Despite late afternoon meetings putting forward a revised enterprise bargaining offer on Thursday, journalists at Nine Publishing will begin a five day strike from today.

Media, Entertainment, and Arts Alliance (MEAA) members at The Sydney Morning Herald, The Age, The Australian Financial Review, Brisbane Times and Watoday will walk off the job at 11am AEST. Picket lines and rallies are being held outside Nine offices in Sydney, Melbourne, Brisbane, and Perth.

Today is the first day of the Paris 2024 Olympics, the first event in a broadcasting rights deal that Nine reportedly paid $305 million to acquire.

In a statement, Nine called the decision to go ahead with the strike “disappointing,” but confirmed that there are “comprehensive plans are in place to ensure the production and distribution of Nine Publishing mastheads will not be impacted and our readers will continue to have access to unrivalled coverage of the Paris Olympics.”

“Nine recognises the rights of unions to take industrial action but believes that a return to the negotiating table is the best way to progress the EBA (enterprise bargaining agreement).

“With our new and improved proposal representing a fair and reasonable offer for our people, we remain open to resuming good faith negotiations at the earliest opportunity.”

The SMH votes to strike

After several months of negotiations, the union said the most recent offer was rejected because it “still fails to include a fair pay rise that keeps ahead of the cost of living.” News Corp reported that Thursday’s offer was a 3.5% annual pay rise, compared to the 2% which was already in place.

“It’s totally unacceptable that the company is asking workers to make a choice between a modest pay rise and the possibility of more job cuts after already announcing up to 90 redundancies in its publishing division,” said acting director of MEAA Media, Michelle Rae.

“The Australian public relies on these journalists to keep them informed, to hold power to account and to shine a light on corruption and wrongdoing but they cannot do it without safe and secure jobs.

“Journalists are asking for a modest pay rise in line with CPI; nothing more and nothing less. Nine needs to put its editorial frontline ahead of its shareholder bottom line. MEAA members’ message to Nine CEO Mike Sneesby is don’t torch journalism.”

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.

The Age on strike

“Laughably stingy”: Journalists respond as they walk off the job

Nine Publishing employees taking part in the strike voiced their concerns and solidarity on social media, including culture reporter The Age city editor Cara Waters, culture editor Osman Faruqi, media reporter Calum Jaspan, and digital foreign editor Chris Zappone.

MEAA has also asked freelancers not to cross the picket line or accept offers of work from Nine during the strike.

Technology editor David Swan wrote: “The CEO of our parent company is in Paris carrying the Olympic torch while back home up to 90 of us journalists are set to be made redundant. These are profitable publications and the work that we do is important. We deserve better.”

Kishor Napier-Raman, CBD columnist, agreed: “Nine recently gave a boss accused of misconduct a $1 million payout. It’s putting up Scotty Cam in a five star hotel for the Paris Olympics. But this very profitable company refuses to offer its journalists fair pay. That’s why we’re striking.”

Culture reporter Meg Mason said the workers who make Nine a profitable company “should at least be entitled to a fair wage and stable jobs” and sports reporter Dan Walsh said the strike means he won’t be covering the Games. 

“Would love to be covering my first Olympics. But 70-90 redundancies from a profitable section of the business, no hint of exec bonuses being given up, laughably stingy EBA talks and Scott Cam being put up in a five-star Paris hotel? We’ve got a few things to sort out first,” Walsh wrote. 

It’s been a busy 24 hours for Lachlan Murdoch, as News Corp celebrates the 60th anniversary of The Australian.

A who’s who of Australian business gathered at The Australian Museum on Thursday night and were addressed by the chairman of News Corp.

The Australian’s James Madden reported on the event on page 1 of The Australian the morning after.

Murdoch told guests: “Journalists first and foremost report the news, accurately and without bias. We report the facts. We ask questions. We seek the truth.

“The Wall Street Journal reported last week that Elon Musk’s Grok artificial intelligence, which aggregates content from all X accounts, is automatically producing what can only be called ‘fake’ news. What Musk has touted as – and I quote, ‘the new model of news’ – is in fact so riddled with errors and made-up stories that it can’t be trusted. Just last week it told its millions of users that it was Kamala Harris, not Donald Trump, who was shot in Pennsylvania. This is very dangerous. And this is why journalism, real journalism with real journalists, is so important.”

The Australian reports on its 60th birthday event

The Australian’s editor-in-chief, Michelle Gunn, said the event was about celebrating journalism: “Because there is no doubt the world needs quality journalism more than ever.

“But tonight is also a celebration of the power of good ideas, a clarion call for Australians to rediscover the art of persuasion, and an entreaty to the thinking men and women of Australia to engage in thoughtful, vigorous debate about the things that matter.”

See also:
• The Australian unveils new leadership team led by Nicholas Gray and Michelle Gunn
• Editor-in-chief Michelle Gunn on The Australian at 60 – Past, present and the future

Senior executives from News Corp Australia attended alongside executive chairman Michael Miller, Gunn, and Foxtel CEO Patrick Delany.

Australian chef and restaurateur Neil Perry designed the menu, with wines selected by Peter Gago, chief winemaker at Penfolds. The evening included a live performance by Australian singers Budjerah and Missy Higgins.

Other guests included Peter Dutton, Chris Minns, Samantha Mostyn, John Howard, Tony Abbott, Kelvin Healy (editor, The Australian), Siobhan McKenna, Matt Comyn, Solomon Lew, Andrew Forrest, Scott Farquhar, Justin Hemmes, Olivia Wirth, Andrew Dillon, Peter V’landys and Gillon McLachlan.

News breaks about Rupert and Lachlan Murdoch’s succession plan

Just hours before The Australian’s birthday event, The New York Times published a detailed summary of plans to alter the Murdoch family trust.

The feature carried the headline: The Secret Battle for the Future of the Murdoch Empire. The story triggered more coverage in newspapers, websites and broadcast media around the world. Coverage in Australia included The Australian, and The Sydney Morning Herald through to Thursday evening TV bulletins. Seven’s new The Nightly devoted a special cover to the story on Thursday night.

The New York Times feature started with:

Rupert Murdoch is locked in a secret legal battle against three of his children over the future of the family’s media empire, as he moves to preserve it as a conservative political force after his death, according to a sealed court document obtained by The New York Times.

Mr. Murdoch, 93, set the drama in motion late last year, when he made a surprise move to change the terms of the Murdochs’ irrevocable family trust to ensure that his eldest son and chosen successor, Lachlan Murdoch, would remain in charge of his vast collection of television networks and newspapers.

The Times added:

[Rupert Murdoch’s children] James, Elisabeth and Prudence – were caught completely off-guard by their father’s effort to rewrite what was supposed to be an inviolable trust and have united to stop him. Lachlan Murdoch has joined on Mr. Murdoch’s side. Remarkably, the ensuing battle has been playing out entirely out of public view.

