate wins as well as help with any potential bottlenecks – especially if I’m one of them!

We aim to have clear lines of communication, with a more horizontal structure where decisions are made at the most appropriate level. It’s a two way dialogue as well. We ensure that big decisions are made as a group, as the team’s input is vital to our collective success and the journey of how successful new ideas/initiatives will be. One example is our monthly and quarterly planning cycles to develop personal and biz dev goals.

Through intentional process design, we’ve built a psychological safety net for people to ask questions and to make mistakes. All of which is not possible without awareness of how you and others can potentially impact the lines of communication, sometimes even unintentionally.” 

MW: What are not enough people talking about?

TF: Without a doubt, it has to be Local Area Marketing. 

And it’s for good reason, a lot of it is unsexy, and it’s hard. There are no quick fixes. I feel we often gravitate to the easier stuff, but you need to roll your sleeves up, test and iterate.

The evolution of automated tools allows us to become more productive within brand marketing. Yet the application of marketing intelligence is often not filtering down to other areas like store fronts of our Local Area Marketing (LAM). Research shows that 75% of current budgets, without a view on attention metrics, are going to waste. Much like the letterbox marketing campaigns of old, now Meta and Google have created digital skip bins of wastage.

We are measuring more, but are we more measured in our approach? Are we applying the learnings from these insights?

Ultimately it’s an untapped beast which can deliver, but right now many continue to shovel money wastefully, as they don’t have the necessary guidance on how to be more effective.”

MW: Advice for the next generation of talent coming through?

TF: Don’t settle too early. I’d say expose yourself to as many different disciplines as possible. Our industry is fragmented, and we need to make sure we become fragmented in our skillset.

I’m probably biassed, but you should work in an agency to gain the most exposure to different ways of working. Moving in-house for slightly more money early on, will leave you without access to a wider range of experience. I’ve known friends who moved into one channel early, and ultimately regretted it, as they’re finding out that specialising (when it comes to channels) is becoming harder in media.

You need that holistic viewpoint, as the marketers and brands you deal with will not be compartmentalising. Make sure you excel in any role by adding value, becoming unsackable, and the quickest way for me is by being multi-disciplinary.”

MW: What’s in store for the next 6-12 months?

TF: Exciting times I feel. For us it’s looking at expansion. We’ve bolstered our Brisbane team with the hire of Tim, our new GM, so I will have more time to dedicate to the Sydney and Melbourne markets.

We’ve been saying it since we started, but getting closer to our niche/category is paramount. So spending the time ingraining ourselves further into franchising, which means going to more events, speaking with people. I’m going to be hosting a panel at Franchise Council Australia’s Victoria state conference next month, looking at Marketing in a Digital Age.

At an industry level, I hope there’s going to be a greater focus on Local Area Marketing, as I know it can really change a brand. If you’re able to empower and offer agency at store / franchise level with that invaluable local knowledge, honouring the brand voice/pillars etc, I think you’re on course for fantastic results. It can really deliver against your bottom line – you heard it here first.” 

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Top image: Taylor Fielding

Nexxen, the flexible programmatic advertising platform, has partnered with The Trade Desk to provide its advertisers access to automatic content recognition (ACR) data segments.

The integration, available exclusively from Nexxen, will offer clients advanced cross-channel and cross-device targeting capabilities for more efficient media investment across the premium, open internet.

ACR data, broadly held within and fragmented among walled gardens, helps solve CTV’s biggest challenges, like advertising over-saturation and fragmented targeting. Nexxen’s ACR data segments allow advertisers to achieve incremental reach with TV-viewing audiences, controlled frequency and competitive conquesting.

Spanning both linear and streaming, Nexxen’s ACR data segments are directly available on The Trade Desk’s platform for activation as its first self-service TV data provider in the U.K. and Canada, as well as in the U.S. and Australia.

The data segments are categorised by genre, networks, programs and brand-level ad exposure, offering more holistic and comprehensive TV-viewing data. 

Karim Rayes, chief product officer at Nexxen, said: “We’ve long understood and appreciated the ways in which ACR data can empower advertisers to better understand their audiences’ TV viewership patterns and inform their cross-platform investments.”

“Ultimately, we want to ensure these advertisers have access to the richest, most relevant data available and the flexibility to activate that data across the premium, open internet – which is exactly what this partnership with The Trade Desk brings to market.”
 
“Historically, advertisers across Australia have struggled to tap into the breadth of ACR data programmatically, challenged by limited choice and variety,” said Josif Zanich, managing director, JAPAC at Nexxen. “Our strategic partnership with The Trade Desk is changing that narrative, enabling more advertisers to reach the right audiences, particularly across CTV.”
 
“Brands need to think about TV media buying in a holistic manner that combines both their linear and CTV plans,” said Ben Sylvan, VP of data partnerships at The Trade Desk. “Nexxen’s ACR data can empower advertisers to better understand their audience across platforms and devices, so they can aim to efficiently invest their media budgets to provide consumers with a premium ad experience.”
 
Isabella Spragg, director of Data Partnerships, ANZ at The Trade Desk, added: “Broadcast TV is fragmenting faster than expected, making it harder to manage campaigns across both linear and digital channels. We’re thrilled to welcome Nexxen to our ACR audience marketplace.
 
“This partnership will offer unparalleled scale and reliability in cross-screen strategies, especially as marketers face growing pressure to justify their investment decisions.”
 
