Cam Blackley and Emily Taylor – M&C Saatchi’s former CCO and CSO, respectively – have launched a “creative office” called Bureau of Everything, supported by an advisory board featuring Jeff Goodby.

Blackley left M&C Saatchi last October after almost six years with the agency, and Taylor followed in February. She’d been with M&C Saatchi for three and a half years. At the time of his departure, Blackley said:

“For several months now I have had robust and respectful discussions with Justin [Graham, APAC CEO] on the shape of things to come. M&C Saatchi globally is going through a period of transition and that has accelerated the decision to part company.

“The ad industry feels beautifully disrupted at the moment, I’ve never been one to lean into the status quo and I’m keen to build something new after a break.”

That “something new” is Bureau of Everything, or BoE, which the duo does not call an agency. Taylor told Mediaweek that the term ‘agency’ “feels like it has quite a lot of baggage for clients, at least the ones we spoke to. Whether that’s because they default to ads as the solution or because they’re focused on the creative ideas they want to make, not the work the brand needs.”

Instead, BoE “a new shape of creative office, designed to deliver exactly what a more complex world demands … world class strategy and creativity as the nucleus of a more progressive creative model and business.” Blackley becomes creative founder and Taylor strategic founder – the pair is gearing up to move into an office space in Sydney’s Surry Hills.

Taylor said the venture came about organically. “During our time at M&C we were always a power duo,” she said to Mediaweek. “Of late, we were freelancing together, we could see the real value in our combo, so we decided to formalise it and do our own thing.”

Blackley agreed the shop is “a response to what we have been hearing from clients for years, opting for a strat/creative directorship as the core for more impactful problem solving. We want to partner with brands and people who are also feeling the urgency for change.”

Taylor explained that there will be “stewardship from end-to-end rather than the dipping in and out. The value of that is there’s creativity in the problem-solving upfront and there’s a strategic thread that is keeping the creativity honest all the way through. We are also designed to operate with clients in different ways – retainers, projects and augmenting in-house teams.”

The mission? To make things as unmissable as the world they live in. “There is no alternative unless you like setting piles of money on fire,” Blackley added.

Taylor distilled the purpose too; Bureau of Everything is designed to “truly answer the big question we hear from clients: What is my business problem and how will you solve it?”

BoE joins an ever-growing list of independent agencies launched by ex-holding co execs, including Howatson+Co, Today the Brave, Supermassive, Reunion, and It’s Friday. In March, an ex-Droga5 duo and the brains behind Hawke’s Brewing Co launched a similarly-governmental sounding creative shop: The Ministry for Communications & The Arts.

The Bureau’s model sounds most similar to Supermassive’s “hub and spoke” approach. Blackley and Taylor explained: “Bureau builds bespoke teams for every project, based on the brief.” It will call upon talent the duo has worked with before.

Bureau of Everything is already working on a few projects, “with interesting brands with big opportunities. Brands interested in doing things a bit differently.”

“We are purposefully super senior, purposefully leaner, and purposefully flexible,” Taylor said. “Mixing brand and digital skills, uniting business and brand thinkers with the ability to shape teams depending on the brief. This model allows us to always have a rock solid foundation but still be bespoke and importantly, a lot less ‘cookie cutter.'”

Goodby, the internationally renowned co-founder of US agency Goodby, Silverstein + Partners, said: “I’m really impressed by Cam and Emily’s determination to bring a whole new way of interacting with clients in order to get things right. It’s about time.”

Together, Blackley and Taylor have more than 40 years’ experience, dozens of Effies, and a slew of creative awards between them. They have worked at agencies like Droga5, Leo Burnett, BMF, and AKQA. At M&C Saatchi, some of their most notable work included the G’Day platform for Tourism Australia – the agency is about to lose the account, since it is no longer part of the ongoing Tourism Australia pitch – and Minderoo’s Thrive by 5 and Plastic Forecast.

 

 

 

 

 

 

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They credited design consultancy M35, Caro Gilroy, Simon Harsent, and production studio Limehouse for helping to create the Bureau of Everything brand.

Media and creative agencies work hand-in-hand to create memorable campaigns that build brands. But what goes into making these relationships work, and what makes them tense or precarious?

James Dixon, Atomic 212°’s chief digital officer, told Mediaweek: “It’s certainly got better. We’re all trying to figure out what media is: paid, earned and owned, and what integration is.

“The whole media landscape evolves dynamically, and seeing TikTok emerge as a predominant channel in the last 12 months requires a different creative set of thinking.”

He noted that, as a media agency, Atomic 212° values openness, collaboration, trust, innovation, and joint effort in returning to clients. 

“Clients love that,” he said. “Without needing to think about any friction, they see a united solution.”

James Dixon

‘We didn’t miss the momentum’

Such a level of simpatico was demonstrated when Thinkerbell and UM teamed up earlier this year for a tongue-in-cheek campaign welcoming Taylor Swift‘s NFL star boyfriend Travis Kelce, fresh off his Super Bowl LVIII win, to Sydney.

Adam Ferrier, founder of full-service indie Thinkerbell, told Mediaweek that while media and creative thinking “have been artificially divorced by the industry” and it is “not that hard to make them work together.”

“At the end of the day, it’s not that different. There is no genuine divide between the media and creators of most ideas.”

Ferrier said the campaign came together within a day via a WhatsApp group chat between the creative agency, media agency partner UM, and client Lion.

Using WhatsApp meant an idea shared in the group chat was discussed openly and built on in a “rapid-fire way”, allowing it to iterate, be approved, and go live quickly.

Tania Carr, group director at UM Worldwide, agreed that both UM and Thinkerbell had big ambitions to drive the cultural conversation on Lion’s behalf.

Adam Ferrier and Tania Carr

Carr highlighted UM’s strong relationship with Thinkerbell and the common goal of creating talkability amid a significant cultural moment.

“With Travis being an NFL player over in the States and us being so ingrained with NRL here, we found it was a very natural synergy for us to be part of that conversation,” she said.

One of the initial challenges faced by UM was securing a site near Accor Stadium – where Swift was performing in Homebush – within 24 hours that was available, within budget, and approved by Lion, all in time for Kelce’s arrival in Sydney.

“We had to pivot a little, and what we did was identify and leverage the two large-format out-of-home sites that were relevant and already existed in our plans.”

Quick decisions and adjustments were made to the creative and strategy, but the whole team “pushed through and found alternatives that satisfied the need and made everyone quite happy. We didn’t miss the momentum, which was important.”

