Journalists employed by Nine Publishing have “overwhelmingly” voted in favour of going on strike on Friday – the first day of Nine’s coverage of the Paris Olympics – if the company is unable to reach a deal on a new enterprise bargaining agreement.
The Media Entertainment & Arts Alliance (MEAA) say the decision to take action follows Nine’s refusal to deliver a fair that delivers a better-than-CPI increase, diversity pay audit and quotas, protection against the use of AI, and adherence to the MEAA freelance charter of rights.
Journalists at the Sydney Morning Herald, The Age, The Australian Financial Review, Brisbane Times and WAtoday have today voted to stop work for five days, including the opening weekend of the Paris Olympic Games.
The decision was made by members of the MEAA in meetings around the country, after a protected action ballot had over 90% support for strike action.
The MEAA states: “The company’s pay offer fails to acknowledge cost of living pressures and management has not dealt with other claims from journalists including a genuine commitment to better workplace gender and cultural diversity, improvements to grade progression and protection through consultation in relation to AI.
“These mastheads are strong financial performers, and have a reputation for award-winning journalism, and Nine needs to invest in its editorial front line ahead of its financial bottom line.
“The decision to go on strike was not made lightly as an event like the Olympics only comes along once every four years.
“Members regret the disruption the industrial action may cause. We urge management of Nine Publishing to resolve the issues in the bargaining meeting on Wednesday.”
Nine’s managing director and CEO, Mike Sneesby, was seen carrying the Olympic torch just hours after Nine Publishing voted in favour of a strike.
The Sydney Morning Herald reports that Sneesby smiled and waved at locals in Massy, about 16 km outside Paris on Monday afternoon (Paris time). He was reportedly led into a Place de France to finish his leg of the relay and lit the torch of the next bearer, being “whisked away” after the event without fronting the media.
Following the announcement of 200 job cuts at Nine in June, MEAA members at Nine Publishing passed a resounding vote of no confidence in Sneesby in early July.
In his first media interview since chairman Peter Costello resigned after an altercation with a News Corp journalist, Sneesby told the AFR that the network will bank $135 million in advertising revenue for the Paris Olympics, and insists it will turn a profit.
Nine spent $305 million to acquire the Olympic rights from Seven, and have broadcasting rights from Paris in 2024 through to Brisbane in 2032.
Sneesby’s confidence in Nine’s profit from the Olympics comes as The Australian also reports Nine is facing a “Games blowout.”
The News Corp masthead reported that the company is staring at a potential $60 million loss from its Paris Olympics broadcast.
Several sources told The Australian that Nine’s total Games costs come to at least $120 million – including $100 million on its broadcast deal with the Internal Olympic Committee plus $20 million “or more” in production costs.
Google will no longer deprecate third-party cookies in its Chrome Browser after four years of delay.
In a blog post, Anthony Chavez, VP of Privacy Sandbox, said they will be proposing an updated approach that elevates user choice.
“We would introduce a new experience in Chrome that lets people make an informed choice that applies across their web browsing, and they’d be able to adjust that choice at any time. We’re discussing this new path with regulators, and will engage with the industry as we roll this out,” he added.
Chavez explained that throughout the deprecation process, they have received feedback from regulators such as the UK’s Competition and Markets Authority (CMA) and Information Commissioner’s Office (ICO), publishers, web developers and standards groups, civil society, and participants in the advertising industry.
“This feedback has helped us craft solutions that aim to support a competitive and thriving marketplace that works for publishers and advertisers and encourage the adoption of privacy-enhancing technologies.
“Early testing from ad tech companies, including Google, has indicated that the Privacy Sandbox APIs have the potential to achieve these outcomes. And we expect that overall performance using Privacy Sandbox APIs will improve over time as industry adoption increases.
“At the same time, we recognise this transition requires significant work by many participants and will have an impact on publishers, advertisers, and everyone involved in online advertising.”
Looking ahead, Chavez said: “As this moves forward, it remains important for developers to have privacy-preserving alternatives. We’ll continue to make the Privacy Sandbox APIs available and invest in them to further improve privacy and utility. We also intend to offer additional privacy controls, so we plan to introduce IP Protection into Chrome’s Incognito mode.”
He also acknowledged the organisations and individuals who have collaborated with them on the initiative over the last four years on developing, testing and adopting the Privacy Sandbox.
“As we finalise this approach, we’ll continue to consult with the CMA, ICO and other regulators globally. We look forward to continued collaboration with the ecosystem on the next phase of the journey to a more private web.”
Andrea Martens, CEO of Association for Data-Driven Marketing and Advertising (ADMA), said that association “is encouraged to see that Google has taken a different approach” and that the decision gives consumers more control over their online data settings that align with transparency requirements under Australia’s proposed privacy reforms.
“Customers expect to have control over how their data is used, and any move to provide better control should be welcomed by marketers. It is a key factor in building consumer trust in the marketing ecosystem.
“For marketers, the proposals put forward in the Privacy Sandbox to date have been concerning due to the negative impact they would have on advertising effectiveness and campaign performance, whilst still not meeting privacy laws.
“ADMA is encouraged to see that Google has taken a different approach, rather than dogmatically pursuing a solution that would not benefit either the consumer or the marketer. We look forward to Google engaging with industry as it rolls this out.
“While putting more control into consumers’ hands will likely see a reduction in third-party cookie tracking over time, the ability to still use third-party cookies will take some pressure off those who are still heavily reliant on them.
“While today’s announcement may provide some marketers’ relief, ADMA urges the industry not to be complacent or throw away the good work they have done in developing a post-cookie strategy.
“There is already a move away from relying on third-party cookie strategies as deprecation has already taken place across other browsers and consumer expectations regarding how their data is used, with consent, in fair and reasonable ways, is becoming the required standard. Those who embed their marketing strategies in these more evolved fundamental principles will be ahead of the curve in this new paradigm,” Martens added.
Nine Publishing has revealed a changing of the guard at The Australian Financial Review as James Chessell (above) returns to the company.
The move has been triggered by the departure of Michael Stutchbury as editor-in-chief.
Replacing Stutchbury at the national business daily is James Chessell. The former Nine managing director of publishing stepped away from Nine at the end of 2023. Chessell moved to corporate advisory firm Bespoke Approach where he was a partner alongside Ian Smith and Andrew Butcher.
Michael Stutchbury
A release from Nine detailed the changes:
Michael Stutchbury called time on his extraordinary 13-year leadership of Australia’s premier business, financial and political publication.
Managing Director of Nine Publishing, Tory Maguire, said Stutchbury, 67, was leaving the Financial Review in a powerful position and deserved enormous credit for building the masthead into arguably the most successful digital subscription publication in the country.
“Michael Stutchbury’s legacy at the AFR is immense, having led the newsroom through a period of ever-accelerating change in the way audiences consume and pay for journalism. He did this by ensuring the AFR is essential reading for anyone with an interest in corporate life, finance and politics,” Maguire said.
“Everyone in corporate Australia knows that to be in the conversation they need to read the AFR. You can see this when you look around at any AFR event and spot the countless decision makers in the room.