Mr. Murdoch’s lawyers have argued that he is trying to protect James, Elisabeth and Prudence by ensuring that they won’t be able to moderate Fox’s politics or disrupt its operations with constant fights over leadership.

Top image: Anthony Albanese with Lachlan Murdoch (Source: News Corp Australia)

Australia’s first national prison newspaper, About Time, hopes to provide incarcerated individuals the opportunity to share their stories and act as a bridge between prisons and the outside world.

Rosie Heselev, managing director at About Time, told Mediaweek that incarcerated people, while in prison for different reasons, all share a commonality. 

“People in prison are so bored, they don’t have much to do,” she said.

“This boredom can lead to mental health issues and I think having an avenue where you are encouraged to write something, knowing it could potentially be published, can really challenge that boredom.

“If someone’s mental well-being is better in prison, that’s a huge benefit in and of itself.”

About Time launched its first edition in all prisons in Victoria, NSW, Tasmania, and the ACT in the first week of July. It’s written primarily by current and formerly incarcerated people. 

The paper is independent of corrections authorities and is published by the recently established non-profit About Time Media Ltd. It is also distributed monthly to all prisons free of charge.

A platform for news, education, expression and hope, Heselev said people have been “really touched” by the first edition. 

“I’ve heard from people in prison who have sent us letters, thanking us for the paper, which is really nice to see.

“We’ve received phone calls and emails from people with family in prison, being really happy for it, even legal services, and other social services reaching out to thank us and wanting to put things in it. 

“It shows that it’s really needed.”

While there have been at least 67 prison newsletters and magazines in Australian prison history, none have been distributed regularly to every cell in the nation.

About Time is inspired by Inside Time, a similar UK prison publication founded in Manchester in 1990. It started off as a quarterly, black and white 12-pager that has now turned into a full-colour, 50+ page free publication, with 50,000 copies distributed monthly to every prison cell in the UK. 

About Time has not yet received approval from the corrections departments in Queensland, South Australia, Western Australia, and the Northern Territory and Heselev said it is now having further conversations with the states after the success of the first edition.

“We do up a draft two weeks before we publish it, and we have to hand it over to corrections to screen for anything risky, based on their assessment and then they send it back to us with any edits or suggested changes.

“In saying this, we are strong about having independent editorial oversight, we don’t want to be a mouthpiece for corrections.

“The whole point is we are a publication for people in prison, we aren’t a mouthpiece for the people who imprison them, that’s very important to us.”

The non-profit nature of the company has a deductible gift-recipient status, meaning the paper is primarily funded by donations, as well as subscribers and advertisers.

“[The way we look at advertising] is if a service wants to send some information to people inside such as lesser-known reintegration services, legal services, or law firms, and they can afford to help us support the paper, then we’d ask them to contribute for an ad.

“Advertisers so far have been receptive to the project. It’s required a bit of reaching out to get people on board but after the first edition, people have started approaching us.”

Heselev hopes About Time reminds readers behind bars that prison is just a moment in time, it’s not forever, and there is “a future out there.”

“About Time allows people to connect with each other, knowing they aren’t alone on this journey and people have lived what someone might be going through.

“I met someone the other day who had been incarcerated and told me she got through the struggle of reintegrating into society by reading stories from people who had done it before. It reminded her that it can be done and she managed to do it.”

In About Time‘s first edition, an anonymous prisoner writes in the “letters” section:

“I am definitely noticing a revolving door in my life with one side being prison. It is a wedge in my life that only I have driven. If I have created it then I can dismantle it.

“I am driven to continue to strive toward my true self. I am determined to be a lawful and loving man and part of society.”

Stan Sport is selling itself to viewers as the only place to watch every Olympics event from Paris 2024 ad-free. Its other promises to subscribers include that Paris 2024 will be live and on-demand with the biggest moments in 4K Ultra HD from today, 26 July.

Australia doesn’t have a successful record when it comes to putting the Olympic Games behind a paywall. The last time Nine had the Olympic Games – London 2012 – it shared coverage with Foxtel, which showed their coverage to subscribers. Foxtel hasn’t bid for Olympic rights since then.

In 2016, Seven put some of its Rio Olympic Games coverage behind a paywall on 7Plus via an Olympics on 7 app. The streaming platform has been free ever since and Seven retired from Olympics coverage after Tokyo 2020.

Alicia Lucas, Michael Atkinson, Tara Rushton, Stan CEO Martin Kugeler, Elise Kellond-Knight, Shane Heal
Top: Grant Hackett, Nova Peris, Tara Rushton, Michael Atkinson, Adam Peacock, Ash Barty, Chris Stubbs, Stephanie Rice

How much does it cost to watch streaming Olympics?

Seven charged $19.95 for the “premium” Olympic experience in 2016. One of its problems might have been it also offered a free version that included 900 hours of live coverage across Seven, 7TWO, and 7mate.

Stan Sport is promising to complement the 9Network’s Olympics offering across free-to-air assets and 9Now.

A Stan Sport add-on is $15 monthly. Viewers also need a Stan subscription which starts at $12 monthly for the basic plan through to $16 for HD and multi-screens and $21 for 4K.

Stan is marketing its Paris 2024 features as follows:

• An unrivalled and uninterrupted viewing experience showcasing all 329 events from Paris 2024 live and ad-free

• The most comprehensive on demand offering including full replays, highlights and exclusive minis

• The biggest moments showcased in 4K Ultra HD, a first for Olympics coverage in Australia

• The largest range of channels: all events across 40 individual sport channels, an exclusive 24/7 Olympic News channel and 4 live and exclusive feature channels crossing between the big moments

• A world-first offering of eight exclusive international / multi-language channels including coverage from the UK, Spain, France, India and New Zealand. But what is missing? Viewers get eight different channels… but there is no Australian feed. If you want Australian commentary during an event, you need to exit Stan and head to Nine or 9Now.

• Two exclusive daily shows – Olympics Daily and Paris Preview hosted by Tara Rushton and Adam Peacock joined by a lineup of Olympic experts including Ash Barty, Grant Hackett, Nova Peris, Stephanie Rice and John Steffensen. These experts won’t be commentating during live events though.

• Upgraded Stan Sport interface with enhanced features to deliver the “ultimate” Paris 2024 viewing experience

Stan’s complete team for Paris 2024 Olympics: (L to R) Craig Foster, Morgan Turinui, Nick Green, Jamie Dwyer, Nova Peris, Elise Kellond-Knight, Michael Hooper, Chris Stubbs, Grant Hackett, Tara Rushton, Adam Peacock, Ash Barty, Stephanie Rice, Michael Atkinson, Mark Bosnich, Alicia Lucas, John Steffensen, Stuart O’Grady, Shane Heal

The eight international / multi-language live channels will be available exclusively throughout Paris 2024. These feeds will come from host broadcasters in the UK, Spain, France, Germany, Greece and Italy (Eurosport), India (Viacom 18) and New Zealand (Sky New Zealand).