Ferrier noted that because Thinkerbell can do both creative and media work, as a creative partner on this campaign, the team understood what its media counterpart needed.

Conversely, Ferrier said creative partners appreciate when media agencies have a good contextual and tech understanding, alignment around the idea and intent, bring new innovations to the table, and have trusted relationships throughout the organisation.

For Carr, the campaign has proven the value of spontaneous campaigns and agility, while focusing on future planning.

“We are trying to carve out some foresight of how we best show up for these and what brands would be most relevant for us to connect to those moments,“ she added.

Looking back at the Toohey’s campaigns rapid journey, Ferrier noted that there were no major pressure points because of the open and collaborative relationship between Thinkerbell and UM, along with aligned KPIs.

He explained that having creative and media agencies and client team in the group chat meant there was “no place to hide” in sharing ideas. 

“You chuck an idea out there you discuss it openly and people build on it. The context of the idea, the content, the practicalities of the idea get thought about all in a transparent, rapid fire way. So it work for instantaneous topical ideas.”

‘Optimised by leaning on each other’

Publicis Groupe’s media agency Spark Foundry and creative agency Saatchi & Saatchi teamed up as part of The Neighbourhood, the holding company’s ‘Power of One’ agency for Arnott’s, to create the Life’s Little Moments campaign.

The campaign, featuring Dragon’s 1978 hit Still In Love With You, won at the 2023 Australian Effie Awards, taking home the Grand Effie, gold in the food and beverage category, and Silver for ROI.

Toby Aldred, managing director of Saatchi & Saatchi Australia and chief client officer of The Neighbourhood, told Mediaweek the solution “lives and breathes the open-door philosophy“, and people lean into each other’s expertise.

He said such a working culture challenges people to avoid becoming set in their ways.

Publicis Groupe ANZ’s chief media officer and CEO of Spark Foundry AUNZ Imogen Hewitt agreed. There are fundamentals to the creative and media agency relationship to ensure ease of operations and collective understanding.  

“When you get that cultural level of understanding, you become less precious about who did what and much more interested in, ‘How did we all get there and make one another better in the way that we delivered?‘ That’s the thing that you can’t do with process alone. 

“That must be driven by intent and passion for the way we work, as well as our understanding of the client and alignment on goals.”

She explained that, as an integrated model, everyone on the team is also part of a lead agency, wherever they are in the Groupe.

Toby Aldred, Imogen Hewitt, and Jenni Dill, chief marketing officer of Arnott’s Group

“They get all the benefits and the training as well as the breadth and exposure to different categories from these agencies. Which, oftentimes, if you only work in a bespoke model, you don’t have enough visibility on what’s going on outside of your very narrow remit.”

Aldred said clearly defined goals and roles in the Arnott’s work minimises tension points. Both media and creative “were optimised by leaning on each other.”

However, Hewitt pointed out that little bits of tension can lead to “interesting“ results when different disciplines are present in the room.

“When they come together and don’t necessarily align or agree automatically, you’re probably going to arrive at a better place than where you started by having that debate.”

In the case of the Arnott’s campaign and the Publicis Groupe agencies, Hewitt said: “Everyone’s going to learn something out of those conversations, which will make their jobs and the work better.”

‘One is not more important than the other’

Darren Woolley, Trinity P3 founder and CEO, told Mediaweek that factors such as time pressures and laziness can result in missed opportunities between media and creative agencies.

“Usually, that’s when you have something like the media and creative taking an opportunity in news or culture, like when Taylor Swift’s boyfriend came to Australia or when the Rugby World Cup when Fiji won, which meant Australia didn’t make the finals. Suddenly, there’s a double-page colour spread in the newspapers.”

Woolley said that such amazing results between media and creative agencies are achieved when there is “an opportunity to put content in the right place in the right environment, in front of the audience when they’re most receptive.”

“So, when you do see it working really well, it absolutely stands out,” he said.

Letter to all Wallabies Fans – Havas Village (Havas, Havas Media and Havas Red) and Tourism Fiji

Ferrier added that Thinkerbell’s previous collaborations with media agency partners have been “nearly always a positive experience” and the key good relationships involve “transparent, quick, non-hierarchical communications.”

For this to happen, he said siloed disciplines within agencies need to be broken down. “The easiest way for all that to go away is just to have one transparent, open communications group – whether it be WhatsApp or any other thing – but everyone needs to be able to see the communication that happens real time.”

Recent agency and agency model launches emphasise the desire for silos to be squashed. Last week, Honda appointed Howatson+Co as its sole agency to work hand-in-hand with a new in-house agency.

And bespoke agencies like Smith St for Coles – an Omnicom-led solution comprising DDB, OMD, and Deloitte – and +61 for Telstra – TBWA, OMD, and Bear Meets Eagle on Fire – bring media and creative practitioners together in the same model, and the same building.

Woolley said ensuring media and creativity sit closely together is marketers’ responsibility.

“[Marketers] need to encourage that close level of collaboration, whether media is part of the creative team, or a separate company, or even a separate holding company. The marketers need to drive that.”

That requires marketers briefing media and creative simultaneously. “One is not more important than the other. There’s no point having media without the right content, and likewise, there’s no point having content without being seen in the right media.”

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Top image: Top – Adam Ferrier, Tania Carr and James Dixon.
Bottom – Toby Aldred, Imogen Hewitt, Jenni Dill and Darren Woolley.

Dettol has been crowned Australia’s most trusted brand in the 25th edition of Reader’s Digest Australia’s annual survey, followed by Band-Aid and Cadbury.

The independent survey of over 4,000 Aussies across almost 70 categories – conducted via market research agency Catalyst – also found the Royal Flying Doctor service to be the most trusted charity. 

Bunnings topped the study’s ‘Most Iconic’ category, a post previously claimed by brands including Vegemite and Hills Hoist.

Earlier this year, the household hardware and garden chain centre grabbed headlines when seven of its stores across Australia and New Zealand swapped the Bunnings name for Hammerbarn, inspired by an episode of hit animated children’s show, Bluey. 

Cameron Gentle, director of Catalyst Research, said “it’s been a very challenging few years” for brands in terms of earning and maintaining consumer trust.

The publisher pointed to a number of factors in recent years including cost-of-living pressures, the proliferation of online shopping, and the increasing influence of AI algorithms in determining what gets put in front of consumers.

“Ultimately, our category winners share a key common trait,” said Gentle.