“Stutch’s fierce belief in what the AFR should be – high quality, relevant, fair and energetic – drove his approach to pushing the masthead to its full potential, including the development of the Financial Review’s highly successful Ventures events business. He is a giant of Australian journalism.”
How The AFR reported on its change of editor-in-chief
Stutchbury is the Financial Review’s longest-serving editor or editor-in-chief in the masthead’s seven-decade history. Along with his previous five and a half years as editor of The Australian, he is Australia’s longest-ever serving national newspaper editor or editor-in-chief.
After taking a break he will return to the Financial Review in a writing role as Editor-at-large later in the year.
Stutchbury said the Financial Review’s achievements rested on its reporters, photographers, artists, designers and editors, including former long-time editor Paul Bailey and current editor Fiona Buffini along with managing editor Cosima Marriner.
“After facing a potential loss just over a decade ago, the Financial Review has never been more profitable as it has built a business model around premium digital subscriptions,” he said.
“As the team has managed the shift out of print, the masthead has never had more paying subscribers. It has doubled its audience share compared to its national rival. It has been judged Australia’s most-trusted newspaper brand.
“This fundamentally rests on the Financial Review’s high-quality journalism that has never won more plaudits and awards than in the past year. This has been led by the story of 2023, the PwC tax leaks scandal, that is now being capped by the story of this year, the CFMEU investigation.
“It is not easy to walk away from the privilege of leading a newsroom that has delivered so much. But, after 13 full-on years, now is the right time for someone with fresh energy and new ideas to lead the Financial Review’s next phase of growth.
“As a Walkley award-winning former Europe correspondent and Business editor for the Financial Review, James Chessell is the ideal person to take on this exciting challenge. The Financial Review is his natural home.”
James Chessell was until January the managing director of Nine Publishing and prior to that executive editor of The Sydney Morning Herald and The Age. He has also worked for The Australian and was part of Financial Review teams that won the 2014 Walkley Award for Business Journalism and the 2013 Citi Journalism Award for Excellence.
Maguire said Chessell’s experience, including editing two of Australia’s biggest mastheads combined with his time running the publishing business, makes him uniquely qualified to step into such an important role.
“Having worked for James for more than five years while he was both executive editor and managing director I know him to be the most energetic, talented and determined person to take the AFR on the next phase of its growth. He understands audiences and believes in storytelling of the highest standard.
“He also has the best contact book of any journalist in business, which is essential for the Editor-in-chief, and his love of being in a newsroom is boundless. The publishing team is incredibly lucky James is willing to return to Nine and lead the AFR.”
Stutchbury’s last day leading the Financial Review will be August 9 and Chessell will start on August 12.
“I’m very excited about taking over from Stutch who is the best editor I’ve worked for bar none,” Chessell said.
“He made the Financial Review sharper and smarter than at any other time in its 73-year history and I’m delighted he will be writing for the masthead for many years to come. The AFR has done an outstanding job exposing corporate and political profligacy under Stutch without forgetting its mission to champion authentic innovation, entrepreneurism and success.”
“The Financial Review has always been a critically important voice in the financial and political conversations that matter in Australia through rigorous news, analysis and public interest journalism. The current media landscape means the work is not without its complications but there is no better editorial team to face up to these challenges than the Financial Review newsroom.
“I’m also very excited to be reunited with Tory and the Nine Publishing team, who are the best in the business. I’m incredibly lucky to be stewarding a masthead in such great shape but there is still plenty of work to do and I can’t wait to get started.”
Creative agency BMF has appointed Stephen de Wolf as its new chief creative officer.
De Wolf’s appointment follows the departure of former CCO Alex Derwin, who left in April to set up his own shop after almost nine years with the Enero agency. Derwin joined BMF in 2015 as creative director, became ECD in 2018, and CCO in 2020.
De Wolf joins from DDB Australia, where he spent the last three years as its national chief creative officer. At DDB, he was on the group‘s Global Creative Council and served as the CCO of Smith Street, the bespoke Coles agency powered by DDB.
“From early on in my career, I’ve admired everything about BMF,” said de Wolf. “They’ve been a constant creative consciousness in our industry – known for great creativity and strategy, but importantly, an amazing people culture. It’s not lost on me the shoes Alex has left to fill, but I’m looking forward to giving it a good go alongside the brilliant Steve, Christina, Tara, the two Daves, and the rest of the BMF team.”
He continued: “I’d also like to say a big thank you to DDB and the clients for a wonderful time. Working with the team at DDB has been a privilege and career highlight.”
Prior to DDB, de Wolf was the CCO and partner of BBH in London, where he also sat on the agency‘s Global Creative Board. Before moving to London in 2020, he was the CCO at Clemenger BBDO Melbourne, responsible for campaigns including Transport Accident Commission’s Meet Graham, Snickers’ Hungerithm, and Airbnb’s Until We Belong.
The campaigns earned Clemenger BBDO Melbourne multiple Cannes Lions Grand Prix awards and recognition as the world’s most creative agency at D&AD and Cannes.
De Wolf has also worked alongside brands including Tesco, Barclays, Westpac, McDonald’s, Coles, Volkswagen, Audi, and Burger King. Other campaigns he led include Tesco’s 2020 No Naughty List campaign, Barclay’s Moneyverse brand relaunch, and McDonald’s Original Mouthful, which recently nabbed a Silver Lion at Cannes.
“As much as I felt uncomfortable hiring someone who shared my first name, it became clear during the time we spent with Wolfie that he would be a perfect fit for BMF,” added BMF CEO, Stephen McArdle.
“His creative track record is eye-wateringly good, he holds the respect of the very best agency and client leaders globally and, most importantly, he is an incredibly lovely, considered human – and at BMF that’s means everything.
“Wolfie’s experience developing tech-enabled, immersive brand experiences before they were even-a-thing, was incredibly impressive. When you couple that with his effortless ability to lead big blue-chip businesses in some of the toughest categories in the country, such as retail and financial services, you have someone who’s pretty handy to have around.”
De Wolf’s appointment follows BMF’s recent win of the drinks and hospitality business Endeavour Group, which appointed BMF as its lead creative agency, working across its portfolio of brands including Dan Murphy’s and BWS.
Meanwhile, BMF is the incumbent as Tourism Tasmania earlier this month put its lead creative agency contract up for pitch, calling for agencies to submit a Request of Expression of Interest (ROEI) through the Tasmanian Government tender website – a statutory review as per government requirements.
Mediaweek has reached out to DDB for comment regarding de Wolf’s departure.
See also: ALDI launches ‘ALDIcore’ campaign with Ogilvy PR, BMF, and Zenith
Mason Rook has been appointed as the CEO of Pedestrian following his recent resignation from his role as commercial director of sales and operations for Australia and New Zealand at Guardian Australia.
Rook, who will step into the role on 29 July, has an extensive background in the publishing industry and driving youth engagement. He has previously held senior commercial positions at ARN, The Daily Mail, and Nine, where he was sales director.
This appointment to the role marks a significant milestone in the youth publisher’s journey as it refocuses on building out its owned and operated business across publishing and television.