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Top image: Josif Zanich

POLY, oOh!’s innovation and creative hub, and Yango has teamed up to unveil a new OOH campaign for BYD aimed at elevating awareness for the ATTO3 electric vehicle.

The campaign features artwork developed by POLY, showcases BYD’s new ATTO3 across oOh!’s classic Road and Street furniture sites.

The bus shelter special builds and 2D executions have been strategically positioned in premium locations and near BYD showrooms to capture motorists’ attention and encourage them to experience and test drive the vehicle. 

BYD’s latest campaign instalment includes special builds on oOh!’s bus shelters in Newtown and Brisbane’s CBD, designed to maximise visibility and impact.

The campaign is further supported by large format 2D extensions to capture the aspiration of high dwell traffic in Melbourne’s Chadstone and Sydney’s Alexandria. 

“As a challenger brand, we’re always looking for innovative and effective ways to introduce our brand to the market,” Kate Hornstein, head of marketing, BYD, said.

“Out of Home (OOH) environments have significantly boosted our awareness metrics and will continue to play a vital role as we build our brand. Yango and POLY have been instrumental in bringing the ATTO3 campaign to life.”
 
Richard Moore, production and content director, POLY, said: “The opportunity to work with a brand like BYD allows our team to provide best practice creative guidance in Out of Home, further demonstrating our expertise in achieving OOH success. We love how BYD is maximising the impact and creativity of classic formats through the use of special builds.”
 
BYD plans on running a series of Out of Home ads aimed at showcasing other models in the range and to continue to build the awareness of the electric car brand as an option for Australian motorists.
 
Earlier this year, EV Direct appointed Yango to manage its media account to supercharge its growth in the Australian market. The independent agency has been tasked with media strategy, media planning and media buying for the EV giant, which squeezed past Tesla last year to secure the largest market share globally.

Whether it’s a childhood jingle that you can still sing word for word or a campaign that influences the way you work today, everyone has an ad that has really stuck with them.

Mediaweek has been asking the industry to take a trip down memory lane to find out all about the ads that made us.

Annie Price – ECD, Communicado

Pink Lady Lamp, Yellow Pages

The year was 1992, and I was a 21-year-old, wide-eyed junior art director and just landed my second job at George Patts. I was in complete awe of the incredible work happening around me and the creatives making it (in this case, my CD, Chris Dewey).

This spot captivated me (and still does, 32 years later). The casting, the direction, the dialogue… the beautiful subtlety of it all. The different ways the boy tries to describe the lamp and the look on his face is priceless. You can watch over and over and never get tired of it. This is ‘proper advertising’ in my opinion. The stuff that builds brands and leaves a lasting impression.

Dorian Lagarrigue – account director, Wellcom

Nestlé, Chocosui’s (Maurice, 2001)

Wednesday 21 August 2024: VOZ Total TV Ratings Overnight Top 30 – Programs ranked on reach

Total People TV Ratings

Nine’s The Block recorded a total TV national reach of 1,708,000, a total TV national audience of 865,000, and a BVOD audience of 140,000.

Nine’s 9News recorded a total TV national reach of 1,979,000, a total TV national audience of 1,195,000, and a BVOD audience of 96,000.

Seven’s The Voice recorded a total TV national reach of 1,869,000, a total TV national audience of 917,000, and a BVOD audience of 76,000.

Also on Seven, Home & Away recorded a total TV national reach of 1,411,000, a total TV national audience of 944,000, and a BVOD audience of 135,000.

10’s airing of Thank God You’re Here recorded a total TV national reach of 1,114,000, a total TV national audience of 598,000, and a BVOD audience of 35,000.

People 25-54

Nine’s The Block:
• Total TV nation reach: 656,000
• National Audience: 385,000
• BVOD Audience: 86,000

10’s Thank God You’re Here:
• Total TV nation reach: 459,000
• National Audience: 271,000 
• BVOD Audience: 22,000

Seven’s The Front Bar:
• Total TV nation reach: 365,000
• National Audience: 169,000
• BVOD Audience: 15,000

Seven’s Home & Away:
• Total TV nation reach: 442,000
• National Audience: 292,000
• BVOD Audience: 76,000

People 16-39

Nine’s The Block:
• Total TV nation reach: 308,000
• National Audience: 188,000
• BVOD Audience: 52,000

10’s Thank God You’re Here:
• Total TV nation reach: 217,000
• National Audience: 132,000 
• BVOD Audience: 13,000

Seven’s The Front Bar:
• Total TV nation reach: 154,000
• National Audience: 77,000
• BVOD Audience: 8,000

Seven’s Home & Away:
• Total TV nation reach: 205,000
• National Audience: 151,000
• BVOD Audience: 46,000

Grocery Shoppers 18+ 

Nine’s The Block:
• Total TV nation reach: 1,313,000
• National Audience: 671,000
• BVOD Audience: 111,000

10’s Thank God You’re Here:
• Total TV nation reach: 872,000
• National Audience: 467,000 
• BVOD Audience: 28,000

Seven’s The Front Bar:
• Total TV nation reach: 964,000
• National Audience: 411,000
• BVOD Audience: 22,000

Seven’s Home & Away:
• Total TV nation reach: 1,111,000
• National Audience: 744,000
• BVOD Audience: 108,000

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.