Nine Entertainment Co (NEC) has released its results for the 12 months to 30 June 2024.

Nine reported revenue of $2.6b and a net profit after tax of $134.9m.

The new chair of the company Catherine West commented: “Nine has continued to perform well in a challenging market, remaining focused on delivering the best content to all Australians across multiple platforms.

“This performance reflects the focus and commitment of our people who have worked hard through challenging times to further strengthen our competitive position.”

Chief executive Mike Sneesby said: “In a year of challenging economic and advertising market conditions there were some clear positives in this result.

“We have seen growth in our total television audiences this year as we have continued to invest in our content, standing us in good stead as we approach agency negotiations for CY 25.

“As we continue to focus on the diversification of our revenues. Subscription and Licensing at Nine’s wholly owned businesses, Stan and Publishing, together grew by around 5%, to more than 30% of Group revenue ex-Domain.

“This Is a positive performance, particularly against the backdrop of economic and competitive market conditions. Our Metro mastheads grew both overall subscription and digital revenues across the year.

“Over the past couple of years, we have been focused on rebalancing our cost base. In FY24 group costs ex Domain were down on FY23, notwithstanding underlying inflation, allowing us to continue to invest in the content, data and technology that generates returns and underpins our long-term strategy and competitive position.”

Nine Entertainment: Total Television

The company’s commentary on the sector noted: Nine’s Total Television results were impacted by the weak advertising market which more than offset the positive impacts of audience performance and lower costs.

Across all of television, Nine’s revenue declined by 10% while EBITDA of $208m was down 32% on FY23.

Nine recorded growth in Total Television live audiences for both FTA broadcast and streaming across the full financial year. This was a positive reversal after years of audience fragmentation and a key highlight of Nine’s result.

Reflecting the weaker economic conditions, the Metro Free To Air advertising market declined by 12% for the year, with the rate of decline moderating as the year progressed (Q4 down 9%).

For FY24, Nine attained a full year revenue share of 40.0% and 41.2% in the second half.

Commenting on regional performance, Nine said revenue from regional markets continued to reflect the strength of content and affiliation with WIN Network.

For the 12 months to June, revenue share for Nine’s content across all regional markets (affiliated and wholly-owned) increased by 0.9 points to 39.2%, as the overall regional ad market declined by 5%.

As a result, and notwithstanding its audience performance, Nine reported a Free to Air (metro plus regional) revenue decline of 12% for the 12 months to $941m.

9Now’s revenue growth of 8% for the year reflected a 46.8% revenue share in the traditional BVOD market. which grew by 13%. Live viewing remains the primary growth audience driver for 9Now and is the key component for Nine’s Total Television strategy.

Stan audience growth

Stan recorded 24% EBITDA growth in FY24, with the result driven primarily by 8% growth in ARPU and cost controls, particularly in the second half. EBITDA of $46m was a record result, and marked Stan’s fifth consecutive year of profitability.

The company said the strength of current paying subscribers, at 2.3m, reflects Stan’s differentiated content proposition as well as the positive subscriber uptake due to the recent Olympic Games. Subscribers taking the incremental Sport bundle grew by more than 50% to a record level for Stan Sport subscribers during the Games.

Publishing: Subscribers up 8%

Nine Publishing reported revenue of $559m, down 3% and EBITDA of $153m, down 7%. Within this result, Nine claimed its core metro business outperformed, primarily due to strong subscription performance. A weak digital programmatic advertising market impacted Nine’s other Digital Publishing assets, notably nine.com.au and Pedestrian. In total, around 62% of Publishing revenue is now digital.

Nine’s metro business recorded growth in digital subscription revenue, with increases in subscriber volume and price at The Age, The Sydney Morning Herald and The Australian Financial Review, more than offsetting the decline in print masthead sales. Total subscribers grew to more than 500k (+8%) while registered users increased to 1.7m.

Subscription ARPU increased by around 3.5% across digital and bundle packages.

Nine’s metro mastheads were impacted by the softness in the broader advertising market.