Earlier this month, as parent company Nine Entertainment made extensive cuts, Pedestrian Group announced it would be transitioning “out of current brand licences” to focus on the Pedestrian brand, alongside the departure of previous CEO, Matt Rowley.
Licensed brands to be dropped include Gizmodo, Lifehacker, Vice, Refinery29, and Kotaku.
Rook’s leadership at the Guardian Australian drove strong commercial outcomes, fostering creative client collaborations and championing initiatives that resonated with brands.
As Pedestrian CEO, Rook will spearhead strategic initiatives aimed at enhancing content quality and alignment, diversifying the publisher’s commercial base and leveraging Pedestrian’s entire suite of unique assets to better connect leading brands with Australian youth.
Alex Parsons, Nine’s chief digital officer and chair of Pedestrian, said: “We are delighted to welcome Mason back to the Nine business in his new role with Pedestrian.”
“Mason’s impressive track record and forward-thinking approach makes him the ideal leader to guide us through the next, exciting phase of our growth. He is without doubt one of the most talented media operators I have worked with.”
“I am thrilled to be joining Pedestrian and to have the opportunity to lead such a dynamic and impactful organisation,” Rook said of his appointment to CEO.
“I’ve been a personal fan of the business for many years and I look forward to working with the talented team to deliver exceptional content and connect Australia’s best brands to these audiences in new and exciting ways.”
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Top image: Mason Rook
Australian newspaper and magazine publishers have had access to a newsagency system over the decades that helped support a thriving publishing industry.
While the move to digital has changed the way the newsagency operates, there is vigorous debate about how much that retail channel has declined.
ABC News published an item yesterday under the heading “Newsagencies in decline as demand for online content outstrips print media”.
The feature profiled the Mansfield newsagency and the owner’s attempt to find a buyer.
Owner Frank Livingstone told the ABC the Mansfield newsagency has been on the market for two years but hasn’t had any takers.
“We haven’t been able to sell it and so we’ve just decided that when our lease is up we have no option but to close it down.”
The feature notes when the Livingstones leave, Mansfield won’t have a newsagency anymore.
Livingstone added the demand for online content and news has affected the industry.
“The digital side of it has greatly reduced our circulation,” he said. “You know, like holiday weekends years ago, we would order 2,000 newspapers. We’re down to about 350–400 at the moment.”
The ABC also speaks to an industry analyst from IBISWorld: “Over the past five years, about 300 newsagents in net terms have left the industry,” Andrew Ledovskikh said.
He explained newsagencies have diversified by offering lottery sales, gifts, collectibles, and convenience products.
But gambling and lottery tickets have now also moved online and “that’s starting to kind of pinch into the industry’s revenue,” Ledovskikh said.
The number of retailers is hard to pin down because of a number of agencies, sub-agencies and lottery agents that look like newsagencies. IBISWorld quotes a figure of 1,784, software supplier Tower Systems said last November: “The [newsagency] channel remains the biggest independent retail channel in Australia with 2,500+ retail outlets.”
A number of other estimates have the number around 3,000 or higher.
There is no dispute the numbers have been dropping and that the industry has been facing tough times.
Mark Fletcher speaking at industry conference
Tower System supplies software to specialty local retailers, including newsagencies. Its owner Mark Fletcher also operates several newsagencies and knows the industry very well.
Fletcher has hit out at the ABC assumptions made about the sector using the Mansfield retailer as an indicator of the retail channel.
“The story fails to adequately report on the state of Australian newsagencies,” Fletcher wrote on his influential Newsagency blog.
“While there have been newsagency closures, the numbers are not huge, not as big as we have seen in some other real channels.
“The ABC News story fails to properly investigate why there have been closures. Instead, they publish the cliche of the decline in print media as the cause, which it is not.”
While expressing sympathy for the predicament the profiled retailer finds themselves in, Fletcher asked if the retailer had adapted to the changing demands of customers: “I feel for the folks at Mansfield Newsagency. It was a nice shop in a beautiful country town with a population close to 5,000. The shop feels like it’s from the 1990s, not today.”
Fletcher and his Tower Systems business offer support for newsagencies and his blog provides many examples of successful transformations of businesses.
The falling demand for print products has seen a long and gradual decline in the number of customers visiting this retail sector.
Are Media titles help keep readers visiting magazine retailers
“A typical country town newsagency today should be making less than 10% of their turnover from print media products, 30% of revenue from lottery commission and 60% from gifts, homewares, books, toys and more. That is, 60% of revenue from items delivering 50% and more gross profit.”
Fletcher has long been a critic of the support newsagencies received from publishers over the years. But he notes it should not be the reason for a failing business.
“You can’t blame the decline in print for newsagencies closing. Newsagents make a paltry margin from print products. It’s disrespectful, and embarrassing how little we make. A business closing because of this is a business rooted in the past.
“Smart newsagents started transforming their businesses 20 years ago.”
Fletcher finished with a final blast for ABC News:
“If the folks at ABC News did even basic research about the future of Australian newsagencies they could have provided more accurate reporting on the state of newsagency businesses in Australia.
“Do better ABC News.”
See also: Vogue Australia’s collectible April covers: Juergen Teller photographs Angelina Kendall in Paris
Rupert Murdoch’s comment last week that printed newspapers have a shelf life of 15 years seems to have sent the commentators racing. But it’s hardly breaking news for those in the industry.
Sure, there’s been a steady decline in print readership for some time. But it’s gradual and offset by the rise in digital news access.
Roy Morgan Total News readership data shows 97% of readers currently access news via digital channels, yet more than half (56%) also still read printed news at least once a month.
While the University of Canberra Digital News Report showed there was a steady decline in printed newspaper audiences over the last three years, it also confirmed a combined greater increase in those who source their news online and via social media.
This shift towards digital should be seen as a natural progression within the context of the digitisation of our media world, the on-demand availability of digital formats and the fast-paced nature of our lives.
Importantly, the news industry has for years been responding to these trends for the benefit of readers and advertisers alike.
Australia’s leading publishers now offer high-quality, digitally-led, data-driven, multi-media environments and world-class identification and targeting technologies.
Data scientists are now commonplace in leading publications. One of their jobs is to analyse article performance to optimise future content. The aim is to finely tune it to audience habits and preferences boosting what is already a highly engaging medium. This creates more lean-in moments for audiences and brands advertising within the content.
Publishers also sit on a treasure trove of deep and accurate first-party data based on reader behaviour. They can now tell advertisers who a reader is, their media behaviours, whether they’re part of a target market and what stage they’re at in a purchase funnel.
They can also help inform campaign development with rich insights into channels and formats as well as creative aspects such as imagery and message choice. Campaigns can then be created, managed and monitored all within the news publishing ecosystems themselves.
Put simply, advertisers can now run audience-led, multi-media, data-driven campaigns from start to finish seamlessly and effectively within the high-quality, credible walled garden environment of news publishers.
As the saying goes, “the world ain’t what it used to be” and neither is news publishing.
Master dog trainer Graeme Hall, AKA The Dogfather, is back on Australian soil for the second season of Dogs Behaving (Very) Badly Australia on 10 and 10 Play.