“They consistently deliver on their promise. People have an expectation of what they’re going to get, and the particular product or organisation delivers what they’re after. Time and again.

“And the other key thing to note is that the people who were surveyed nominated these brands, unprompted – that is to say without any trigger lists of suggested candidates – in each category. So it’s a very clear reflection of the market sentiment at the time of polling.”

Weber won the survey’s BBQ category, Singapore Airlines won for flights, Toyota for cars, Victoa for mowers, Panadol for pain relief, Lipton for tea, and Band-Aid for plasters and adhesives.

Overall, the top 15 most trusted brands according to the Reader’s Digest survey were:

1. Dettol
2. Band-Aid
3. Cadbury
4. Bunnings
5. Dulux
6. Cancer Council (sunscreen)
7. Bridgestone
8. Panadol
9. Toyota
10. Bega
11. Weber
12. Royal Flying Doctor Service
13. Dairy Farmers
14. Glen 20
15. Selleys

See also: Woolworths crowned Australia’s biggest brand, as Qantas takes a big reputation hit

Sky News Australia host Paul Murray told Mediaweek recently how he enjoys a good political debate. Today we share just how far the conservative firebrand goes in search of a political argument.

It’s a journey that includes one of the internet’s most controversial conservative commentators. It also includes two pillars of the left. One based in the UK with an Australian arm. The other a TV channel that is part of the global NBCUniversal giant.

Murray on the media and the ‘Turnbull Times’

During his Mediaweek interview, Murray referred to the straight media. He doesn’t openly critique too many brands or people by name. There are a few exceptions. Especially Guardian Australia, which Murray brands the Turnbull Times. “Because he brought them into existence,” he explained. Former PM Malcolm Turnbull is credited with planting the idea for the Australian edition of the British brand. “I don’t read Guardian Australia by choice. I read it because I want to know what the other end of the spectrum thinks.”

On Paul Murray Live the host will debate headlines or analysis features he thinks are worth critiquing from Nine Publishing metro dailies and The AFR. “For obvious reasons I support the content that our own organisation makes,” he noted. [News Corp Australia owns Sky News Australia.]

“I don’t get into a pitched battle with the good guys and bad guys in the media. I am double-focused on the narratives some reporters try and push. There is no point getting involved in a very specific blow-up on a specific reporter. There are a couple of people though I will always call out by name.”

See also: Why is Paul Murray so pissed off? Sky News Australia host on ‘Airbus Albo’

Murray’s favourite lefty hotbeds

“I will watch the content that people assume to be the exact opposite of what I do. I respect the people I disagree with enough to listen to them.”

Surely you wouldn’t find Murray tuning into such lefty hotbeds like the ABC or maybe even MSNBC? Well yes, he does. All that and more.

“I listen to a lot of Bill Maher who is amazing. I would love to do Club Random [Maher’s podcast].” Maher hosts a weekly talk show for HBO which is shown locally on Foxtel and Binge.

“I absolutely devour the content at MSNBC. Morning Joe [MSNBC breakfast show] as a concept is a breakfast show I would definitely watch in Australia.” He doesn’t agree with everything they say of course! “They have completely lost their brain over Trump. So much so that Mika Brzezinski [co-host] thinks that editorialising is huffing and folding her arms.

“It is really interesting what CNN do in primetime. Except for Anderson Cooper, it is all women.”

Murray admitted he has been getting little sleep lately because he’s been watching coverage of the Trump trial. “It is incredible how channels can construct quite gripping television despite being unable to get any audio or pictures.”

His Australian diet includes ABC’s Q&A hosted by Patricia Karvelas on YouTube. “I don’t get to listen to as much live radio as I’d like to. I’m a mega Kyle and Jackie O fan. Kyle Sandilands is amazing. I always listen to Ray Hadley. On TV I enjoy The Cheap Seats, also Shaun Micallef when he has a show on. I’ll even keep watching when I’m a joke on those shows!”

He’s on board with Foxtel group’s streaming strategy: “The Flash app is amazing for me because you can go back to the top of the hour on lots of different news channels.”

US election recommendation

For a succinct guide to understanding the forthcoming US election, Murray has two tips. “Watch the first 10 minutes of Morning Joe on MSNBC and the first 10 minutes of Steve Bannon’s [daily] War Room podcast. You don’t have to agree with them but you will know what the id of the Biden campaign is and the id of the Trump campaign is.”

Right v Left in US politics: War Room and Morning Joe

Guest firepower

The move by Sky News Australia to have content that engages both live on the TV and across social platforms has supercharged the guests on Paul Murray Live. “We wanted to get the best possible people to not just talk about UK and US politics, but people who had online popularity,” said Murray.

“Megyn Kelly and Nigel Farage are both unbelievable guests. Rather than trying to find 10 different people to fill two weeks worth of slots, we went all in on two that would really kick ass. And they do.”

Megyn Kelly is a regular on Paul Murray’s show. He also appears with her at times on her US programming

Murray explained Farage is live when on his show because of a time zone that works in the UK. Murray prerecords a chat with Kelly that can last between 15 and 30 minutes when it fits into her day. “Some of that content goes on the TV, other parts of it are used online.”

When asked about his Australian guests, Murray said, “There’s only ever been a couple of bad ones. And I’m not about to name them. Over the years, as a breakfast FTA TV breakfast show would do, we have developed a cast of regular guests that people would look forward to hearing from.

Nigel Farage with Paul Murray

‘Contrary to some perceptions, while my opinion is really strong, I also have strong guests from the Labor side.” One of them used to be Graham Richardson. These days it’s more likely to be Stephen Conroy or Sam Crosby.

Paul Murray Live format

The host likes a feisty debate: “I seriously want people to engage with me in the way I engage with the content I disagree with.

“The thing I have learnt through my whole career is that although the show is in a good place today, I expect it to be completely different in two years’ time.”

Murray is amongst his harshest critics. “One thing I have told everybody, from AFTRS students to my own producers is: The best thing about a bad show is the chance you get to do another one tomorrow night. The worst thing about a good show is you have to do another one tomorrow night.”

There was a 35% increase year-on-year in Ad Standards complaints in 2023, according to the industry watchdog‘s latest Review of Operations.

The community panel designated by the AANA to uphold the industry body‘s Code of Ethics and standards, and exercise regulatory decision-making, received 3,764 complaints last year, with “sexuality and nudity” the main the primary driver.

Of the complaints, 42% were about sex, sexuality or nudity, 17% about violence, and 10% concerning health and safety.