Print advertising held up relatively well, declining 9% across the year while digital advertising revenue declined by 16% across the 12 months.

See also: Cost of living – Nine lifts price of newspapers The Sydney Morning Herald and The Age

Radio: Earnings down 33%

The four-city Metro linear radio advertising market slowed through Q2 and Q3, before recovering to growth of 2.6% in Q4. Overall, market revenues were down by 3.3% for the year. Inclusive of digital and streaming revenues, which grew by 35% across the year, Nine’s Audio revenue declined by 3%. In the latest survey released yesterday, 2GB and 3AW were the #1 broadcast stations in Sydney and Melbourne respectively.

Nine was also #1 in live streaming commercial share. Costs increased marginally, with the investment in Digital and incremental content offsetting other cost initiatives. For the year, Nine Radio reported EBITDA of $8m.

Current trading environment and outlook

FY25 has started on a positive note said Nine, with strong audience and revenue performances across multiple platforms driven by the Paris Olympic Games.

While the underlying advertising market remains subdued particularly in FTA, digital display and print publishing, Nine is forecasting more positive trends as the year progresses.

Nine currently expects its Q1 Metro FTA revenues to grow by almost 10% on pcp, while 9Now is expected to grow revenue in Q1 by around 50%.

Combined, this equates to Total TV revenue growth in the mid-teens (%) in the current quarter. The Total TV market is currently expected to decline in the low-mid single-digits (on a percentage basis) in Q1 FY25 on pcp.

Excluding the Games impact, Total Television costs are expected to be marginally higher in FY25 on FY24. Increased costs associated with underlying inflation, the new Australian Open contract, as well as the targeted investment in technology and content associated with the growth in 9Now, will be mainly offset by ongoing cost efficiencies across the business.

While AI has been at the forefront of the industry’s thinking for the past few years – from innovation to automation to driving efficiency – Tom Goodwin, co-founder of consultancy All We Have is Now, expressed concern for the implications of these developments on new talent and entry-level roles.

During the Q&A portion after his recent ADMA Global Forum presentation, Goodwin was asked about his thoughts on the future of the marketing team structures.

“The current architecture of (marketing) teams is much like a command-and-control system from the Industrial Revolution. As a general principle, I don’t think agile is right, but we need multiple collaborative clusters of talent.

“I’m very scared about what AI means for interns,” Goodwin said. “Most people are fantastic at their jobs because they did shit jobs for quite a long time, and they use that to learn.

“We recognise that most good work in marketing doesn’t happen because of formal hierarchies. It happens because of orchestration, lobbying, and persuasion.”

“What happens when we become too efficient and impatient”

In a chat with Mediaweek at the ADMA Global Forum, Goodwin revealed that he doesn’t believe marketers are using AI well yet.

“I think AI is a very powerful technology, and because it’s so powerful, we were wise not to be in a hurry. The people who used it first are likely to make big mistakes, like its ability to hallucinate and issues related to intellectual property and copyright.”
 
Goodwin said that while it was important for people to experiment and learn about AI, caution still should be exercised when it comes to confidentiality.
 
“There are some big problems that are waiting to happen, so be enthusiastic. But pick the right moment.”

Tom Goodwin

 
Goodwin’s cautious enthusiasm toward AI is evident in his concerns about its implications on new talent and entry-level roles.
 
“There are parts of life where inefficiency is good. It’s good to take the time to go to an office and to meet people face to face because you learn how to conduct yourself, learn from each other, and learn a sense of camaraderie.”
 
He noted that “crappy intern-level jobs are how you get exposure to different things” and is an avenue to “learning through experience.”
 
“In a weird way, we’re like AI. We train ourselves with all that data. I’m worried that companies will use this stuff to be selfish and mean-spirited.
 
“One of the nice things about marketing and advertising is that it’s quite a generous and human profession. So, I’m quite worried about what happens when we become too efficient and impatient,” he added.

Ads as a “function of commerce”

Looking ahead at the state of the market, Goodwin said that markets should consider commerce and content the same thing.