Armed with his mantra of – “Any Dog, Any Age, Any Problem” – Hall told Mediaweek that the success of the show is down to the fact that “we all love to see everybody else’s mischievous dogs.”
“It makes us feel better,” he said.
“There’s also an element of trying to figure out what’s going on in the dogs as well.
“We all like to guess about what a dog might have been thinking, and I do my best to give viewers the answer to that.”
Graeme Hall
Hall is returning down under to meet with Australia’s most quirky, puzzling and challenging canines. Australia boasts six million dogs, and Hall is determined to offer practical solutions to desperate dog owners grappling with canine antics.
Are Australian dogs more difficult than other dogs Hall has helped before? He says dogs are “pretty much the same anywhere you go in the world”.
“However, Australia does have a few breeds that we don’t see so much over in England,” he said.
“If you think about the breeds that Australia was built with, the country was built on working dogs.
“Australian cattle dogs tend to be very quick-witted and very intelligent, and that’s great, but it’s also bad. They learn the good things really quickly and they learn the bad things really quickly. Other than that, most dogs are very similar no matter where you go in the world.”
Season two will see more episodes than the first season and feature a wide array of peculiar cases including a family of Chihuahuas causing chaos, a hoover-hungry Dachshund, a bad-mannered barking machine Old English Sheepdog and a Kelpie suffering a case of cyclophobia.
Hall said it’s his mantra (Any Dog, Any Age, Any Problem) that drives him, and says he will “take anything on” and “give it my best.”
“There are days when I’m thinking, ‘Why did I promise to take anything on?’, he said.
“However, sometimes you challenge yourself, and you surprise yourself with what you can do. There are days when I look at dogs that have been sent to get help and I think, ‘How on earth am I going to resolve this?’ but, where there’s a will, there’s a way, and we usually get there.
“It’s never easy making Dogs Behaving (Very) Badly, it’s always a journey.”
Dogs Behaving (Very) Badly is produced by Avalon Factual for Network 10.
Dogs Behaving (Very) Badly Australia premieres Tuesday, 23 July At 7.30 pm On 10 And 10 Play.
Ipsos iris figures for June have revealed The Nightly now has a unique monthly audience of 2.3 million readers.
The industry-audited figures for June also show a 24% leap in audience for The Nightly, up from 1.86 million in May.
The audience of The Nightly, which Seven West Media launched on 26 February this year, has grown 163% since its first Ipsos iris-recorded month of March. From an audience of zero at launch, The Nightly also recorded 4.99 million page views last month.
The majority of the audience for the publication is based in NSW and Victoria, and 56% of its audience is under 55.
Aside from its core team of reporters, it draws on 7NEWS journalists around Australia and overseas correspondents, international brands The Economist, The New York Times and The Washington Post, as well as London’s Daily Mail newspaper.
The Nightly editor Sarah-Jane Tasker said: “The feedback we are getting is that readers are loving The Nightly’s fresh voice, its no-nonsense journalism and forthright opinion.
“Readers are clearly enjoying getting ahead of the news through an afternoon paper delivered directly into their inbox every evening. They love the bold front pages and the clean, modern designs, both of our digital edition and our website.”
Editor-in-chief Christopher Dore said: “We have created a news brand, an entirely new national product, and accumulated a monthly audience of 2.3 million in four months – that is a sensational result.
“Already we have an audience 90% the size of The Australian Financial Review and 65% the size of The Australian. There has never been a new media brand launch quite like it, and we are only just getting started.”
In an interview with Mediaweek in June, Tasker said politics, sport, and business are the content that resonates with readers of The Nightly.
“What we are giving readers is really special. A snapshot of the day with a different lens, a fresh design imperative. Anything and everything is up for grabs, focusing always and only really on what readers are interested in,” she said.
“Some of that is obvious. With other stories, important, maybe harder for audiences to get their heads around, we are intent on bringing them into the yarn, capturing their attention, and making them read stuff they maybe didn’t even know they were interested in.”
See also: ‘Intelligent, clever, and relevant’: The first three months of The Nightly
The Growth Distillery, in collaboration with The Research Agency, has unveiled new research into the home retail sector that shows three pathways for brands to follow to turn low consumer confidence into an opportunity for growth.
Reframe: Home Retail revealed that while the home retail category may be under pressure, the research shows ‘home’ has never been more important to Australians.
85% of consumers say home is a sanctuary from the demands of the outside world, while 87% say they enjoy spending time at home. At the same time, one in three consumers feel more negative about home and life within it compared to five years ago, while 64% say maintaining their home demands time and energy.
The study shows brands can connect better with customers by offering solutions that reduce the burdens of home and life while enhancing its comforts and recognised home as both a refuge and a challenge.
Reframe: Home Retail identified three core strategies that brands can use:
• Alleviate the burdens of home and life: brands should highlight how products make everyday tasks easier, saving time and energy and prepare people to take on the day
• Showcase success: brands should offer aesthetically pleasing, personalised products that reflect achievement and aspiration
• Reimagine the sanctuary: brands should provide products that support relaxation, rejuvenation, and personal goals, while emphasising comfort, innovative technology and personalised features
Bethan Hockey
Bethan Hockey, The Growth Distillery research director, said: “When people talk about their homes and the items in them, there is a huge emotional connection. These aren’t just objects – they are reflections of who they are and what they are trying to achieve.
“In the home retail category, there’s a real opportunity for brands to go beyond form and function, and connect on a deeper level. By addressing the emotional and practical needs of consumers, brands can create meaningful relationships and drive growth.”
See also:
From Fanatic to Mainstream: Navigating the dynamic evolution of sports fandom in Australia
Social connection the main motivation for sports fans under the age of 40: The Growth Distillery
Omnicom Media Group’s Hearts & Science has unveiled its new leadership team in the Australian market.
This follows the merger of Omnicom agency Foundation at the start of June and Liz Wigmore‘s promotion to managing director of Hearts & Science.
Louis Mayne has been appointed chief investment officer, Kim Dolengowski steps up to chief strategy officer, and Ashley Wong named chief digital and innovation officer.
The three senior hires will join Wigmore and ANZ CEO Jane Stanley to lead the agency’s growth. Peter Skarparis and Kylie Pascoe will continue in their GM roles in Sydney and Melbourne, respectively.
Peter Skarparis and Kylie Pascoe
Mayne will manage the investment portfolio across Australia with a focus on media partner relationships as chief executive officer. He will use his 15 years of planning and buying experience to drive impactful investment opportunities and results for Hearts clients.
Dolengowski brings a wealth of global and local strategy experience to the chief strategy officer role. She will elevate Hearts’ overall strategic product across Australia, specialising in integrated strategy, creativity, and brand transformation.
Wong will drive the agency’s digital innovation initiatives and data-driven solutions that deliver on client outcomes as chief digital and innovation officer.
Liz Wigmore
“I am so excited to announce the promotions of Kim, Louis and Ash as part of the new Hearts leadership team for Australia,” Wigmore said of the appointments.