The number of complaints increased from what Ad Standards confirmed to Mediaweek on 12 December 2023 which, at the time, still represented a 25% jump on 2022.

The final 10% surge was due to the near 300 complaints it received in December alone, a spokesperson said.

“While a number of factors may have contributed to this, the top five most complained-about ads in 2023 drew over 800 complaints collectively, whereas the top five ads in 2022 received just 120 complaints in total,” Ad Standards’ executive director, Richard Bean, told Mediaweek.

The overall most complained about ad remained the Perth billboard commissioned by adult entertainer WC savage (aka Savannah) promoting her OnlyFans page, including a QR code which directed to the page. The ad generated 360 complaints, which were subsequently dismissed by Ad Standards.

See also: Ad Standards reports 25% surge in complaints, points to “sexual imagery and violence”

Following investigation, 81 of the ads flagged were found to be in breach of at least one advertising code. 31 were modified or removed after contact from the regulators, and eight resulted in requests for an independent review.

Bean previously told Mediaweek the numbers saw the industry return to complaint volumes of previous years – Ad Standards received 4,500 complaints in 2021 and 3,500 in 2020.

“Advertisers need to make sure their ads align with evolving community standards around the use of sexual imagery and violence, with these issues generating more than half of this year’s complaints,” he said.

In the latest round of Ad Standards rulings, released last weak, pregnancy, gun violence against animated cockatoos, and yet more examples of the ‘girl math’ trend were all offending subjects.

The offenders included Melbourne-based direct bank ME Bank, IVF and fertility service group City Fertility Centre, and building product and solutions provider, Metroll Darwin.

See also: Pregnancy, cockatoo gun violence, more girl maths: Ad Standards May rulings

DDB Melbourne has appointed Khia Croy as general manager. She moves from Melbourne Independent Sunday Gravy, where she was general manager and client director.

DDB Melbourne group managing director, Mike Napolitano, said: “Khia brings a wealth of experience to DDB Melbourne and is a hugely respected professional in the industry.

“With her strong background in both brand development and creativity, we’ll see the continued opportunity for our clients and their brands to get an unfair share of attention. 

“Our focus on team capability and world class creativity is the perfect mix for a high performer like Khia. Her passion for creativity and the commercial power it can wield in communications, along with a track record of establishing a workplace culture that allows creativity to flourish, feels like a homecoming.” 

Croy brings over 15 years of marketing and leadership experience to DDB Melbourne. At Sunday Gravy, she worked across its major clients including Catch.com.au, Powershop, MYOB, Nando’s, and Ego Pharmaceuticals.

Prior to Sunday Gravy, Croy worked in senior business roles at Clemenger BBDO, The Taboo Group, and Leo Burnett, servicing clients including Pedigree, Whiskas, Carlton United  Breweries, Libra, Sorbent, La Trobe University, and Honda. 

In her new role, which is effective immediately, Croy will be responsible for championing DDB Melbourne’s vision of success for its team members, whilst leading its client stable.

“I’ve always had a passion for building distinctive  brands, and the global DDB brand is one of the finest examples of this,” Croy said.

“I am honoured to be part of  such a world class team, many of whom I’ve already had the privilege of working with in previous lives.

“I count myself very lucky to be amongst them again and look forward to putting our collective experience to good use to make the most effective work in the market.”

Croy’s appointment follow the agency‘s promotions of creative partner Giles Watson to deputy executive creative director, and group creative director James Cowie to creative partner – head of copy.

In February, DDB Melbourne also announced the promotion of Becky Morriss to creative director and the appointment of Sarah Tonner as creative services and traffic manager.

See also:
DDB Melbourne promotes Giles Watson and James Cowie
DDB Melbourne promotes Becky Morriss and taps Sarah Tonner

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Top Image: Khia Croy and Mike Napolitano

This week the ABC will flick the switch on two new FTA TV channels – ABC Entertains and ABC Family.

They are strictly not additional linear TV channels, but two rebranded frequencies. The existing ABC TV Plus channel will become ABC Family. While the existing ABC ME will become ABC Entertains.

If you’re not already getting a little bit confused, there will also be four new digital streams. Audiences can find them delivering children’s live action, animation, education, and family viewing, and they will launch on ABC iview. The four dedicated genres will be available as live streams as well as on demand.

Those four new streams have been branded:

Cartoons: Animation for children aged 7–12 years.
100% Faves: Live action favourites for children aged 7–12 years.
Family Faves: Family content available 24/7.
BTN: BTN and other educational content for kids.

When are the channels changing over?

Sunday June 3 is the date for the new launch of the six new streams – two live on FTA TV and iview, the additional four via iview.

The ABC ME app will be closed down on Friday May 30 ahead of the change.

There is no change to the ABC Kids channel brand, which will continue to broadcast from 5.30am to 7.30pm daily.

What’s in a name?

Television audiences in Australia had five primary channels to choose from following the launch of SBS in 1980.

Two decades ago there was an explosion of multichannels on FTA and the ABC didn’t miss out. The first was branded ABC2 which the corporation seemed happy with until they decided to rebrand it ABC Comedy over a decade later in 2017. That lasted less than four years until it was rebranded ABC TV Plus in 2021. Now just over three years later that channel gets its third name in seven years – ABC Family.

How do ABC multichannels rate?

Finding weekly channel share ratings that include ABC channels isn’t as straightforward as it once was.

For the week ending Saturday May 25, 2024, the ABC TV Plus channel (which is shared with ABC Kids for part of the day) had a primetime metro share of 2.3%. Amongst the sea of FTA multichannels it was only outrated in metro markets by 7TWO, 7mate and 10 Bold.

Importance of iview

ABC now programs for the audience using iview. A key executive behind these significant channel changes is ABC head of programming, acquisitions and streaming, Roberta Allan.

“We are always thinking, what does it look like on ABC iview?” Allan told Mediaweek. “If an audience member comes on iview, what are they finding. If I’m a science fan, and I’ve come on, is there new content regularly? What we don’t want to do is actually put all the content into Science Week, and then it’s boring for the rest of the year. We are thinking about all those audience journeys, be they special interest types or age groups, and trying to plan to that.”

A former BBC and TV1 programming executive, Allan has been with ABC for over three years.

Let them binge

Allan continued explaining one key iview strategy: “On ABC iview, wherever possible, we’re promoting binging, and we make all episodes available as early as possible, which is different to what the other FTA channels do.