“I’m always quite surprised; a lot of advertising now seems to want to take you on this journey where they can plot where you’re going rather than getting out the way.

“I see these car adverts where bold creators took poetry to new places. I want to book a test drive for the car; why do you want me to read poetry? Or ‘read more about our fashionistas and how they design the patterns of clothes.’ No, just let me buy the clothes and tell me when it will arrive.

“I think ads will increasingly become a function of commerce.”

–

Top image: Tom Goodwin

GfK Survey 5 2024

Radio ratings survey period: Sun May 19 to Sat Jun 22 and Sun Jul 7 to Sat Aug 10

Biggest movers
UP: Nova 100 +1.1
DOWN: 3AW -0.7

3AW 14.7% (13.7%)
Cume: 767,000 (+42,000)
2023 results Best (Worst)
Best 10+ 16.6% (13.5%)
Best Breakfast 22.7% (18.1%)

Station share lifted 0.1 to widen the leadership margin for 3AW. Ross and Russ had a huge survey result with breakfast share up 2.5 to 21.3%. That’s their best share since Survey 6, 2023.

Tom Elliott has certainly made morning his own with share up 2.3 to 18.1%. That’s more than double any other station share, including his only talk competitor at ABC Melbourne.

Tony Moclair dipped slightly to be just under 10% in afternoon. Jacqui Felgate lifted drive share to 8.6%.

Cume audience lifted as did shares 55-64 and 65+.

Gold 104.3 10.3% (11.0%)
Cume 1,128,000 (-49,000)
2023 results Best (Worst)
Best 10+ 12.7% (9.6%)
Best Breakfast 12.2% (8.4%)

Gold has narrowly kept top FM spot despite share dipping 0.7 to 10.3%. Breakfast with Christian O’Connell, Jack Post and Patrina Jones took a tumble, down 2.5 to 8.3%. That is the breakfast show’s lowest share in radio ratings since the end of 2021.

Morning and drive posted small falls, while afternoon was up 1.0 to 21.1%.

The departing audience impacted all demos, yet Gold remains the leader with listeners 40-54 and 55-65.

smoothfm 91.5 10.2% (10.5%)
Cume 1,164,000 (+11,000)
2023 results Best (Worst)
Best 10+ 9.9% (8.5%)
Best Breakfast 8.9% (6.6%)

Breakfast with Mike Perso dipped a little to hover just under 8%. Morning and afternoon had small falls, yet afternoon was up 0.2 to 12.3% with the timeslot still most listened to at smoothfm.

The station moved ahead of Triple M with listeners 40-54 where it now ranks #2 only behind Gold.

101.9 Fox FM 9.1% (9.2%)
Cume 1,268,000 (+45,000)
2023 results Best (Worst)
Best 10+ 10.5% (8.8%)
Best Breakfast 11.0% (9.4%)

The battle for FM breakfast is now between Fox and Nova. Fox’s Fifi, Fev and Nick and their competition at Nova. The margin is just 0.3 in favour of Nova at present. Fox climbed by 0.1 in that timeslot this survey.

The only other timeslot lift this survey was a similar amount in drive where Carrie and Tommy remain #1.

Fox demos were largely flat with less important downward moves 10-17 and 40-54. Oh, and 55-64 lifted.

Nova 100 8.6% (8.3%)
Cume 1,224,000 (+36,000)
2023 results Best (Worst)
Best 10+ 8.5% (5.7%)
Best Breakfast 7.3% (5.0%)

Another impressive radio ratings survey from Nova and its new breakfast show. Jase and Lauren all of a sudden are #1 FM breakfast. The move to 9.9% (+0.3) pushes the breakfast ahead of and keeps them in front of Fox. It just might also trigger a handy bonus payment for the hosts.

This must be the best Nova 100 breakfast share since the heady days of Hughesy and Kate.

Morning, after and evening were also up, drive with Ricki-Lee, Tim and Joel was steady.