“Louis leads with a standout combination of transparency, intelligence, and empathy, which our partners and people trust and respect. Kim’s experience in integrated strategy, brand transformation, and her ability to solve complex business challenges through an empathetic lens makes her a natural fit. And finally, Ash brings an ability to co-create effective and technically brilliant solutions for clients, all in his trademark approachable style.
Wigmore added: “It’s a powerhouse of talent that are incredible leaders in their craft. It signals to the market a significant and exciting era for Hearts Australia; one where our clients are going to see and feel a positive impact, as well as our people at the agency.
“I am excited to work alongside CEO ANZ Jane Stanley in this new agency era and can’t wait for what Hearts & Science will achieve in the months to come.”
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Top image: Louis Mayne, Kim Dolengowski and Ashley Wong
Snack Drawer has appointed creative experts Beaurey Chan, Zoe Anastasiou and Sarah Rogan to the agency’s social, editorial and account services.
Chan joins as social and content lead for Snack Drawer’s Netflix client with a strong background at Think HQ, where she led numerous successful social media and content strategies for the Department of Social Services, Respect Victoria and BreastScreen Victoria.
In her new role at Snack Drawer, she will oversee the development and execution of innovative social content that aligns with clients’ brand objectives.
“I feel that I’ve joined Snack Drawer at the perfect time, the agency is thriving and it’s exciting to be part of that growth,” Chan said. “I’m looking forward to working closely with the team to craft dynamic, creative content that truly resonates with our audiences.”
Anastasiou steps in as editorial strategist, bringing expertise from an impressive journalistic career, including roles as acting fashion and beauty editor at Refinery29 Australia and fashion editor at Marie Claire UK. Anastasiou will drive the editorial strategy on social for Netflix ANZ, ensuring it is engagement and resonance with target audiences.
She said: “I’m excited to continue Snack Drawer’s dedication to creativity and cultural relevance and I look forward to ensuring our content not only stands out but also supports our clients.”
Rogan takes on the role of senior communications account manager, bringing her experience of handling communications brand side for The Body Shop and L’Oreal. She will head up communications for Snack Drawer’s clients including Instagram, as well as developing and implementing Snack Drawer’s communication strategies to drive brand awareness and engagement.
“Snack Drawer has been on my radar for a while now, and I’m thrilled to join the team at such an exciting time,” Rogan said. “It’s such a fun & creative environment to be welcomed into and I look forward to contributing to the vibrant culture and great work.”
Jamie Searle, CEO and co-founder of Snack Drawer, said: “We’re absolutely thrilled to welcome Beaurey, Zoe, and Sarah to the team, each of them is highly regarded and incredibly talented in their field.
“The fact we’re able to attract talent of their calibre is a testament to the great work done by the existing team which has created incredible momentum, helping us grow our revenue by over 30% in the last 12 months. We’re committed to continuing to push creative boundaries and deliver ‘Good Attention’ for our clients, through our unique ‘Good Sugars’ model.”
–
Top image: Sarah Rogan, Beaurey Chan and Zoe Anastasiou
Wendell Sailor has announced his retirement from Triple M, stepping down from 104.9 Triple M Sydney’s Drive show, The Rush Hour with Gus, Jude & Wendell.
Sailor’s decision to step down is effective immediately, and he says his primary focus is now dedicating more time to his children and “pursuing grassroots interests.”
“I am deeply grateful for SCA’s understanding and support of my decision. Balancing my career with family life is my priority, particularly as I celebrated my 50th birthday [last] week,” he said.
“Triple M has been an integral part of my professional journey. I have forged lifelong friendships and cherished every moment commenting on NRL matches and hosting The Rush Hour.
“I am thankful for the encouragement I have received and am eager for my next chapter, to concentrate on family, as well as interests such as golf and corporate opportunities.”
SCA chief content officer, Dave Cameron, said: “SCA supports Wendell’s decision to step away from The Rush Hour and the Triple M NRL commentary team to spend more time with his family. Wendell has forged a wonderful media career since joining Triple M in 2015 and we wish him well. We will always consider Wendell a member of the Triple M family.”
The new member for 104.9 Triple M Sydney’s The Rush Hour show will be announced soon.
Sailor’s departure comes as 105.1 Triple M Melbourne confirmed a new temporary Breakfast show upon the departure of Marty Sheargold.
The show, Triple M Breakfast with Wil Anderson, Dale ‘Daisy’ Thomas and Rosie Walton, will run through the AFL season until Friday, 4 October, featuring a line-up of footy and comedy.
Sheargold has scaled back from the Breakfast shift, as Triple M states he continues to balance his commitments – including his stand-up comedy and appearing on the upcoming new season of Fisk.
See also: Marty Sheargold steps down from Triple M Melbourne Breakfast
In the most recent Radio Rating Survey 4, 104.9 Triple M stayed largely steady, rising only 0.1 points for a share of 5.3%.
LEGO Australia and New Zealand has launched an integrated, earned-first campaign for its new space range that embraces the potential that lies beyond Earth.
The toy bricks brand tasked Thrive PR & Communications with creating an idea for the brand’s latest space range that also empowers the next generation to reach for the stars
The agency created a mysterious crop circle in regional NSW that spanned 50 metres in diameter and a secret exploration with space-loving talent. It created speculation in media and online, further amplified by talent and an above-the-line campaign that sparked a nation of conspiracy theorists.
The small regional town of Narromine, 40 minutes outside of Dubbo and close to the famous ‘Dish’ at the CSIRO’s Parkes Observatory, was chosen as the location for the crop circle for its low light pollution and the region’s strong space legacy.
Thrive executive director Clare Basire, said: “Those with a keen eye could discern that the crop circle design drew inspiration from the iconic LEGO Minifigure, with scaled dimensions of a LEGO Minifigure hand and head forming part of the geometric design which was perfectly accurate to meet global brand guidelines.”
“We were told by many that the idea was logistically impossible yet we called upon our event partner, SOLD OUT Events, who have a long history in Olympic and other epic activations. After a month-long location scout, SOLD OUT found a viable crop in far Western New South Wales.
“We had severe weather conditions against us and needed to time the crop harvest to get colour variations visible from the sky, whilst lining up timings with creative and content teams, talent and media who were all secretly flown in. With guide posts and pickets in hand, we set up an ‘investigation area’. It then took teams three full days to flatten the crops and create the crop circle,” she added.
Australian and international talent including trained astrophysicist Kobi Brown, Steph Luck, Karstan & Maxine, and Vaughan Smith, visited the site and captured the experience while content partners, Brightworks, shot dramatic video and drone footage that was shared with media and creators to drive talkability of LEGO’s space range.
News was shared in stages, with a two week ‘teaser’ phase leaning into internet conspiracy theories with supporting nano creators. Meanwhile paid creative and radio placements by media agency Initiative, also heightened discussions around the earned narrative in the lead up to a mass, general distribution.
LEGO Australia and New Zealand then declassified the mission, revealing that it was responsible for the stunt tapping into the curiosity of space explorers of tomorrow.
For the campaign’s launch and reveal, LEGO teamed up with the Australian Space Agency and the Australian astronaut Katherine Bennell-Pegg. The alignment was a seamless integration, as both LEGO Australia and the Australian Space Agency are unified in their mission to support the next generation’s aspiring and curious attitudes towards space.