As mentioned above, if Stan Sport viewers want Australian commentators, they will be out of luck. To hear that, subscribers will have to exit Stan Sport and go to Nine or 9Now. The international commentators tell it like it is too. After Germany had slotted in its second goal during the Matildas v Germany game, they noted “Australia was in disarray”.

Stan chief executive officer Martin Kugeler said: “2024 is set to become the biggest year of Sport for Stan and we are delighted to deliver the most comprehensive, innovative and uninterrupted, ad-free viewing experience for the Olympic Games in Australian history, and 4K for the first time ever in Australia.”

The programs Olympics Daily and Paris Preview are promising exclusive morning review and evening preview shows bookending each day. They will be airing at 7am and 2pm AEST throughout all 16 days of competition.

Hosts are Tara Rushton, who worked on coverage of Rio 2016, and Adam Peacock, who will be covering his fourth Olympic Games. An accomplished lineup of Olympic champions across a range of sports will also join the show as experts to provide analysis and opinion. Three-time Grand Slam winner, former tennis World No. 1, and Tokyo 2020 Bronze medallist Ash Barty will, for the first time since retiring in early 2022, provide Australian audiences unique insights into the tennis competition.

The daily shows will also feature swimming legend and four-time Gold medallist Grant Hackett, three-time Gold medal winner Stephanie Rice, and Olympic, World, and Commonwealth medalist John Steffensen. Michael Atkinson and Chris Stubbs will be based on the ground in Paris throughout the Games providing regular updates with exclusive access and interviews.

Stan Sport’s Olympics Daily and Paris Preview experts

Subscribers are being promised a premium, elevated and distinct viewing experience, with Stan Sport’s user interface enhanced for Paris 2024 to help navigate thousands of hours of live and on-demand action.

Discovery and search have been upgraded on the Stan Sport platform.

New features include a built-in schedule plus dedicated and curated feeds including Gold Medal Moments, Aussies in Action, and Daily Top 10.

Stan Sport subscribers will also have 5.1 surround sound and an enhanced in-player viewing experience. Improved live switching functionality across TVs, set-top boxes, and for the first time, mobile and web, should offer easier navigation between live Olympic sports.

Publicis Groupe has entered into a definitive agreement to acquire the influencer marketing company and platform Influential, as ad spend on the creator economy is set to overtake linear TV.

The holdco said the deal will see Influential’s capabilities combine with the data and identity assets of Epsilon, and the scale of the holding company.

This aim is to provide clients with a premium creator network, change influencer planning, and maximise cross-channel outcomes.

Ryan Detert, the founder and CEO of Influential, will be positioned centrally within Publicis Groupe.

“I am thrilled for Influential to join Publicis Groupe – the world’s highest performing and most innovative holding company,” Detert said.

“We look forward to combining our complementary capabilities and technology to deliver unparalleled influencer identification, content creation, amplification, and measurement for our clients – and to defining the next era of influencer marketing together.”

Arthur Sadoun, Publicis Groupe CEO, said: Influential has a proprietary AI-powered platform, 100 billion data points, a network of over 3 million creators and access and data on 90% of influencers with 1 million+ followers.

“Influential is above all an outstanding team of talent at the very cutting edge of their sector,” he said.

“With the new creator economy set to exceed linear TV on adspend in the next year, thanks to Influential we are able to fully embrace its outsized influence and put it at the service of all of our clients.

“Not only does this acquisition mean we will take the leadership of Influencer marketing. It also uniquely positions us at the centre of the new media ecosystem.

“By combining our Epsilon data, which allow us to see 2.3 billion people around the world, with Connected TV, Commerce, and now Creators, we can enable our clients to truly know and understand their customers and prospects, and engage with them on a one-to-one basis, wherever they are, both online and offline.”

Sadoun added that the deal will put “power back into the hands of brands in a fragmented media landscape, and driving marketing transformation that delivers real business outcomes.”

The transaction is subject to the satisfaction of customary closing conditions including regulatory approvals and is expected to close in late August 2024.

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

This week:

Nine Publishing has revealed a changing of the guard at The Australian Financial Review as James Chessell returns to the company. The move was triggered by the departure of Michael Stutchbury as editor-in-chief.

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.

BMF appointed Stephen de Wolf as its new chief creative officer, replacing Alex Derwin, who left in April to set up his own shop, as revealed by Mediaweek. In response to de Wolf’s departure, DDB Sydney promoted executive creative director Matt Chandler to chief creative officer.

GumGum appointed Kerel Cooper as its chief marketing officer. He joins the global digital advertising platform from Group Black, where he served as president of advertising, driving the advancement of Black-owned media.

Britbox’s head of content and editorial, Sarah Kenny, is expanding her role to add programming and acquisition responsibilities for BBC Studios’ local channels to her existing BritBox responsibilities.

M&C Saatchi appointed Abby Clark and Laura Murphy to the agency’s creative department. 

JOLT appointed Donna Tauro as its new group sales manager, as it continues to expand its Australian sales team. She will be responsible for managing sales across JOLT’s New South Wales and Queensland client base.

Wendell Sailor 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.”

Snack Drawer appointed creative experts Beaurey Chan, Zoe Anastasiou and Sarah Rogan to the agency’s social, editorial and account services.

Omnicom Media Group’s Hearts & Science unveiled its new leadership team in the Australian market. Louis Mayne has been appointed chief investment officer, Kim Dolengowski steps up to chief strategy officer, and Ashley Wong was named chief digital and innovation officer.

Industry veteran Justin Ruben launched new creative agency, Oblong.

ADMA appointed Dr. Rob Nicholls, a senior regulatory specialist, to manager of regulatory and policy.

Following Ali Clarke revealing her breast cancer diagnosis to listeners earlier this week, Mix102.3 has confirmed Hayley Pearson will be stepping into the show.

Pearson will fill in for Clarke while she steps away from the show to undergo a mastectomy. At this stage, it is unknown the length of her further treatment and recovery time.

“I’ve known Hayley for years and when she left brekkie radio, she said she would never get up early again,” Clarke said.

“For her to come out of ‘retirement’ for me and our listeners fills me with joy. I could not have hoped for a better person to keep Max in line.”

Pearson is currently the co-host of Channel 9’s HelloSA, co-creator of Adelady and has previously worked on breakfast radio at Nova and SAFM.

Pearson said: “The first thing I thought of was ALL the people Ali has helped over the years with a cancer diagnosis. She has been an absolute star to these people and their families and I know that everyone who knows her, loves her, or listens to her on radio would drop everything just to help.

“I said I’d never do brekky radio again, but the sisterhood is powerful and Ali is the only reason I’d come back. I will keep her seat warm while she heals.”