105.1 Triple M 6.6% (7.5%)
Cume 761,000 (-78,000)
2023 results Best (Worst)
Best 10+ 6.9% (5.3%)
Best Breakfast 7.2% (4.7%)

Breakfast slipped back below 6% which triggered falls in all dayparts. Drive remains the station high, but it too suffered, down 0.9 to 8.8%.

KIIS 101.1 FM 5.6% (5.9%)
Cume 1,023,000 (-12,000)
2023 results Best (Worst)
Best 10+ 7.6% (6.5%)
Best Breakfast 9.1% (6.5%)

The big interest here was Kyle and Jackie O. Not much movement with breakfast share up 0.2 to 6.1%. They also helped nudge morning share with a rise of 0.3 to 4.9%. Afternoon, drive and evening all drifted lower.

KIIS station share is equal lowest since 2021. Cume dipped slightly, but is clinging on over 1m.

SEN 3.9% (4.8%)
Cume 385,000 (-27,000)
2023 results Best (Worst)
Best 10+ 3.7% (1.8%)
Best Breakfast 3.1% (2.3%)

The station shed some of the growth it recorded is Survey 4. Breakfast was down 1.1 to 4.1%. That remains the station high with all other dayparts in the threes. Except for weekend which was down 0.5 to 4.4%.

Magic 1278 1.5% (1.2%)
Cume 166,000 (+33,000)
2023 results Best (Worst)
Best 10+ 1.6% (0.8%)
Best Breakfast 0.8% (0.3%)

Breakfast share recovered, nearly doubling to 0.7. All other dayparts are over 1.0. Drive is best with share up 0.5 to 1.9%.

3MP 1377 1.4% (1.0%)
Cume 156,000 (-16,000)
2023 results Best (Worst)
Best 10+ 1.6% (0.6%)
Best Breakfast 0.8% (0.3%)

The growth was fired by all dayparts including breakfast which lifted 0.6 to 1.0. From morning onwards share is steady close to 1.5% right across the day.

RSN 927 0.5% (0.5%)
Cume 56,000 (+1,000)
2023 results Best (Worst)
Best 10+ 1.2% (0.6%)
Best Breakfast 1.3% (0.8%)

Share and cume were locked this survey. It’s almost as if the survey books weren’t updated. The only share moves were 0.1 up (breakfast) and 0.1 down (afternoon and drive).

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See more radio ratings here.

Perth Radio Ratings
GfK Survey 5 2024
Survey Period: Sun May 19 to Sat Jun 22 & Sun Jul 7 to Sat Aug 10.

UP: 96FM: +0.7
DOWN: 6PR -1.3

Nova 93.7 14.6% (15.1%)
Cume: 666,000 (-26,000)
2023 results Best (Worst)
Best 10+ 18.1% (13.2%)
Best Breakfast 22.5% (15.7%)

Nova’s Perth station has stayed in the first position, despite a 0.5 decrease from the last survey. It now holds a 14.6% share.

For another survey, Nova’s Nathan, Nat & Shaun continue to top the Perth breakfast slot with a 16.9% share, dropping 1.6 points. Nova’s national drive program of Ricki-Lee, Tim and Joel came in first with a 17.6% share, rising 2.4 points.

See also: Dominating Perth Radio: In the studio with Nova’s Nathan, Nat and Shaun

96FM 14.3% (13.6%)
Cume: 505,000 (-4,000)
2023 results Best (Worst)
Best 10+ 15.3% (12.1%)
Best Breakfast 13.4% (9.8%)

Survey 3 saw the station in first position with a 14.4% share, but now has dropped to the #2 spot with a 14.3% share, rising 0.7 points.

The station dropped 2.1 points in the 55-64 demo, for 26.9%.

The station’s breakfast show, Clairsy and Lisa, rose by 0.7 points for a share of 12.6%. The national drive show of Will and Woody rose 0.6 points in Perth for an 12% share.

Mix 94.5 12% (11.9%)
Cume: 597,000 (-9,000)
2023 results Best (Worst)
Best 10+ 13.4% (11.1%)
Best Breakfast 13.8% (10.4%)

Hit Network’s Mix 94.5 has stayed in third place in Perth, rising 0.1 points for a 12% share.