“[Elsewhere] you usually have to wait until after all episodes are played out. We’re putting all episodes there and trying to just make that viewing experience as amazing as possible.”

Viewers need to keep a watch on iview if they are waiting for something new. Allan told Mediaweek it’s not necessarily available the minute the linear broadcast starts. “Sometimes all the episodes could go up earlier that day. It all depends on the rights.”

The recent drama After the Party for example was available from Sunday morning on the day episodes launched on the primary ABC channel.

“The point with that is, we don’t want to confuse viewers by giving lots of different times. What we want is if someone visits iview at 6pm on the [launch] night, that they don’t have to wait till 8.30pm to find a show that they’ve heard about.”

ABC’s iview hit After the Party

iview, broadcast and on demand numbers growing

Mediaweek reported earlier this month on audience growth at the broadcaster.

Allan updated us: “This year our broadcast channels, live streamed, have significantly increased their numbers. Our broadcast channels on broadcast have also increased their numbers.

“Either way more people are watching. Also our on-demand numbers have increased, which means overall we’re getting a bigger audience.

“We haven’t cannibalised any platform. We’re just doing a better job at everything.”

ABC’s head programming, acquisitions and streaming Roberta Allan and chief content officer Chris Oliver-Taylor with head of screen Jennifer Collins

See also: Jennifer Collins harnesses ABC TV star power to maintain 2024 momentum

How are people watching?

“The majority of our viewers watch via smart TV, which means a big TV,” said Allan.

“Less are watching via a website or a mobile phone. That’s the same in children as well as non-kids. A lot of children are consuming via that big screen. That’s something we’ve been very conscious of with ABC Family.

“One of the reasons to launch ABC Family was that those kids need help to turn on that TV. Their parents are helping them turn it on. They know it’s a safe environment, but we haven’t always had them coming over to our adults’ content.

“Creating a brand like ABC Family will mean that we’ll be able to transition children as they get older with their families into that co-viewing safe environment. And expose them to some of the other content we have.”

Same content, different demos

Allan continued: “One really interesting thing is that broadcast is an older audience. Exactly the same shows on iview skew younger.

“As we grow the audiences on ABC iview, the average age of all the programs decreases because it’s easier for younger viewers to find.”

See also: ABC reveals major new investment in TV series commissions for 2024 plus more Bay of Fires

“I like to think that out-of-home advertising is just public space art that happens to be sponsored by your brand,” Josh Gurgiel, head of oOh!media’s creative and innovation hub POLY, told Mediaweek.

oOh!media has been at the forefront of a recent burst in out-of-home advertising creativity. Breaking away from the static billboard, campaigns include live streaming a digital fashion show in Sydney into Melbourne to relaunch the new Pepsi brand, and a live-action fight sequence stunt to promote Ryan Gosling‘s most recent film, The Fall Guy.

“My team, we think of ourselves as ‘the joy factory’. At the end of the day, we have the opportunity to work hand in hand with brands to create joy in public spaces, and that is not something lost on us,” said Gurgiel.

“A great out-of-home execution exemplifies the power of when a great brand understands what resonates with their audience, and then it’s brave enough to put that in the public domain. They will reap the rewards of the public responding, doing their media buy for them by amplifying that online, as well as leaving with a positive sentiment about the brand.”

There is method behind the madness, and if you peek behind the curtains of ‘the joy factory’, you’ll find the numbers back up the talk, according to Gurgiel. 

“We’ve done several studies with Analytic Partners, looking at the ROI from spending on out-of-home. One thing that came out of that was that 41% of the ROI that’s generated for every dollar spent on out-of-home was coming down to the creative itself – so not just the where or the who, but the what,” Gurgiel said.

“That was an insight that has really resonated through the oOh!media business for quite a while now.”

Gurgiel said that two years ago, the business recognised that this spike in out-of-home creativity wasn’t going anywhere, and that the best bet would be to lean in. It’s a decision that has paid off.

“As we see the landscape changing – other offline channels becoming more fragmented, harder to reach audiences, viewership and engagement declining – this focus on creating experiences within out-of-home through creativity has only gained more traction.”

There remains a misconception that out-of-home advertising begins and ends at static billboards. Gurgiel stresses that out-of-home as a medium serves multiple purposes, and as with any solution, should be anchored in the brand objectives. 

“The reality is, yes, a lot of advertisers think of out-of-home as a static format within the real world – which absolutely has a place, whether that’s classic static or still digital – but having a clear, simple, strong message at scale at frequency is really important.

“At the end of the day, all the marketing science talks about the need to reach audiences, and the need to reinforce and build mental availability over long periods of time. That’s out-of-home.”

For those brands showing up with the intention of transcending or challenging the traditional ways of using out-of-home, Gurgiel said they are still focused on both reach and frequency to capture and leverage attention. 

“We’re seeing brands leaning into the experiential, and the real out-of-the-box, to tap into that shareability and that online-offline dichotomy that we always talk about.

“You create something in the public domain, it captures attention, people photograph it, and people share it with their networks. We’re seeing brands using out-of-home now, essentially, as part of their content strategy – they’ll put a really powerful execution in the public domain, and use that to broadcast online and generate owned and earned media off the back of it.”

As attention becomes harder and harder to grab and hold, the impact that creative out-of-home campaigns have is “undeniable”, Gurgiel claimed.

“We’re exposed to up to 10,000 advertising messages a day – your competitors are not within your category, your competitors are the 9,999 other messages that the consumer is receiving on a daily basis. It’s harder than ever with fragmentation for advertisers to cut through and really have an impact. 

“When we’re able to pull off and amplify really powerful content, we get this undeniable feeling of cut-through.”

–

Top Image: oOh!media’s Josh Gurgiel

Nine has appointed Jo Barton as director of sales – Sydney, replacing Nikki Rooke who was promoted to director of sales – total television this week as Richard Hunwick‘s successor. 

Currently group business director with complete responsibility for Nine’s largest agency group, Barton has been at Nine since 2016. 

“Given our unique set of market-leading assets, all of our teams must be cross-platform athletes, experts in helping our partners connect with their audiences across our platforms,” Michael Stephenson, Nine’s chief sales officer, said.

“Jo has a proven track record in helping Australia’s largest brands to use our assets to deliver real business outcomes.

“With her TV, radio, publishing and digital experience she’s ready to lead the largest sales team in the country. I’m proud that once again we are able to promote from within, testament to our ongoing commitment to improving the capability of our entire team.”

Barton has previously worked with other media businesses including BBC Worldwide, EMAP UK and Australia, ACP and Bauer Magazines, and News Corp Australia.