For the campaign’s launch and reveal, LEGO teamed up with the Australian Space Agency and the Australian astronaut Bennell-Pegg. The alignment was a seamless integration, as both LEGO Australia and the Australian Space Agency are unified in their mission to support the next generation’s aspiring and curious attitudes towards space.
“This is a campaign that lights up kids’ imagination,” Justine McKenny, LEGO Australia and New Zealand marketing director said. “We wanted to evoke feelings of exploration and wonder to bring kids to space in new and exciting ways. We have a unique opportunity to educate and entertain kids so have crafted this campaign to do just that.
“Our challenge to Thrive was to bend the rules and deliver an integrated campaign that was a 10/10 on the coolness scale to excite kids aged 6-12. When they proposed the idea of collaborating with the Australian Space Agency, we knew this would become a stellar partnership that would go above and beyond the original brief.
“Since the campaign’s launch in late June, this component helped to generate ‘out of this world’ talkability across earned, owned, paid and social channels. We wanted to see space through children’s eyes, and create a launch pad for their wildest imagination. By all accounts, we’ve achieved that!”
“Imagine the opportunity to ‘Rebuild the World’ with LEGO,” Leilani Abels, Thrive PR founder and CEO, said. “It’s a very special partnership with the LEGO Australia & New Zealand team. This brief allowed us to insert the LEGO brand into the cultural zeitgeist of space thanks to creative thinking and a collaborative communications strategy.”
Matt Okine with Katherine Bennell-Pegg
Katherine Bennell-Pegg
The partnership with Bennell-Pegg and the Australian Space Agency also landed in the heart of Sydney on July 16th. She was joined by comedian and event host Matt Okine at the LEGO Store on Pitt Street Mall, met with kids and encouraged them to explore space their way.
Bennell-Pegg also revealed one of 15 LEGO Space Bricks which were created by the European Space Agency (ESA), where she did her Astronaut training. The ESA used dust from a 4.5 billion year old meteorite to 3D print bricks to help design astronaut shelters in space. The ESA LEGO Space Bricks will aim to inspire the builders of tomorrow and show how LEGO brick building can help solve universal problems.
McKenny said: “As the first ever homegrown IP, cross-category solution, LEGO space is a unifying portfolio that embraces multiple genders, ages and skill levels, meaning that no matter who you are, there is something for you in the LEGO Space range.”
“The LEGO Group’s brand mission ‘Rebuild the World’ challenges us to think differently and create inclusive play opportunities for all the world’s kids. Taking this approach in the launch of LEGO Space in ANZ allowed us to embrace bold storylines, creative and narratives that Thrive helped us bring to life with stellar results,” she added.
CREDITS:
Campaign: LEGO SPACE
Brand: LEGO Australia
Senior Director, Head of Marketing: Justine McKenny
Brand Manager: Hollie Hill
Brand Relations Managers: Leah Russell and Millie Williams
AU/NZ Agency: Thrive PR & Communications
Founder & CEO: Leilani Abels
Executive Director; Clare Basire
Integrated PR & Talent/Social team,Thrive PR & Communications: Jenna Woods, Amy Lee, Hugh Preston, Chloe Koutsoukis, Lilli Kargiotis, Samantha Drummond, Lucy Lee, Bethany Fuller, Ash Bruton, Briar Barratt-Boyes, Madi Hewett
Event Agency: SoldOut Events
Managing Director : Kim Voss
CEO: Thomas B. Staunton
Media Agency: Initiative
Client Director: Sharyn Keller
Content Production: BRIGHTWORKS
Producer/Director: Cam D’Arcy
Four’N Twenty, sponsors of the Australian Olympic Team, has launched its national campaign, Running on Paris Time, in the lead-up to the Paris 2024 Olympic Games.
This campaign is part of the Patties-owned pie brand‘s broader Being a Fan is Hungry Work platform, produced by integrated creative agency TBWA\Melbourne.
The campaign is the first of several upcoming executions under the Being a Fan platform, which will include outdoor, radio, and tactical activations, like engaging ‘Australia’s biggest fans’ to support the team.
“Four’N Twenty, ‘The Original Fan Food’, is at the top of the podium when it comes to footy,” said Patties Food Group chief marketing and growth officer, Anand Surujpal. “But we’re hungry for more, solidifying ourselves as a staple for an even wider range of sports fans. We’re excited to make our first big splash on the global stage.”
The media strategy, delivered by TBWA’s Omnicom stablemate United, includes outdoor, social, radio, digital audio, in-store, and influencer content, featuring Four’N Twenty ambassadors Jonathan Brown and Tayla Harris.
“Being a fan is bloody hard work. And no one acknowledges it. But that’s what makes it so rewarding,” explained TBWA\Melbourne planning director, Zac Martin.
![Four’N Twenty ‘Running on Paris Time’ OOH [2]](https://www.mediaweek.com.au/wp-content/uploads/2024/07/FourN-Twenty-‘Running-on-Paris-Time-OOH-2.jpg)
“Being a sports fan means sacrifice. Stress. Meat pies. Heartbreak. Exhilaration. More pies,” added TBWA\Melbourne executive creative director, Matt Stoddart. “This year it also means waking up at 4am to catch the games in Paris time. Our new campaign has a bit of fun with the knock-on effect of that early morning fandom.”
![Four’N Twenty ‘Running on Paris Time’ OOH [3]](https://www.mediaweek.com.au/wp-content/uploads/2024/07/FourN-Twenty-‘Running-on-Paris-Time-OOH-3.jpg)
The new work follows a May collaboration where Red Rooster teamed up with Four’N Twenty, the ‘official pie’ of the AFL, to launch a limited edition chicken and gravy pie ahead of the Aussie footy final season, with a fully integrated creative campaign via Leo Burnett.
See also: Red Rooster and Four’N Twenty launch collab via Leo Burnett
Credits:
Agency: TBWA\Melbourne
Paul Reardon Chief Creative Officer
Matt Stoddart Executive Creative Director
Harrison Webster Creative Director
Max Reed Creative Director
Zac Martin Planning Director
Amy McKay Senior Business Director
Ricci Meldrum Managing Director
Kate Steven Project Director
Mika Parow Integrated Producer
Eliza Smith Client Partner, Eleven
Michaela Stevenson Senior Social Media Manager, Eleven
Tony McKay Precision Marketing & Media Lead, United
Evelyn Hamlett Planning & Investment Director, United
Production:
Sarah Adamson Photographer
Belinda Blooman Senior Producer, Photoplay
Retouching and Grade Capture Lab
SFX Production Rumble
Client: Patties Food Group
Anand Surujpal, Chief Marketing & Growth Officer
Peter Djalikian, Head of Marketing, Savoury & International
Rachael Kirby, Head of Insights
Pierre Meneaud, Head of Digital
Jenny Donaghey, Assistant Brand Manager, Savoury
HOKA has launched the latest chapter of its Fly Human Fly global platform in Australia and New Zealand with the film Bird’s Eye, created by its global creative agency of record, Anomaly.