Mix 94.5’s breakfast lineup of Pete and Kymba has lifted 0.1 points for a 12.3% share, dropping to third in the breakfast slot in this survey.

The national drive show of Carrie Bickmore and Tommy Little has dropped to 13.2%, remaining second in the drive slot.

92.9 Triple M 9.2% (8.7%)
Cume: 373,000 (+14,000)
2023 results Best (Worst)
Best 10+ 9.2% (6.1%)
Best Breakfast 9.1% (6.8%)

92.9 Triple M rose by 0.5 points, for a 9.2% share, staying fourth in stations. 

The station experienced a 1.4 increase in the 40-54 demo to take a 17.6% share.

The breakfast team of Xav and Michelle have decreased by 0.2 points in the breakfast slot, bringing in a share of 9.3%.

Katie Lamb and Andrew ‘Embers’ Embley’s drive show slot decreased 0.2 points for a 9.3% share.

6PR 7.3% (8.6%)
Cume: 218,000 (-13,000)
2023 results Best (Worst)
Best 10+ 7.2% (5.8%)
Best Breakfast 11.5% (8.8%)

Nine’s Perth Radio station dropped 1.3 points from the fourth survey of 2024 for a 7.3% share.

6PR Breakfast with Millsy and Karl decreased by 1 point for an 11% share.

6iX 4.2% (3.8%)
Cume: 140,000 (+8,000)
2023 results Best (Worst)
Best 10+ 5.3% (3.7%)
Best Breakfast 4.9% (2.7%)

6iX has risen 0.4 points for a 4.2% share.

The station’s breakfast slot with Westo and Nat rose by 0.9 points for a 4.3% share.

Perth Radio Ratings:

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Adelaide Radio Ratings
GfK Survey 5 2024
Survey Period: Sun May 19 to Sat Jun 22 & Sun Jul 7 to Sat Aug 10.

UP: MIX 102.3 +1.3
DOWN: FIVEaa -0.7

5MMM 13.2% (13.7%)
Cume: 309,000 (+0,000)
2023 results Best (Worst)
Best 10+ 14.9% (10.7%)
Best Breakfast 16.9% (12.2%)

Adelaide’s Triple M station has maintained the first position for survey five, with a 13.2% share.

The breakfast team of Roo, Ditts, and Loz dropped by 2.2 points, to a total of 12.3%, keeping first among the commercial networks.

Among the 25-39 demographic, 5MMM dropped by 2.5 points for an 11.5% share and dropped to the third position for that demo. 

Mix 102.3 12.2% (10.9%)
Cume: 371,000 (+5,000)

Mix 102.3 has stayed in the second slot in Adelaide, rising 1.3 points to take a 12.2% share. 

Max & Ali in the Morning dropped by 0.3 points for a 9.9% share. The station’s strongest time slot in this survey is still the Afternoon slot, with a 13.6% share, rising 1.4 points.

The station rose by 2.9 points in the 55-64 demo. Mix 102.3 saw a 2.8-point increase in the 10-17 demo. 

Nova 91.9 9.6% (9.4%) 
Cume: 350,000 (-2,000)
2023 results Best (Worst)
Best 10+ 12.1% (9.3%)
Best Breakfast 11.7% (9.1%)

Nova 91.9 has stayed in third for this survey.

The network’s biggest rise in the demos was in 18-24 with 3.9 points for a 21.7% share.

See Also: Bringing the laughs on air and off air with Adelaide’s Jodie & Hayesy

Ricki Lee, Tim & Joel in Adelaide’s drive spot has dropped 0.4 points with an 10.7% share.

SAFM 9.4% (9.4%)
Cume: 307,000 (+33,000)
2023 results Best (Worst)
Best 10+ 10.1% (8.7%)
Best Breakfast 10.6% (8.2%)

SAFM has remained stagnant for a share of 9.4%. 

In this survey, the breakfast slot lifted 0.4 points for a 9.9% share.