Barton said she is “beyond excited” to be appointed to lead Nine’s Sydney sales team. 

“I am really looking forward to implementing the Nine sales strategy across the Sydney market, working closely with our team and our partners to create integrated cross platform solutions which deliver real business outcomes,” she said.

“It’s a massive year for Nine, and I am privileged to lead such a passionate, professional and driven team.”

Hunwick will finish at Nine at the end of September. As his replacement, Rooke will report to Stephenson and work alongside Jo Clasby (director of sales – total publishing), Ashley Earnshaw (director of sales – total audio), Nick Young (commercial director – digital), and Lisa Day (director – Powered).

Rooke will begin her new role on 1 July.

See also: Nine’s Nikki Rooke steps up to replace Richard Hunwick

Thinkerbell has launched a new era for beverage retailer Dan Murphy’s, evolving its current brand platform, Nobody Beats Dan Murphy’s. 

It is likely to be Thinkerbell’s last work for the brand – Endeavour Group is currently pitching its creative account for key brands including Dan Murphy’s and BWS. Thinkerbell has declined to participate.

Tom Wenborn, executive creative tinker at Thinkerbell, said of the platform: “Nobody Beats has existed within the DNA of Dan’s for decades, but it’s always been about price. 

“This project was really about digging into what Nobody Beats really means and elevating it to the platform level where it belongs.”

The latest work centres around the human truths that motivate the drinks people choose. From picking the perfect bottle for a mate who’s not really that good of a mate, to finding something special for the person who’s given you everything.

Maija Bell, head of brand and experience at Dan Murphy’s, said the brand offering has always been anchored in offering the lowest prices, the largest range, and the best service.

“It was important to find a platform that allows us to be present in more relatable social occasions for our customers,” she said.

The platform, which has launched across TV, BVOD and socials, along with national OOH, follows the Daniel Francis Murphy campaign previously produced by Thinkerbell in 2022.

The work was a festive tale about the life of the liquor retailer’s founder, Daniel Francis Murphy, commemorating the store’s 70-year-long contribution to Aussie Christmas celebrations.

“The Daniel Francis Murphy work did a fantastic job galvanising the business around the Drink Better ethos, the next step for the brand was to establish a new construct that would be flexible as it evolves for the future” said Wenborn.

“It’s a really stretchy platform that Dan’s will be able to activate off for years to come as they contemporise and adapt to the next generation of consumers.” 

Endeavour completed a closed EOI process for the pitch, involving both current and potential agencies, in search of a single, leading creative agency. The process is now in the closed RFP stage, reportedly due to be completed by the end of June.

The incumbent for BWS is M&C Saatchi, which has held the account since its appointment in 2021. It is understood M&C has been cut from the pitch. 

Credits:

Client: Dan Murphy’s
Agency: Thinkerbell
Media: Carat Australia 
Director: Yianni Warnock
Production house: MOFA
Post and online: ARC EDIT
Sound: Rumble
Stills photographer: Charlie Hawks
Stills production: Hart & Co
Stills stylist: Bridget Wald

See also: Endeavour Group pitches creative for key brands

National Australia Bank (NAB) and TBWA\Melbourne have teamed up to launch a new bookkeeping tool, NAB Bookkeeper.

The campaign is the next iteration of the recently launched Wrangle Your Money platform, which sees the bank supporting and empowering its customers to make better financial decisions.

NAB Bookkeeper is an all-in-one financial management tool aimed at helping small businesses streamline and simplify their finances. It delivers accounting, invoicing and tax calculation, with a plan to add payroll and expense management functionality in the future.  

TBWA\Melbourne was tasked with developing the brand strategy and campaign for the launch. The ad was directed by TBWA’s Kale McRedmond, who also served as a lead creative.

Matthew Stoddart, executive creative director of TBWA\Melbourne, added: “Small business owners are usually portrayed as in control, but the reality of running a business is far from orderly, and the risk of their receipts turning into paper snakes is a daily fear. The new campaign helps vanquish that problem and puts business owners back in control with the help from NAB. It was a lot of fun.”

The campaign is set in the same baby store featured in the previous Business Wrangle campaign.

Elly Bloom, NAB executive business and private bank marketer, said: “We’re excited to share our next chapter of the ‘Wrangle Your Money’ campaign. NAB Bookkeeper isn’t just a product – it’s a reflection of our ongoing commitment to providing tailored, digital support and tools that empower our business customers. TBWA has captured the essence of this beautifully in the wild world we know our customers operate in.”

The media strategy, which was delivered by Mindshare, sees the campaign running in Australia across connected TV, social, and OLV.

See also: NAB launches ‘Wrangle Your Money’ campaign with TBWA\Melbourne

Credits:

NAB
Elly Bloom – Executive Marketing, Business & Private Bank
Simon O’Connor – Head of Business Marketing
Katherine Venus – Head of Small Business & Digital Marketing
Donna Reynolds – Senior Consultant, Creative & Content
Keegan Nash – Consultant, Creative & Content
Susanna Hondrokostas – Manager, Brand Identity
Nyaradzayi Masanga – Consultant, Brand Identity
Minh Tang – Senior Consultant, Brand Identity
Marcus Sands – Consultant, Media Personalisation

TBWA
Chief Creative Officer: Paul Reardon
Executive Creative Director: Matt Stoddart
Creative: Kale McRedmond
Creative: James Southey
Creative: Eliza Romanos
Co-Head of Planning: Virginia Pracht
Planning Director: Zac Martin
Head Content Producer: Joel Morgan
Managing Director: Ricci Meldrum
Client Partner: Sarah Tukua
Business Director: Ella Hine

AV
Production house: TBWA\Melbourne
Director: Kale McRedmond
Producer: Joel Morgan
DoP: Max Walter
Production Manager: Phoebe Graham
Editor: Tom Edney
VFX: Studio Pancho
Sound: Rumble Studios
Colourist: Matt Fezz

Media
Mindshare

Sydney Water has launched the Toilet Blockers Anonymous campaign through its creative agency It’s Friday, aimed at breaking people’s bad flushing habits. 

The work addresses the concern that 55% of Sydneysiders still think it’s okay to flush more than the ‘3Ps’ (pee, poo, and toilet paper), which causes over 20,000 sewer blockages a year, and a subsequent clean-up cost of $27 million. 

As stated by Elise Barker, acting head of brand, media, and marketing at Sydney Water: “This is a serious issue in our wastewater network and a significant problem right across Greater Sydney.”