Pearson’s mother was diagnosed with breast cancer eight years ago.

“I also have friends in their 30s and 40s currently undergoing treatment, so breast cancer is something really close to me — and coincidently a few days before I found out about Ali, we’d just raised over half a million dollars for breast cancer research here in SA.

“I’ve always said in radio ‘we’re not saving lives’ but by Ali being so raw and honest by sharing her story, she actually might.”

Max Burford, Clarke’s co-host, added: “Our listeners will know full well that Ali runs a tight ship. My ship is slightly less rigid and more prone to deviations. So it’s a great relief to have a pro like Hayley who can seamlessly fit in and keep the show pointing in the right direction while Ali fights the good fight.”

Pearson will be joining Max and Ali in the Morning from Monday 29 July.

Nike has launched its Winning Isn’t For Everyone campaign in time for the Paris Olympics, celebrating Aussie women’s football team, the Matildas. The campaign – the first to feature on the new Emporium site – stars full-motion 3DOOH via outdoor media company QMS, with creative by Amplify and media by Mindshare.

“We’re always seeking out new and innovative ways to tell our most powerful stories with impact in sport, and are excited to create a new platform for such an incredible team.” Nike brand director, Nick Atkinson, said.

“Being able to support the Matildas and Football Australia using full motion 3DOOH at scale has enabled us elevate our creative approach and we’re excited to see the reaction from the audiences.” 

QMS confirmed Nike is the first brand to use the Emporium screen, with chief sales officer Tim Murphy noting: “Not only is Nike the first to use our brand new iconic Emporium screen, but they’re also the first to have an exclusive full  motion 3DOOH takeover of a digital screen for five consecutive days anywhere in Australia.”

The new screen was announced in July as QMS extended its partnership with retail property group Vicinity Centres to include two high-profile sites at Emporium Melbourne. The Emporium Swanston Street location features a higher-definition screen that is 75% larger, offering 455 square meters of unobstructed viewing.

Mindshare managing partner, Peta Southcombe, added of the new work: “In pivotal cultural moments like this, the ask of our partners is to help us push boundaries to achieve amazing things for our clients.”

The campaign follows QMS winning the tender to manage the external digital large format billboards for Vicinity Centres at Box Hill Central and The Glen in Victoria, as well as Eastlands in Tasmania, in June this year.

See also: QMS and Vicinity Centres expand partnership, adding two sites to Emporium Melbourne network

Credits:  
Client: Nike 
Campaign: Winning Isn’t For Everyone
Agency: Mindshare 
Creative: Amplify 
3DOOH: QMS QUBE Team

By John Phung, head of data and analytics at G Squared

Google has decided not to move forward with plans to eliminate third-party cookies from its Chrome browser. This decision marks a significant deviation from its previously stated goal of enhancing user privacy and brings mixed reactions from the digital marketing community, which has long depended on cookies for targeting and measurement.

Initially, Google had pledged to phase out third-party cookies by 2022, aligning with privacy-focused measures taken by other browsers like Apple Safari and Firefox. However, recent developments have led Google to reconsider. The shift was prompted by inadequate performance results from Google’s Privacy Sandbox, an alternative designed to replace cookies with privacy-preserving technologies.

Google’s decision was influenced by feedback from the advertising industry regarding the ineffectiveness of the Privacy Sandbox. The proposed solutions failed to deliver the same level of precision in ad targeting and measurement as third-party cookies. The performance issues with these new tools threatened to disrupt the advertising ecosystem, leading Google to maintain the status quo while seeking better alternatives.

An outdated technology

Third-party cookies are an outdated and increasingly ineffective technology. Cookies often fall short in accurately measuring and reporting marketing effectiveness. Their limitations in cross-device tracking and precise user identification make them less reliable for comprehensive attribution and targeting. Google’s decision to retain cookies, despite their known flaws, appears to be a step backward rather than a move towards innovative solutions.

This decision allows agencies to continue using existing tools and methods without immediate disruption. However, it also underscores the need for the industry to develop and adopt more advanced, privacy-compliant technologies that can offer the same, if not better, capabilities without relying on cookies.

For digital marketing agencies, this announcement brings a temporary reprieve. Third-party cookies have historically been the backbone of digital advertising strategies, allowing for audience targeting and baseline reporting. However, the reliance on cookies has been a double-edged sword. While they provide critical data for marketing campaigns, cookies are increasingly seen as outdated and imprecise, often failing to accurately measure and report gaps and deduped marketing efforts, especially in this ever-evolving omni-channel and fast-paced digital marketing scene.

In stark contrast to Google’s decision, many martech and attribution reporting vendors have forged ahead, embracing innovative cookieless technologies. Cookieless tracking in summary refers to the collection of information about website visitors without using third-party cookies. These vendors have implemented solutions that leverage first-party data, user contextual information, and advanced machine learning algorithms to deliver precise targeting and measurement without compromising user privacy.

These innovations represent a promising path for the industry. However, implementing such innovative cookieless tracking technologies is costly and often difficult to justify against a client’s marketing budget. This economic trade-off challenges brands to balance the benefits of advanced privacy-compliant solutions with the real impact on their marketing spends. If only Google had paved the way by removing third-party cookies, potentially easing the burden and accelerating the widespread adoption of these new technologies.

Google’s decision to retain third-party cookies in Chrome provides a less than confidence relief for digital marketers and the martech industry but also highlights the inadequacies of relying on outdated technology. While it ensures continuity and stability, it delays the necessary evolution towards more advanced, privacy-friendly solutions. Google has acknowledged that the best option is to give consumers the choice, but will they find the choice easily if that’s not really the option?

See also: ‘Google cannot be relied upon:’ Industry reacts to third-party cookies backflip

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Top image: John Phung

Starting this weekend, 2024 Gold Logie nominee Andy Lee will take up the challenge of the everyday man trying to match the feats of Olympians.

The Comparison Man series will involve eight two-minute-long episodes voice-covered by commentator Gerard Whateley, featuring throughout the 9Network’s coverage of the 2024 Paris Olympic Games.

The episodes will feature Lee taking on archery, 100-metre hurdles, 100-metre sprint, hammer throw, 10-metre dive, 100-metre butterfly and artistic swimming.

“These athletes are so bloody good,” Lee said.

“They really deserve an average, bland, unremarkable human to demonstrate that. Here I am.”

Ahead of the Opening Ceremony, 9Now has revamped its experience for users, with Olympic coverage that will feature replays, highlights and more. 

The updated platform will feature live coverage of all 45 official Olympic sports, a library of Olympic documentaries, sports explainers, and athlete profiles.

During live competition, a range of event highlights will be available, including race replays, full match replays, and session replays. 

Viewers can also catch up on the previous day’s events with the Daily Highlights Show, hosted by Sam McClure, available at 9am AEST each day. Daily Top 10 Moments and Daily Team Australia Highlights will be available every morning following the day’s play. 