Carrie Bickmore and Tommy Little’s national drive show dropped to 10.3%, dropping to fourth in the Adelaide market. 

SAFM has decreased in the 40-54 demographic by 1.2 points for 12.2%.

Cruise 1323 8.8% (8.6%)
Cume: 200,000 (-4,000)
2023 results Best (Worst)
Best 10+ 9.1% (8.3%)
Best Breakfast 7.9% (6.6%)

Cruise 1323 rose by 0.2 points for an 8.8% share. 

Craig Huggins’ drive has dropped 0.7 points for a share of 6%. The station dropped 4.2 points in the 10-17 slot for a 3.5% share and lifted 1.9 points in 65+ for a 18.6% share.

FIVEaa 7.7% (8.4%)
Cume: 138,000 (-16,000)
2023 results Best (Worst)
Best 10+ 9.7% (7.5%)
Best Breakfast 14.2% (10.9%)

FIVEaa has dropped 0.7 points for a 7.7% share.

In the breakfast slot, David and Will dropped 0.9 points for 11.3%. The network’s breakfast program has dropped to third place in the Adelaide market. In drive, Rowey and Timmy G have a 0.2 decrease, their total share now being 7%.

Adelaide Radio Ratings:

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GFK Radio Ratings Survey 5, 2024

Sydney

Sydney Radio Ratings 2024 Survey 5: 2GB and KIIS lead, Ben Fordham only big mover

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Melbourne

Melbourne Radio Ratings Survey 5, 2024: 3AW and smoothfm lead, Nova’s Jase & Lauren rewrite record book

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Brisbane

Brisbane Radio Ratings 2024, Survey 5: B105 at #1 despite drop

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Adelaide

Adelaide Radio Ratings 2024, Survey 5: Triple M keeps crown while MIX rises

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Perth

Perth Radio Ratings 2024, Survey 5: Nova stays on top but 96FM not far behind

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See also: Radio Ratings 2024, Survey 4: Highlights + Full Results

Jase and Lauren and Clint didn’t have heaps of time to celebrate their radio ratings achievement yesterday. There were more media interviews for Melbourne’s new #1 FM show including Jase interrupting his wife’s birthday celebration for a TV cross. A production team from The Project set up in his lounge room for the program last night.

Today the show is making a road trip for shows in what’s left of the snow in Victoria.

Jase and Lauren on The Project – interviewed by another former Nova breakfast star, Kate Langbroek

Good day for team Nova

When you are a radio executive working the phones on survey day some days are harder than others. For Nova Entertainment group programming director Brendan Taylor, Tuesday was a good survey day.

It was also a pretty good day for the company thanks to the magic Jase, Lauren and Clint have managed to create around Nova 100 breakfast. The station’s breakfast share in Survey 8, 2023 was 5.0%. Today it sits on 9.9%.

It took a while for people opening their GfK ratings to recognise a new Melbourne FM breakfast leader. For the last few surveys you first check Gold and Fox to see what’s happening. This time it’s happening at Nova.

Mediaweek asked Taylor if the size of the share and the ranking of the show might have triggered a bonus payment for his Melbourne breakfast team. He laughed, and replied, “It’s been a while!”

Mediaweek wondered on Monday this week if the market had really appreciated what Jase and Lauren had already achieved. Taylor reckons they are starting to now.

“Melbourne’s such a strong competitive market. You’ve got stations consistently staying up the top of the ladder there.

“When you scan down and you see that 9.9% [alongside Nova 100 breakfast] it’s just one of those moments and you feel quite proud.

“I look back and think of Jason. He was staring down the barrel of not having a show. Now 10 months later he’s the most listened to breakfast show in the Melbourne market along with Lauren and Clint.”

Is the Jase and Lauren show a real competitor now?

“It really is,” said Taylor. “There’s no doubt they have got to ride the highs and lows now as all big shows do. But just look at their share and cume. Shows move around and theirs might too in the future. You can’t take anything for granted in a tough market like Melbourne.”

Nova’s Brendan Taylor

Will media buyers need to recalibrate Melbourne?