The campaign, which launched yesterday via film, social, radio, print, and PR, hinges on a simple message: If you’re flushing anything other than the 3Ps, you’re a ‘Toilet Blocker’. It portrays a group of everyday Sydneysiders receiving help for their flushing habits with the support group, ‘Toilet Blockers Anonymous’. 

Barker said the team wanted to use humour to make people think twice about what they’re flushing. 

“The 3Ps may be simple to learn, but we needed a memorable and engaging way to encourage people to rethink their behaviour. It’s Friday’s ‘Toilet Blockers’ campaign does just that,” she said.

Vince Lagana, CCO of It’s Friday, added: “The message is simple, if you flush inappropriately, you’re part of a hidden group of everyday Sydneysiders who must break their bad flushing habits before it breaks their toilet. You may not know it, but you are a Toilet Blocker.”

On developing the campaign, Lagana said, “it’s not often you get to communicate a message that’s serious but also so awkward, it’s tailor-made for comedy.”

Sydney Water launched its first work with It’s Friday in December – a water conservation campaign timed for summer, featuring the character “Bob” played by Shane Jacobson. To inject fresh energy into the campaign, the long-standing water-wasting character was joined by an unexpected guest: his 10-year-old self.

It’s Friday first announced it had won the Sydney Water account in September last year, following a competitive pitch. 

Credits:

Client: Sydney Water
Creative agency: It’s Friday
Production company: Rabbit
Director: craig Rasmus
Executive producers: Lucas Jenner and Alex Hay
Producer: Marge McInnis
Casting: Danny Long
Post production: The Editors
Sound: Squeak E. Clean Studios
Photography production: The Pool Collective
Photographer: Ingvar Kenne
Retoucher: Mark Sterne

See also:
Sydney Water & It’s Friday debut critical conservation campaign feat. Bob’s new sidekick
It’s Friday wins Sydney Water, conservation campaign to follow

Oroton has appointed Claxon as its digital media agency of record.

The independent agency will oversee and elevate the luxury fashion and leather goods brand’s digital media strategy across the entire digital ecosystem, with a key responsibility to increase digital performance across all channels.

Jade Axford, chief growth officer at Claxon, said being appointed as the heritage brand’s digital partner across strategy, digital, and creative was an honour, and the team was delighted to be entrusted with the task.

“Oroton’s 85-year history and heritage are strong foundations and as the brand transforms into a contemporary luxury brand our aim will be to engage new audiences by bringing cutting edge digital media techniques – driven by AI – to amplify Oroton’s online visibility and engagement,” Axford said.

“We are fortunate Oroton’s team are invested in transformation and are brave enough to empower the brand’s future, expanding to align with an ambitious global growth strategy. We can’t wait to be part of the team to assist Oroton compete in today’s – and tomorrow’s – competitive fashion industry.”

Peter Lines, head of digital at Oroton, added: “Oroton has introduced a contemporary spirit, expanded its leather goods range, and launched comprehensive ready-to-wear collections and we needed a like-minded agency to partner with us on our ambitious transformation journey. 

“In Claxon, we have found that partner and we are excited to merge the agency’s expertise in digital media, with Oroton’s legacy of quality and style and together set new benchmarks in the luxury fashion industry.”

Claxon’s appointment to the Oroton account comes after the agency recently acquired Gold Coast-based creative agency Embark, which was founded in 2003 by brothers James and Phil Coulson. The acquisition was Claxon’s second in 15 months, following that of Growe Media last year.

See also: Claxon acquires creative agency Embark

Independent media agency Atomic 212° has launched a campaign for glass company O’Brien, aimed at younger consumers.

The Stop! Repair time! campaign is the first time the 100-year-old glass repair and replacement provider has used BVOD, YouTube, and gaming ads to complement its linear TV advertising.

The agency’s new ad, aimed at people aged 18 to 34, introduces singing French bulldog Winston and expert technician Nat in a dramatised account of how a seemingly small windscreen chip can really spoil a trip.

Atomic 212° group account director, Jess Torstensson, said: “O’Brien is a household name in windscreens and glass. The O’Brien jingle and ads are something many Australians over 35 have grown up with, but younger car owners are less familiar with the brand.

“O’Brien is celebrating its centenary this year, so for an iconic Australian brand to recognise the need to evolve its approach – with both its hugely successful creative and channel mix – is a testament to the insight and collaboration between the whole agency and client village.

“It’s been a true collaboration by O’Brien’s marketing department, Mime Analytics, Two Giraffes, and Atomic 212° and we’re very proud it.”

Nick Street, O’Brien’s commercial director, added: “O’Brien is driven by serving its customers, and we recognised there was a segment of the car-owning market that we haven’t really spoken to.
 
“Consumers under 35 are looking for quick, affordable and sustainable solutions and products, and O’Brien chip repair is faster, cheaper and greener than installing an entirely new windscreen. It’s been an exciting challenge to expand our channel and creative thinking with Atomic 212° to land this message with the younger audience.”

Credits:

Nick Street, Commercial Director, O’Brien
Bridie Commerford, Consulting Head of Group Marketing, O’Brien
Claudia Johnston, Senior Marketing Manager, O’Brien
Arielle Peters, CEO & Creative Director, Two Giraffes
Emily Whitefield, Creative Producer, Two Giraffes
Chris Thompson, Creative Producer, Two Giraffes
Bernard Braithwaite, Co-Founder, MIME Analytics
Jess Torstensson, Group Account Director, Atomic 212°
Jesse Chapman, Planning & Trading Director, Atomic 212°
Anne Mui, Programmatic Director, Atomic 212°
Paris Mcilwrath, Planning & Trading Executive, Atomic 212° 

Cartology’s retail out-of-home partnership with Vicinity Centres has resulted in over 1,000 digital screens on track to be live by July.

Australia’s largest shopping centre, Chadstone, is among the first to have been impacted by the partnership with Cartology. Chadstone receives over 20 million annual visits.

The first portion of screens in Chadstone are completed, and the completed project will see almost 100 new small format screens installed alongside the existing large format network. 

Screen installations are also underway at a further 53 centres, with more than 242 small format screens now live. These complement the existing 134 Vicinity large format screens now live through Cartology, as the rollout of the network continues. 

Cartology’s Mike Tyquin said the team was pleased to be underway with a “significant rollout that’s flexed our procurement and installation management muscles, while doubling down on our retail out of home proposition and insights offering.