The 9Network’s hosting team of Allison Langdon, James Bracey, Todd Woodbridge, Leila McKinnon, Dylan Alcott, Eddie McGuire, Sarah Abo and Karl Stefanovic will call the Trocadero home as they guide viewers through two weeks of competition. 

9Now’s Olympic revamp comes as journalists strike for five days today, when the Olympics kicks off, and Nine CEO Mike Sneesby says the company’s eight-year bet on the Olympic and Paralympic Games is paying off.

In his first media interview since chairman Peter Costello resigned after an altercation with a News Corp journalist, he said the network will bank $135 million in advertising revenue for the upcoming Paris Olympics, and insists it will turn a profit.

See also: Nine will bank $135 million in ad revenue for Paris Olympics: Mike Sneesby

Pureprofile CEO Martin Filz has celebrated the global data and insights company’s first full year of positive net profit after tax and revenue growth in Q4.

Pureprofile reported a net profit of $0.1m after tax for FY24, which is an improvement from the $1.9 million loss reported in FY23. 

Revenue was $48.1m, up 10%, which the company’s report noted was significantly enhanced by record quarterly revenue in Q4 FY24 of $13.1 m, representing 18% growth.

The company’s revenue in the rest of the world was up 23%, which the company noted was significantly bolstered by strong growth in the UK and India during the year.

Meanwhile, EBITDA was down 4%. Like-for-like EBITDA was up 8%, after accounting adjustment for cash based STI, introduced in FY24.

Pureprofile reported a cash balance of $5.2m, up from $4.2m on 31 December 2023. In FY24, $0.1m was repaid off the principal of debt facility.

Filz said in an announcement to the ASX: “I am thrilled to report our first full year of positive net profit after tax, assisted by record quarterly revenue for Q4 with an impressive 18% growth on PCP.

“Despite a subdued trading environment in ANZ, our rest of world revenue was bolstered by substantial growth in the UK and India. This achievement marks a significant milestone for Pureprofile, as we prepare to capitalise on this momentum moving into the coming year.

“These outstanding results reflect the dedication of our incredible team, the strength of our client relationships and the steadfast support from our partners and shareholders. In FY25, our focus will be on continuing to expand our global footprint, whilst strengthening our position in ANZ and integrating our new acquisition i-Link.

“Additionally, we are committed to leveraging opportunities using technology and Al to drive further innovation and growth.”

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Top image: Martin Filz

Those About To Die (Prime) is the latest production about Ancient Rome and no cliche is left out of the narrative. There’s lowly slaves and their rich masters, hunky gladiators duelling with wild animals, and chariot racing now being done with CGI.

No sword and sandals epic would be complete without a power struggle at the top. In this one, it’s Emperor Vespasian (Sir Anthony Hopkins) who has to decide which one of his two sons will succeed him, but let’s be clear – this family drama is not the new Succession.

These historical events are being covered on film for the first time. However, the era of the Flavian dynasty was first explored in Gold for the Caesars (1963), a movie that Aussie actor Ron Randell (who played Charles Kingsford Smith in 1946’s Smithy) described as being: “sheer murder, it’s a miracle nobody was killed”. 

Welsh actor Iwan Rheon stars in Those About to Die

The first film about Ancient Rome was France’s Cleopatre in 1899. Since then, there have been never-ending movies and series about Cleopatra, Julius Caesar, Caligula and Nero, not to mention all those Biblical epics with Jesus, and the Mount Vesuvius eruption that buried Pompeii. 

One of the more successful ones was I, Claudius (1976) . Despite being made on the cheap and filmed on video, the BBC series starring Derek Jacobi is now considered one of the greatest British series of all time. It is also considered the inspiration for dramas like Dynasty (1981), The Sopranos (1999) and House Of Cards (1990, Netflix remake in 2013).

Rome (Binge) was once the most expensive co-production in the history of the BBC, but the US$110 million HBO series only lasted two seasons. Hilariously, the silly sitcom Plebs (Binge), described as being a cross between Up Pompeii (1969) and The In-Betweeners (2008), lasted six seasons from 2013 to 2022.

Research shows that Rome history skews towards men, and Those About To Die is very much a show for the male gaze. That becomes obvious when naked gladiators flashing their butts suddenly become very coy and cover up if they turn around. By comparison, the two naked women sleeping with one covered-up man are required to go full frontal nude.

It soon becomes very clear that Those About To Die is desperate to avoid being homoerotic in any way, even though such moments were played up in Spartacus (Stan). A sequel series, Spartacus: House Of Ashur, is now being filmed in New Zealand and I can’t wait to see how much more revealing it will be, because Those About To Die is dire. 

This week on the TV Gold podcast:

Those About to Die (Prime), Lady of the Lake (AppleTV+)

This week Andrew Mercado and James Manning review these two big budget new dramas plus also talk about Brats on Disney+ and the AppleTV+ series Omnivore, executive-produced by Sydneysider Ben Liebmann.

Listen online here, or on your favourite podcast platform.
Read more Mercado on TV columns here.

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.

Maddy Hunter – Social Media Manager, Wellcom

Ghost Chips, 2011

I’m a Kiwi who has recently made the move over to Sydney so I don’t have a huge amount of knowledge on pivotal Aussie ads. Ghost Chips, however, is legendary in New Zealand. An anti-drink
driving ad with dark humour to drive home the message.

To this day, phrases are still quoted and the sentiment is still remembered – a true cultural phenomenon.

Something I took from it as a kid and still use (almost too) regularly is; “I’m internalising a really complicated situation in my head.“ Great content sticks around.

Alli Galloway – CMO, Vinyl Group

Qantas – I Still Call Australia Home

There are so many brilliant catchphrases from 90s TV ads that I still use today, “I feel like Chicken Tonight”, “The Dolmio Grin”, “Is Don Is Good” and both “Not Happy Jan”, and “Gogomobile” from Yellow Pages ads have stuck with me since childhood!

However, the ad that had the most impact on me was the 1998 Qantas epic “I Still Call Australia Home” – the extended cut blew my mind and is probably the reason at age 18 I decided that I was going to finish school and travel as much as I could. It portrayed Australia as such a remarkable country, but opened up the concept there was a whole world out there to explore. This ad, along with its predecessors in the series, ignited my travel bug!

An earlier version of it featured several popular Aussie music icons of the time, Kate Cerebrano and Jack Jones singing the Peter Allen classic. When I finally made it to places like London, New York and Venice, I had distinct memories of the visuals in these ads – that’s what makes genius creative, when it stays with you and inspires you to do something big.

Wade Maris – EVP ANZ, Sporting News Australia

Kia’s getting a ute

Obviously, there’s a bit of recency bias on this one as its relatively new but loved the way Kia has created anticipation and excitement in what is a crowded and competitive sector in announcing their entry into the Ute category.