Taylor: “Our commercial partners should most definitely look at this show if they are not on board already. Jase and Lauren are definitely reaching Melbourne in the right way.”

Don’t overlook the contribution from Clint Stanaway

While the branding of the new Melbourne FM radio king and queen features Jase and Lauren, Taylor wanted to celebrate the work of Clint Stanaway. “Clint is such a vital part of that team. He brings his background in TV, his journalistic skills and his love of Melbourne.

“When you combine that with Jase and Lauren it makes them a great team. It’s chemistry you don’t often see and they are friends outside of work too. His name’s not in the title, but it doesn’t mean he has any lesser share of voice in the show.”

Should Jase and Lauren go national? (Spoiler: they already are!)

When asked if there was room in the Nova schedule for a national Best Of show, Taylor replied: “Funny, we actually do one. We just don’t tell people about it. It’s on the weekends.” Best of Jase and Lauren can be heard nationally between 6-8am on Saturday and Sunday.

See also: Mediaweek’s coverage of Survey 5 Radio Ratings – every station in every market

Rest of the Nova network on ratings day

Taylor: “Nova traditionally does well leading into the summer months around the country from a cume perspective.

“Sydney rebounded up a share point into the sevens, with a strong work day and drive in Sydney and Melbourne.

“In Brisbane, we spent a lot of time with Ash, Luttsy and Susie. That market too is so competitive. B105 has been a strong contender this year, but Ash, Luttsy and Susie are up to #2 station from a share perspective. They are #1 in cume, with the most listened to breakfast show and Nova 106.5 is most listened to station.

“Adelaide saw some improvements with Jodie and Hayesy. It’s still just 18 months into their new breakfast show. It was up a share point, and is the most listened-to breakfast show.

“Nathan, Nat and Shaun continue to dominate the Perth market after, 21-plus years. They keep us #1 breakfast show and #1 station.”

Taylor also made mention of improvements to the Chrissie Swan show, leading into drive with Rickie-Lee, Tim and Joel, then leading into Ben, Liam and Belle. Smallzy then continues to perform after 8pm where he remains #1 under 40.

Nova’s national highlights

• The Nova Network has the most popular Breakfast shows across the country of any metro network (2,282,000 CUME)
• Nova’s The Chrissie Swan is the most popular Afternoons show (2-4pm) in Australia with CUME of 1.349m listeners
• Nova’s Ricki-Lee, Tim & Joel is the most listened to Drive show (4-6pm) in Australia with a CUME of 1.48m listeners
• Nova’s Ben, Liam & Belle is the most listened to Late Drive show (6-8pm) in Australia with a CUME of 724,000 listeners
• Nova’s Smallzy’s Surgery is the #1 Evenings show (8-10pm) in Australia with share of 8.1%
• The Nova Network is the #1 metro network on Weekends across the country with a share of 9.3%
• The Nova Network is the most listened to metro network across the country in Mornings (1,552,000), Afternoons (1,754,000), Drive, (1,480,000), Late Drive (724,000), Evenings (368,000) and Weekends (2,511,000)

DAB+ Radio Ratings
GfK Survey 5 2024
Survey Period: Sun May 19 to Sat Jun 22 & Sun Jul 7 to Sat Aug 10.

Sydney – DAB+ Stations Only – Top 5

Cumulative Audience (000’s) by Demographic, Mon-Sun 5.30 am-12 midnight

See also: Sydney Radio Ratings 2024 Survey 5: 2GB and KIIS lead, Ben Fordham only big mover

1. CADA – 123,000 (+16,000)
2. Coles Radio – 102,000 (+6,000)
3. iHeartAustralia – 100,000 (-22,000)
4. TikTok Trending – 100,000 (-4,000)
5. smooth relax – 95,000 (+18,000)

Melbourne – DAB+ Stations Only – Top 5

Cumulative Audience (000’s) by Demographic, Mon-Sun 5.30 am-12 midnight

See also: Melbourne Radio Ratings Survey 5, 2024: 3AW and smoothfm lead, Nova’s Jase & Lauren rewrite record book