The campaign taps into the sportswear brand‘s origin story of being founded in the French Alps. It depicts a bird soaring alongside road and trail runners, aiming to inspire movers with the belief that ‘We Are All Born To Fly.’
The brand hopes each seasonal Fly Human Fly creative reinforces its “authenticity as a modern performance brand,” creating an emotional touchpoint with its community. Bird’s Eye invites movers to find their way to the starting line and experience the joy of movement.
In Australia and New Zealand, the campaign will be amplified across film in digital, owned media and paid social until the end of 2024, in addition to OOH media support, including Melbourne tram wraps.
The work further builds on HOKA’s Murmuration campaign by Anomaly, released in June of last year.
In June, HOKA FlyLab was brought to life in Sydney’s Pitt Street over five days via Emotive, the second activation by the creative independent for HOKA in Australia. The experiential brand activation offered free community events and health and fitness masterclasses on topics ranging from health and nutrition to performance, tech, and innovation, in time for Global Running Day, celebrated between 1 and 9 June.
At a similar time, HOKA competitor New Balance partnered with wellness platform Kic to launch a second campaign partnership – a run club for young women and non-binary folks across the country to learn how to run with confidence. Launching with events in Melbourne and Sydney via Mango Communications, part of DDB Group, the run clubs were part of Kic’s eight-week challenge (KICRUN).
According to Initiative strategist Kate O’Loughlin, “Marketers and brands alike should be running to embrace the lessons, and learn from the consumer behaviours, attached to the rise of run clubs.”
See also: Kate O’Loughlin: Marketing lessons from the rise of run clubs
Despicable Me 4 now sits as the highest-grossing film in the Despicable Me franchise and 2nd highest-grossing in the overall Minions/DM franchise, trailing only 2022’s Minions: Rise of Gru. Steve Carell returns to voice Gru and this time is joined by fellow funnyman Will Ferrell who plays the villain Maxime Le Mal. Coming in first place this week, Despicable Me 4 took $3,016,350 in its fifth week, averaging $6,887 over 438 screens.
Total Australian Box Office gross to date: $38,441,786
Synopsis: Gru welcomes a new member to the family, Gru Jr., who’s intent on tormenting his dad. However, their peaceful existence soon comes crashing down when criminal mastermind Maxime Le Mal escapes from prison and vows revenge against Gru.
Warner Bros. Twisters is a spiritual successor to the 1996 film, Twister and is directed by Lee Isaac Chung. Starring Daisy Edgar-Jones and Glen Powell in the leading roles, the film currently holds a favourable 80% on Rotten Tomatoes. Coming in second place this week, Twisters took $2,896,808 in its second week, averaging $6,629 over 437 screens.
Total Australian Box Office gross to date: $7,657,793
Synopsis: Haunted by a devastating encounter with a tornado, Kate Cooper gets lured back to the open plains by her friend, Javi, to test a groundbreaking new tracking system. She soon crosses paths with Tyler Owens, a charming but reckless social-media superstar who thrives on posting his storm-chasing adventures. As storm season intensifies, Kate, Tyler and their competing teams find themselves in a fight for their lives as multiple systems converge over central Oklahoma.
In June, Inside Out 2 became the first film since Barbie in 2023 to hit a worldwide gross of $1 billion. The film introduces a new array of emotions for a now-teenage Riley, including Anxiety voiced by Maya Hawke and Envy voiced by Ayo Edebiri.
Inside Out 2 is now the 2nd highest-grossing animated film of all time, passing Shrek 2 and sitting slightly behind The Super Mario Bros Movie.
Coming in third place this week, Inside Out 2 took $2,718,172 in its sixth week, averaging $5,820 over 467 screens.
Total Australian Box Office gross to date: $50,703,019
Synopsis: Joy, Sadness, Anger, Fear, and Disgust have been running a successful operation by all accounts. However, when Anxiety shows up, they aren’t sure how to feel.
Rialto’s Longlegs has been the subject of 2024’s most mysterious marketing campaign. With vague posters, billboards and even a phone number you can ring to hear the serial killer yourself, Longlegs has been a hit with the horror audience before even releasing. Nicholas Cage stars as Longlegs while Maika Monroe stars as an FBI agent tasked with hunting him down. Coming in fourth place this week, Longlegs took $1,658,950 in its first week, averaging $6,557 over 253 screens.
Synopsis: FBI Agent Lee Harker is assigned to an unsolved serial killer case that takes an unexpected turn, revealing evidence of the occult. Harker discovers a personal connection to the killer and must stop him before he strikes again.
The newest film in the Quiet Place franchise is directed by Michael Sarnoski, who takes over the reins from the director of the previous two films, John Krasinski. The film is a prequel, documenting the beginning stages of an invasion in New York City by creatures who are drawn to the slightest hint of sound. It stars Oscar winner Lupita Nyong’o and Stranger Things star Joesph Quinn. Coming in fifth place this week, A Quiet Place: Day One took $702,005 in its fourth week, averaging $2,396 over 293 screens.
Total Australian Box Office gross to date: $11,129,825
Synopsis: When New York City comes under attack from an alien invasion, a woman and other survivors try to find a way to safety. They soon learn that they must remain absolutely silent as the mysterious creatures are drawn to the slightest sound.
Top 6 – 10
6. Fly Me to the Moon
7. How to Make Millions before Grandma Dies
8. Bad Newz
9. The Bikeriders
10. Bad Boys: Ride or Die
Nine’s Travel Guides recorded a total TV national reach of 2,301,000, a total TV national audience of 1,140,000, and a BVOD audience of 88,000.
Nine’s NRL – Titans v Sea Eagles recorded a total TV national reach of 1,138,000, a total TV national audience of 438,000, and a BVOD audience of 40,000.
Seven’s Dancing with the Stars recorded a total TV national reach of 2,110,000, a total TV national audience of 989,000, and a BVOD audience of 43,000.
Also on Seven, 7NEWS Spotlight recorded a total TV national reach of 1,033,000, a total TV national audience of 388,000, and a BVOD audience of 16,000.
10’s airing of The Project recorded a total TV national reach of 592,000, a total TV national audience of 254,000, and a BVOD audience of 13,000.