As someone in works in sport, getting talent to participate in campaigns is never easy, so Kia’s marketing team and creative agency have done a great job, whilst obviously having a decent budget to secure the likes of Ash Barty, Steve Waugh, Damian Oliver, Alexander Volkanovski, Buddy Frankin, Scott Sattler, Dermott Brenton, Dylan Alcott, Jessica Watson, Mckenzie Arnold, Kerri Okeefe, Wendell Sailer and host of others.

It’s not just the talent that makes this memorable, athletes are known for being confident and having an ego, so it’s fun to see the talent lean into this, throwing out suggestions via the “Humble brag” on why the Ute should be named after themselves.

Crucially, it also set the tone for when the UTE reveal did happen, with the KIA Tasman name being fairly recognisable and the product hasn’t even launched yet.

See also: The Ads That Made Us: Spray & Wipe, Pixie Caramel, and Decore

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Top image: Maddy Hunter, Alli Galloway, Wade Maris

Apple, Uber Eats, and Cerave are among the brands whose Outstanding Commercials have garnered nominations at the upcoming 76th Primetime Emmy Awards. The award ceremony will take place on 16 September at The Peacock Theatre in downtown Los Angeles.

The 76th Primetime Emmy Awards honour the best in American primetime television programming, as selected by the Academy of Television Arts & Sciences. The nomination period for this year’s awards was from 1 June 2023 to 31 May 2024.

American bi-coastal production house O Positive leads the production company pack, responsible for half of the six nominations, while Apple leads the brands with two nominations.

Last year, Apple won the Best Commercial accolade for its The Greatest global campaign. The two-minute ad, produced by Apple Inc. – the tech giant’s advertising, distribution, and branding arm – and directed by Australian director Kim Gehrig of Somesuch Productions, vignettes the different accessibility features Apple provides through its devices and technology.

The award was accepted at the 2023 Emmy Awards in Los Angeles on 8 January, which had been delayed due to the writers’ strikes.

See also: Apple’s outstanding accessibility ad The Greatest wins primetime Emmy

Here’s a look at the nominated commercials up for Primetime Emmys gold this year:

Album Cover

Brand: Apple iPhone 15
Production Company: O Positive
Ad Agency: Apple

Best Friends

Brand: Uber One Uber Eats
Production Company: O Positive
Ad Agency: Mother

Fuzzy Feelings

Brand: Apple – iPhone + Mac
Production Company: Hungry Man
Ad Agency:TBWA\ Media Arts Lab

Just Joking

Brand: Sandy Hook Promise
Production Company: SMUGGLER
Ad Agency: BBDO New York 

Like A Good Neighbaaa

Brand: State Farm
Production Company: O Positive
Ad Agency: Highdive

Michael CeraVe

Brand: CeraVe Moisturising Cream
Production Company: Prettybird
Ad Agency: Ogilvy PR

See also:
Super Bowl ads of 2024: Squarespace, Uber Eats, Mountain Dew, BMW, BIC
Taboola inks global deal with Apple to power native advertising

–

Top Image: Asa Butterfield and Robert De Niro in Uber One Uber Eats’ ‘Best Friends’ ad

Forbes Australia has launched its inaugural 30 under 30 list, identifying Australia’s young innovators using entrepreneurship to impact their respective industries.

The Forbes 30 Under 30 list is an annual editorial list that acknowledges successful entrepreneurs, leaders and stars under the age of 30. Marking the first annual list in Australia, nominations for the 30 Under 30 class of 2024 are open until 31 July.

The list will be released in the print issue of Forbes Australia and posted on Forbes Australis’s site on 14 October.

Forbes Australia editor-in-chief, Sarah O’Carroll, said: “Since their inception in 2011, the Forbes 30 Under 30 lists have become the definitive list of young leaders changing the world.

“It has truly always been ahead of the curve, with an incredible track record of identifying young leaders before their success skyrockets.

“Forbes Australia is proud to officially welcome more of our local talent into this global community of bold, innovative young leaders who are changing the course of business and society.”

Forbes Australia 30 Under 30 list editor, Anastasia Santoreneos, said: “As a Forbes reporter constantly interviewing start-up founders, entrepreneurs and success stories in Australia, I am always surprised and impressed by how young and accomplished our changemakers are.

“While our start-up scene is relatively nascent compared to the US, we truly bat above our weight in terms of talent, and I know there will be no shortage of it on this year’s list.”

Alumni of the Forbes 30 Under 30 list include singer, songwriter and actor Miley Cyrus, basketball player LeBron James, Bumble founder Whitney Wolfe Herd, singer, actor and founder of Fenty and Fenty Beauty Rihanna, Spotify co-founder Daniel Ek and tennis player Naomi Osaka.

Notable Australian alumni from the 30 Under 30 global list include:

• Melanie Perkins, co-founder, Canva
• Nick Molnar, co-founder, Afterpay
• Jane Lu, founder, ShowPo
• Jess Hatzis, co-founder, Frankbody
• Stephanie Gilmore, surfer
• William Edwards, founder, Archie Rose Distilling Co
• Nik Mirkovic and Alex Tomic, co-founders, HiSmile
• Aengus Tran, founder, Harrison.AI
• Sam Koslowski and Zara Seidler, co-founders, The Daily Aus

OMD has unveiled the 2024 cohort of its Exec Next program, now in its third year. 

The agency’s internal program features eight appointed members who demonstrate outstanding leadership qualities and have been identified as potential future agency leaders.

The cohort will provide counsel to OMD’s national executive team and take on briefs throughout the year to bring fresh thinking, creativity, and innovation to drive the agency forward. They will also attend national executive team meetings for firsthand experience of senior decision-making and receive 1:1 executive mentoring sessions.

“The impact our Exec Nexters have had on our agency is nothing short of remarkable, I am consistently impressed by the motivation and dedication they have for our business,” Amanda Watts, managing director of OMD Sydney and Exec Next program lead, said.

“Bringing a fresh lens to our business ambitions, last year’s cohort launched new initiatives, delivered excellent responses to strategic briefs and made their mark on our national business strategy. I cannot wait to work with our new cohort and see what they create for OMD.”

Raina Vijay, performance director – OMD Melbourne, and Alex Mencinsky, senior account manager – OMD Sydney, are two of the newly-appointed OMD Exec Nexters for 2024.

“I am beyond thrilled to be selected for the OMD Exec Next program,” Vijay said of joining the program. “Just one year into my time with OMD and in the Australian market, this opportunity to collaborate with OMD’s experienced executive team will be invaluable as I continue to grow and develop within my career.

“I’m eager to contribute to the agency’s success alongside my fellow Exec Nexters. I can’t wait to get started, absorb as much as possible and put my stamp on OMD.”

Mencinsky added: “OMD is full of amazing talent and Exec Next is an invaluable opportunity to learn from the best in our business.