“We’re going big in coverage as we build momentum around a market leading retail out of home network that offers renewed potential for brands to reach customer audiences at scale and whilst tapping into Cartology’s unique customer insights.”

Cartology’s partnership announcement with Vicinity Centres saw its total retail out-of-home screen network grow to more than 3,300 digital screens in addition to Cartology’s in-store screen network of more than 1,900 screens across Woolworths Supermarkets, Woolworths Metro, and BIG W stores.  

See also: Cartology adds 1,100 OOH screens to it’s shopper network in partnership with Vicinity Centres

Ipsos is adding YouTube audience reach and watch time data across mobile, desktop, and tablets into the Ipsos iris digital audience measurement currency.

The addition of YouTube connected TV (CTV) audiences is set to launch in Ipsos iris in the second half of 2024.

Simon Wake, Ipsos Australia CEO, said he was “thrilled to bring YouTube’s rich data into Ipsos iris.”

“The inclusion of video views and watch time for YouTube content not only enhances the robustness of our platform but also provides our subscribers with a holistic view of digital video consumption that now includes OzTAM BVOD and tagged websites,” he said. “This partnership asserts our commitment to delivering market-leading measurement solutions.”

 Ipsos iris will break out YouTube measurement and report against 500+ audience segmentations. The additions will work to provide media owners, agencies, and advertisers with more accurate data and analysis.

Gai Le Roy, IAB Australia CEO, said: “The IAB is pleased that the integration of YouTube data into the IAB Australia-endorsed Ipsos iris has enabled enhanced video metrics for advertisers’ and agencies’ digital campaign planning and ways to evaluate video audiences consistently across media.

“This development is an important step in our quest to define the full Australian digital video viewing landscape across all screens within a trusted system, adhering to common standards for robustness and transparency.”

April’s Ipsos iris numbers showed that a series of major breaking news events drove news traffic, resulting in more than 20.7 million people using a news website or app during the month – reaching 96.6% of online Australians aged 14+.

Major news events driving news in April include the Bruce Lehrmann defamation verdict, Sunrise reporter Nathan Templeton’s tragic death, the Iran drone attack on Israel, and King Charles’ and Kate Middleton’s cancer updates.

See also: Ipsos iris: Bondi attacks, Lehrmann verdict, Kate Middleton drive news in April

Caroline Oates, head of YouTube advertising AUNZ, said: “At YouTube, we firmly believe that independent, transparent and privacy centric measurement helps the industry navigate an increasingly fragmented media landscape. 

“We look forward to supporting continued innovation as we provide partners a more complete picture of online video consumption across screens and platforms.”

Val Morgan Digital is expanding into APAC, and will manage commercial representation for LADbible Group across markets including India, Singapore, Thailand, and the Philippines.

The move is effective immediately and builds on the five-year commercial partnership between Val Morgan Digital and LADbible Group in Australia and New Zealand.

See also: LADbible Group inks five-year strategic deal with Val Morgan Digital

The expansion of LADbible Group’s brands means Val Morgan Digital will reach an additional 5.6 million monthly active users across Hong Kong, India, Indonesia, Japan, Malaysia, Philippines, Singapore, South Korea, Thailand, and Vietnam.

“We are thrilled to build on our successful partnership with LADbible Group and expand this renowned global brand across APAC,” said Brian Florido, managing director at Val Morgan Digital. 

“We’ve identified an opportunity to expand into other key markets to give brands an even greater opportunity to connect with their target audiences.”

The expansion includes programmatic representation, allowing clients to leverage targeting capabilities and real-time optimisation to enhance campaign performance. It also involves partnership development and content campaigns.

Florido added: “Through the combination of this new opportunity, our audience insights via our partnership with Audigent, and our comprehensive campaign reporting capabilities with Brand Metrics, we’ve now got an unmatched offering and are well-positioned to drive the most impactful campaigns to deliver exceptional results for brands.”

Solly Solomou, CEO of LADbible Group, said “expanding LADbible Group into APAC has been a longstanding goal.” 

“We’re excited to build upon our strong partnership with the Val Morgan Digital team and further strengthen LADbible Group’s position as the go-to global digital entertainment business for young adults in the APAC region,” Solomou added.

“Val Morgan Digital has demonstrated a robust capacity for driving growth, and their deep understanding of the dynamic APAC market, combined with their strategic approach to digital media, makes them an ideal partner for our business objectives.”

1,645 school students have engaged with Year13’s recently launched Virtual Work Experience during National Careers Week, which took place from 13 to 19 May in partnership with the Australian Defence Force, the Tech Council, Microsoft, Commonwealth Bank, Bakers Delight, NBN, Department of Education Victoria, and Gelato Messina.

Year13’s Virtual Work Experience platform seeks to solve the problem of school students struggling to find placements by moving employer-branded Work Experiences online for students to participate in.

Year13’s After The ATAR Report surveyed 3,000+ youth nationally and found 34% of don’t know what career they want to go into, while 39% said a lack of experience is a barrier to pursuing their career.

When it comes to high school work experience, just 32% said it helped with their career decisions while 38% said they never did high school work experience at all.

Year13 co-founder Will Stubley said: “Our data confirms young people spend up to five hours per day online so collaborating with industry and employers to create quality Virtual Work Experiences for school-aged children is one of Year13’s priorities.

“Our Virtual Work Experience platform is mobile friendly, visual and interactive, which we know appeals to teenagers, and it’s free for every young person, which is hugely important in terms of providing equitable access to career education regardless of a young person’s circumstances or where they live.”

1,589 students also completed its Academy e-learning courses during National Careers Week.

Year13’s Virtual Work Experience partnered with the ADF, Tech Council, Microsoft, CBA, Bakers Delight, NBN, DoE Vic, and Gelato Messina to let students virtually tour their workplaces and complete gamified activities where upon completion they earn a digital certificate for their resume or LinkedIn profile. 

Year13 and Career Tools head of marketing Lillian Gorman said: “Year13’s Virtual Work Experience content is designed specifically for school-aged children rather than higher ed graduates and is promoted extensively through Year13’s eco-system, including our youth facing platforms and our career transition platform Career Tools, which has over 1200 subscribing high schools.

“This enables Year13 and partnering industries and employers to reach young people earlier in their career decision-making journey, facilitating more informed pathway choices.

“During Nationals Careers Week we had several thousand young people take part in these offerings, putting us on course to have more than 100,000 young people complete these fun and engaging courses by the end of the year.”