See also: TV Report 21 July 2024: First celeb hangs up their shoes during Dancing with the Stars
Nine’s Travel Guides:
• Total TV nation reach: 850,000
• National Audience: 427,000
• BVOD Audience: 48,000
Nine’s NRL – Sea Eagles v Titans:
• Total TV nation reach: 364,000
• National Audience: 133,000
• BVOD Audience: 23,000
10’s The Project:
• Total TV nation reach: 243,000
• National Audience: 100,000
• BVOD Audience: 8,000
Seven’s Dancing with the Stars:
• Total TV nation reach: 603,000
• National Audience: 228,000
• BVOD Audience: 20,000
Seven’s 7NEWS Spotlight:
• Total TV nation reach: 265,000
• National Audience: 105,000
• BVOD Audience: 8,000
Nine’s Travel Guides:
• Total TV nation reach: 326,000
• National Audience: 138,000
• BVOD Audience: 23,000
Nine’s NRL – Sea Eagles v Titans:
• Total TV nation reach: 157,000
• National Audience: 50,000
• BVOD Audience: 13,000
10’s The Project:
• Total TV nation reach: 81,000
• National Audience: 35,000
• BVOD Audience: 4,000
Seven’s Dancing with the Stars:
• Total TV nation reach: 242,000
• National Audience: 95,000
• BVOD Audience: 9,000
Seven’s 7NEWS Spotlight:
• Total TV nation reach: 91,000
• National Audience: 35,000
• BVOD Audience: 4,000
Nine’s Travel Guides:
• Total TV nation reach: 1,763,000
• National Audience: 882,000
• BVOD Audience: 70,000
Nine’s NRL – Sea Eagles v Titans:
• Total TV nation reach: 875,000
• National Audience: 341,000
• BVOD Audience: 31,000
10’s The Project:
• Total TV nation reach: 464,000
• National Audience: 196,000
• BVOD Audience: 11,000
Seven’s Dancing with the Stars:
• Total TV nation reach: 1,726,000
• National Audience: 795,000
• BVOD Audience: 35,000
Seven’s 7NEWS Spotlight:
• Total TV nation reach: 832,000
• National Audience: 318,000
• BVOD Audience: 13,000
Data © OzTAM and Regional TAM 2024. Not to be reproduced, published or communicated (electronically or in hard copy) in whole or in part, without prior written consent of OzTAM and Regional TAM.
TV Report 22 July 2024:
Beyond the Dream
Nine’s evening began with a Olympic documentary.
The documentary explored the question of what it takes to get to the Olympic Games as an athlete. Race to Paris took viewers along the personal journeys of the Australian athletes competing to make it to Paris.
A Current Affair
Over on A Current Affair, the program spoke to an Australian security expert who says cyber attacks are the biggest threat to the Paris games and met with the Aussie Olympic freestyle sprinter who barely swims to train.
The Hunters: Mr Cruel
On Seven, Ex-detective Steve Van Aperen and crime journalist Adam Shand investigate the horrifying Mr Cruel attacks that haunted Melbourne for over a decade.
Home and Away
Before The Hunters was Home and Away as Felicity partied with the River Boys, Cash stepped up his investigation and Irene succumbed amidst pressure from her friends.
The Project
The Project on 10 looked into what will happen next in the US election, Oscar Piastri wins his first F1 GP and spoke to Urzila Carlson.
Deal or No Deal: Celebrity Jackpot
On 10’s Deal or No Deal, resident funnyman Tom Gleeson hits the podium to play Celebrity Jackpot, as he aims to take home $250,000 for his charity, Feel the Magic.
Have You Been Paying Attention?
Have You Been Paying Attention saw Urzila Carlson, Lloyd Langford, Bron Lewis, Ed Kavalee and Sam Pang all compete to see who’s been paying attention the most with host Tom Gleisner.
Stuff the British Stole
From the bustling streets of Nairobi to a secluded royal retreat in the Kenyan mountains, Marc Fennell is on the hunt for secret documents that reveal a brutal history of war and a crumbling empire.
Robson Green’s Weekend Escapes
Robson Green spends this weekend escape with old friend and star of ‘Auf Wiedersehen, Pet’ and ‘Lewis’ actor Kevin Whately.
See also: Nine overhauls The AFR
Stutchbury, the longest-serving AFR editor or editor-in-chief in the paper’s seven decade history, informed staff on Monday about his plan to depart the role.
He will remain at the paper as editor-at-large in 2025.
The changes also come as Nine faces potential industrial action by staff this week after failing to strike a new enterprise bargaining agreement and recently announcing up to 200 job losses at the company.
The former defence minister is suing Higgins in the Western Australian supreme court for damages over a series of social media posts she says damaged her reputation.
Despite an apology from Higgins earlier this year, mediation has failed and Reynolds, Higgins’ former boss, is taking the case to trial.
The decision to keep the pervasive tracking technology known as “cookies” in Chrome comes after a series of setbacks, as both digital-advertising companies and regulators objected to the plan and to Google’s proposed replacement technologies.
Chrome users can already choose to block cookies in the browser’s settings. Now, instead of eliminating them, Google will present users with a prompt to decide whether to turn cookies on or off, said the UK privacy regulator, which has been overseeing Google’s plan to block cookies.
The deals – which also cover the Major League Baseball, the PGA Tour and National Association for Stock Car Auto Racing – could help Reddit capitalize on the loyal audience and star power sports commands to boost its revenue, the social media platform said in a blog post on Monday.
Reddit users will be able to access video highlights from games and tournaments, behind-the-scenes videos, its popular “Ask Me Anything” format and other content posted by the leagues.
Hollister for many years eclipsed the Abercrombie chain in revenue, but saw sales fall during Covid-19 in 2020 and again, postpandemic, in 2022. Abercrombie, meanwhile, has notched three consecutive years of sales growth, surpassing the Hollister chain last year for the first time since 2010.
Hollister is tweaking its edges rather than its core to make itself more relevant to the notoriously mercurial teenage shopper, according to Carey Collins Krug, Abercrombie & Fitch’s chief marketing officer.
President Joe Biden ended his re-election campaign on Sunday with a bombshell announcement made, as he said, “in the best interest of my party and the country.” Shortly after, Biden offered his “full support and endorsement” for Vice President Harris to be the Democratic nominee this year. In return, Harris sent out a statement of her own thanking Biden for “extraordinary leadership” as president and for his decades of service to the U.S., while also accepting his endorsement with an “intention to earn and win this nomination.”
The exchange set off a wave of endorsements across Capitol Hill and beyond. Hollywood added to the chorus, and the coffers filled with cash. Then came another green light, this one from a British pop star with a stranglehold on the cultural zeitgeist. “Kamala IS brat,” posted 31-year-old Charli XCX on the social media platform X.
Many were exceedingly vocal about their desire for him to step aside and let a younger candidate take over, including the host of “Pod Save America,” Jon Favreau, who recently called out Biden’s decision to white-knuckle it through the campaign with Jon Stewart.
After Biden made his announcement, former Obama speechwriter Favreau posted that the act was “courageous and selfless.”
How does it feel to be a Gold Logie nominee for 2024?
AL: Deja vu. I think I’m up against Asher Keddie again, who beat me last time, I feel like St Kilda Football Club. I can get to the finals, but I never win anything.
What’s been the highlight of your TV work over the past year?
AL: Definitely, The Hundred. I just love doing the show. It’s so much fun having all my mates come on, different comedians and personalities, and then the fact that I get to hang out with 100 everyday Australians every time we do the show. It’s really special.
It was a DayGlo-pink rebuttal to decades of conventional Hollywood thinking, and its success seemed to herald a new paradigm for the film industry. Movies written and directed by women and focused on female protagonists could attract enormous audiences to multiplexes around the world.
Yet in the 12 months since the movie’s release, little has changed in Hollywood. Buffeted by dual labor strikes that went on for months and a general retrenchment by entertainment companies trying to navigate the economics of the streaming era, the industry has retreated to its usual ways of doing business.