“I’m excited to step outside of my day-to-day role and tackle broader agency challenges alongside this year’s cohort. With the media industry changing so rapidly, I’m keen to learn how our national executive team adapt and stay ahead of the curve. Let’s see what we can achieve as the next generation.”

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Top image: First row L-R: Sophie Nicol (partnerships manager), Raina Vijay (performance director), Emma Hook (account director, entertainment partnerships), Meghan Papadoulis (investment director).

Second row L-R: Annabel Williams (account director), Andrew Hudson (account sirector), Hattie Dinger (account director, entertainment partnerships), Alex Mencinsky (senior account manager)

In a panel discussion held Wednesday, creators from Meta and Screen Australia’s First Nations program heard about how to navigate full-time creative careers.

Mediaweek had exclusive access to the session, hosted by Dr. Jess Byrne, Screen Australia’s development and investment manager, First Nations.

The panel also featured Kaylene Langford, founder and editor of StartUp Creative, content creator Meissa Mason, singer, actor, and performer Naarah, and filmmaker Jahvis Loveday. 

Reflecting on the program’s impact, Naarah, who graduated from the Royal Academy of Music in London and recently made her West End debut, said, “I got empowered as a creative when I first went for this.”

Langford, who has led the business incubator StartUp Creative for the past 10 years, said she initially had doubts about joining the program due to her background in business and events.

“I got to a point where I was like, this is a skill I can learn and add to,” she said. “I had the success [but] I needed to update my skills and find ways to promote my book and podcast. For me, it was really about learning how to create content that other people could share and keep my profile relevant.”

Loveday, meanwhile, added: “We’ve all grown up singing and dancing and painting,” discussing his inherent relationship with creativity.

“There are so many different ways and forms of telling stories, and I think this is just another way of doing it. That’s why it gels with me and why we’re really good at it because we’ve already grown up doing it.

“For me, especially, it’s film because it involves all of that, and the same with Instagram and creating.”

Mason echoed Loveday’s “content not curation” stance, giving the example of her educational Aboriginal Comic Book Heroes series, which she started in 2021 on her social platform to highlight Aboriginal Australian comic book heroes like the character Eden Fesi (aka Manifold). 

“I started the Aboriginal Comic Book Heroes series just because I like them,” she said. “I was surprised to find so many Blackfellas in comics. I started learning about Aboriginal comic book heroes when I first saw Manifold, which is actually made by Blackfellas, then I started looking into it more.”

The series was eventually picked up by DC, and Mason went on to work with the IP giant on movies for a year. 

“Even if you think no one’s looking or no one cares, make content that you like.”

Meet the cast: First Nations actors hit the stage in Hamilton

Hamilton is returning to Australian stages in 2024, with three Indigenous cast members taking part in Meta’s First Nations Creator Program. Speaking to the participants at Meta’s Sydney headquarters, the actors shared a bit about the characters they’re playing in the hit musical.

Callan Purcell: “Aaron Burr is the guy you love to hate. He’s the one who shoots Hamilton – that’s not a spoiler, he says it in the first song. This guy grapples with whether he’s doing the right thing with his life, and he’s kind of bound down by society and by his family and what he thinks he should have to do, as opposed to what he wants to do in life.

Googoorewon Knox: “George Washington in the show, he was like the rock, one of the most powerful figures in the show. The only one who matches him in that sense is King George, but even King George is made a fool of because he’s such an Englishman. So to get into that role, the main direction I’ve been getting is ‘do less,’ because the less you do the more you speak without speaking.”

Tainga Savage: “John Laurens is lots of fun to play in the first act – he’s someone who is fighting for the revolution, he wants change, he wants things to happen. He wants that to happen for the next black battalion, for the next generation of coloured soldiers and fighters. We’ve been fighting for so long and we’re still fighting, telling stories. It’s a privilege to be able to tell that story, in that character, in my way on the stage.”

See also: DOBBY shares his journey with First Nations Content Creators
See also: Keeping it Reel and deadly: How Meta is bringing the industry to First Nations creators
See also: ‘If it doesn’t align with me, I don’t think it’s worth it’: Brooke Blurton on the value of authenticity

First Nations creators were back for a second day of the Screen Australia and Instagram program at Meta HQ in Sydney on Wednesday.

The creatives soaked up all the training, knowledge, and mentoring on offer, and Mediaweek was given exclusive access.

Rapper, drummer, composer, and producer DOBBY kicked off the day by joining the creators at Meta HQ to share his career journey.

Proudly identifying as a Filipino and Murrawarri musician, his roots run deep in Aboriginal lands from Brewarrina and Weilmoringle in New South Wales.

His music has taken him around the world, from Germany to the UK, the USA to the Netherlands.

DOBBY has performed at some of the biggest festivals across the country, including Bluesfest and Boomerang Festival (NSW), Port Fairy Folk Festival (VIC), PARRTJIMA Festival (NT), and OzAsia Festival (SA), as well as the iconic Sydney Opera House.

He began playing the piano as a child, but it wasn’t until high school that he discovered his love for the drums.

“I remember one time there was an assembly, and there was this girl; she was playing the drums for the showcase, and I was the one that was right in front of the drum kit, and I remember just sitting there like, ‘Oh my God, this is what I want to do.’”

DOBBY also spoke about working on his debut album, Warrangu; River Story, which took seven years to create. He shared his insights on strategy and the content generated to promote the release.

In addition to his already impressive list of accomplishments, 2022 brought yet another accolade for DOBBY. He was awarded the NIMA Archie Roach Foundation Award, which recognises emerging First Nations artists who show exceptional talent and promise in their chosen field.

His style, lyrics, and performances have captivated audiences worldwide, and his influence is only continuing to grow.

 

 

 

 

 

 

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A post shared by DOBBY (@dobbyau)

See also: Manage parasocial relationships and the ‘cultural load’: ReachOut shares tips at Meta First Nations Creators Program
See also: Keeping it Reel and deadly: How Meta is bringing the industry to First Nations creators
See also: ‘If it doesn’t align with me, I don’t think it’s worth it’: Brooke Blurton on the value of authenticity

Meta’s Kirsty Wilson, global partnerships lead; Bianca Benussi, Instagram strategic partner manager; and Adam Rollo, partner solutions manager, global partnerships, shared ideas and insights with creators on how to create engaging posts that drive awareness and growth and build a community.

The trio presented during Wednesday’s instalment of Meta and Screen Australia’s First Nations creators program, 

“It’s really important to think about the funnel as there are different parts of instagram for different goals – creation of all forms is possible on IG, to keep your followers up to date or reach new audiences,” Wilson shared. 

“Your goals may evolve over time, and your ideas change, many times, through a single day. Instagram gives you options to fit the moment, and what you’re trying to accomplish — whether it’s sharing short-form fun with new audiences on Reels, capturing moments and vibes for your followers on Feed, Carousel or freestyling it in real-time using Live or becoming a day-in-the-life storyteller/commentator with Stories.”

Benussi added: “One of the most important signals we use in ranking is sends per reach – so of all the people who saw your reel or photo, how many of those people sent it to a friend in a DM? At Instagram, we’re trying to be a place where people can be creative but in a way that brings people together. We want not only to be a place where you passively consume content but when you discover things you want to tell your friends about. So don’t force it, but if you can when making content, think about making content that people would want to send to a friend, or someone they care about.”

Wilson also revealed several new product features on Instagram, including Polls on feed posts and reels, Notes that allow for short updates with certain people, and engagement features like Add Yours to stories and reels.

The platform is also working on increasing the number of content pieces that can be shared in a Carousel post.

“Reels is key for growth and over 3.5 billion reels are shared every single day. Reels makes up around 50% of time spent on Instagram. We’ve recently launched some great engagement tools you can use for feed posts, and reels, including the poll functionality, and Add Yours feature to reels.”

Rollo explained: “The engagement rate on your content is more important than your follower count. A good sign of how well you are doing: Likes per post, views per reel, reshares for your content.”

Rollo also unpacked the benefits of engaging the top 1% of creator’s communities with the use of Lives and Broadcast Channels to test out new content on your community, and if it goes well there, sharing it to Reels or Stories. 

Another feature to be introduced is cross-posting from Instagram to Threads, which now boasts 175m monthly active users.

Instagram reported it is seeing success across various verticals on Threads, since the apps launch in July 2023. Books, health and wellness, art, photography, and also comedy are just some of the verticals where creators are growing solid communities.

See also: DOBBY shares his journey with First Nations Content Creators
See also: Keeping it Reel and deadly: How Meta is bringing the industry to First Nations creators
See also: ‘If it doesn’t align with me, I don’t think it’s worth it’: Brooke Blurton on the value of authenticity

Avenue C has launched a national campaign for Primo Reserve’s new premium smallgoods range, which aims to bring the luxury of high-quality cured meats to everyday consumers.

The agency’s campaign will feature three bursts of activity across multiple channels to ensure maximum reach and impact. It aims to raise awareness and encourage trialling Primo’s Reserve range among consumers who value quality and take pride in food choices.

Primo said it identified the opportunity to launch a premium smallgoods range that is accessible, and allows consumers to treat themselves in the comfort of their own homes.

“Our new Primo Reserve range underscores our commitment to exceptional quality and authentic craftsmanship, meeting the growing demand for trusted premium offers in everyday lunch and entertaining occasions,” Susanna Polycarpou, general manager of marketing at Primo Reserve, said.

“We are proud of the breadth of range, outstanding quality and the strong support campaign delivered by our team to launch this amazing product range.”

Avenue C is rolling out the campaign via TV, BVOD, and OOH, including street furniture, transit, and large format. The agency’s focus will be on high-reach regions to ensure maximum audience penetration and minimal wastage.

Will Chapman, managing partner at Avenue C, added: “The Primo Reserve Range comes with amazing product credentials in a time where consumers are seeking accessible indulgences.

“With beautiful creative for amazing products, we’re proud of the impactful media vehicles we’ve selected to ensure the range is showcased in the premium environments it deserves!  We can’t wat to see it in market.”

Credits:

Client team:
Susanna Polycarpou – General Manager Marketing
Jen Turnbull – Marketing Director
Amity Dent – Brand Manager

Avenue C team:
Rosy Zhang – Business Director
Will Chapman – Managing Partner
Morag Cahill – Media Director
Daniel Cutrone – Managing Partner
Chris Zoomerschoe – Digital Director

Wednesday 24 July 2024: VOZ Total TV Ratings Overnight Top 30 – Programs ranked on reach

Total People TV Ratings

Nine’s Paris 2024: Let the Games Begin recorded a total TV national reach of 2,066,000, a total TV national audience of 572,000, and a BVOD audience of 53,000.

The program aired live from Nine’s Trocadero studio in Paris and included live crosses to the men’s and women’s flag bearer announcement, and featured stories, guests, interviews and the latest from inside Team Australia.

Nine’s A Current Affair recorded a total TV national reach of 1,412,000, a total TV national audience of 901,000, and a BVOD audience of 76,000.

The program looked inside the Aussie Olympic athlete’s village in Paris and investigated the French castle that is more affordable than a suburban home near Sydney. 

Seven’s The Front Bar recorded a total TV national reach of 1,230,000, a total TV national audience of 617,000, and a BVOD audience of 27,000.

Also on Seven, Home & Away recorded a total TV national reach of 1,341,000, a total TV national audience of 903,000, and a BVOD audience of 117,000.

Home & Away saw John support Irene in her hour of need, Cash hit a new lead and the River Boys called in a favour from Mali.

10’s airing of Bondi Rescue recorded a total TV national reach of 566,000, a total TV national audience of 320,000, and a BVOD audience of 16,000.

Bondi Rescue saw a torrential downpour, which sparked a flood on the beach and Maxi hit trouble during a daring jetski rescue.

People 25-54

Nine’s Paris 2024: Let the Games Begin:
• Total TV nation reach: 729,000
• National Audience: 200,000
• BVOD Audience: 30,000

10’s Bondi Rescue:
• Total TV nation reach: 224,000
• National Audience: 139,000 
• BVOD Audience: 10,000

Seven’s The Front Bar:
• Total TV nation reach: 374,000
• National Audience: 206,000
• BVOD Audience: 15,000

Seven’s Home & Away:
• Total TV nation reach: 442,000
• National Audience: 303,000
• BVOD Audience: 65,000

People 16-39

Nine’s Paris 2024: Let the Games Begin:
• Total TV nation reach: 299,000
• National Audience: 75,000
• BVOD Audience: 16,000

10’s Bondi Rescue:
• Total TV nation reach: 93,000
• National Audience: 58,000 
• BVOD Audience: 5,000

Seven’s The Front Bar:
• Total TV nation reach: 161,000
• National Audience: 76,000
• BVOD Audience: 8,000

Seven’s Home & Away:
• Total TV nation reach: 201,000
• National Audience: 139,000
• BVOD Audience: 40,000

Grocery Shoppers 18+ 

Nine’s Paris 2024: Let the Games Begin:
• Total TV nation reach: 1,595,000
• National Audience: 446,000
• BVOD Audience: 42,000

10’s The Project:
• Total TV nation reach: 600,000
• National Audience: 253,000 
• BVOD Audience: 14,000

Seven’s The Front Bar:
• Total TV nation reach: 968,000
• National Audience: 490,000
• BVOD Audience: 21,000

Seven’s Home & Away:
• Total TV nation reach: 1,054,000
• National Audience: 719,000
• BVOD Audience: 93,000

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.