1. Coles Radio – 114,000 (+29,000)
2. GOLD 80s – 96,000 (-21,000)
3. Dance Hits – 73,000 (-26,000)
4. TikTok Trending – 73,000 (-14,000)
5. KIIS 90s – 64,000 (-25,000)

Brisbane – DAB+ Stations Only – Top 5

Cumulative Audience (000’s) by Demographic, Mon-Sun 5.30 am-12 midnight

See also: Brisbane Radio Ratings 2024, Survey 5: B105 at #1 despite drop

1. Coles Radio – 80,000 (+4,000)
2. smooth fm Brisbane – 78,000 (+2,000)
3. NOVA 90s – 62,000 (+18,000)
4. KIIS973 90s – 53,000 (-2,000)
5. Tik Tok Trending – 46,000 (-3,000)

Adelaide – DAB+ Stations Only – Top 5

Cumulative Audience (000’s) by Demographic, Mon-Sun 5.30 am-12 midnight

See also: Adelaide Radio Ratings 2024, Survey 5: Triple M keeps crown while MIX rises

1. smooth fm Adelaide – 36,000 (-4,000)
2. Triple M Classic Rock – 29,000 (-3,000)
3. Coles Radio – 28,000 (-3,000)
4. TikTok Trending – 28,000 (-3,000)
5. RnB Fridays Radio – 27,000 (+3,000)

Perth – DAB+ Stations Only – Top 5

Cumulative Audience (000’s) by Demographic, Mon-Sun 5.30 am-12 midnight

See also: Perth Radio Ratings 2024, Survey 5: Nova stays on top but 96FM not far behind

1. smooth fm Perth – 87,000 (-3,000)
2. 96FM 80s – 70,000 (+7,000)
3. RnB Fridays Radio – 42,000 (+3,000)
4. Coles Radio – 37,000 (+2,000)
5. Triple M Classic Rock – 32,000 (-1,000)

The Australian Communications and Media Authority (ACMA) has found radio stations 2GB Sydney and 3AW Melbourne in breach of broadcasting rules with regard to the Ben Fordham Live and 3AW Afternoons programs.

The findings come after an investigation into 2GB’s Ben Fordham Live program concerning comments made during a broadcast on 3 August 3 2023, which were favourable to the ride-share company Uber. The investigation revealed that a commercial agreement existed between Uber and the program host at the time, which was not disclosed on-air.

A separate ACMA investigation into 3AW Afternoons broadcasts from August 2023 found the program host made comments favourable to automotive manufacturer BMW, similarly without disclosing an existing commercial agreement between BMW and the host.

“These kind of commercial disclosure breaches have the potential to erode the public’s trust in current affairs programming,” said Authority member, Creina Chapman.

“Listeners deserve to know what commercial agreements are in place and how those deals might relate to what they are hearing on-air.”

Following the investigations and breach findings, ACMA issued remedial directions to 2GB and 3AW, requiring relevant current affairs presenters, producers, and sales staff to undertake formal training on commercial disclosure requirements.

Additionally, 2GB is required to commission an external audit of its compliance processes.

This additional measure is due to the repeat offence from 2GB, which previously breached disclosure rules in 2021 during broadcasts of The Alan Jones Breakfast Show, where listeners were not informed about a commercial agreement with The Star Entertainment Group.

The ruling comes a day after ACMA took action against streaming service 10 Play, operated by Network Ten, for breaching gambling advertising rules by airing gambling ads outside permitted hours during two live-streamed sports events.

Following its investigation, ACMA issued a formal warning to Network Ten for the breach.

See also: 10 Play breaches gambling ad rules, ACMA issues warning

–

Top Image: Ben Fordham

Almost 100 per cent of printed newspapers have been diverted from landfill under an industry-led scheme for the recycling of newspapers and magazines approved by the Albanese Government.

The voluntary National Environmental Sustainability Agreement – newspapers and magazines product stewardship arrangement has been officially accredited, helping to drive Australia’s transition to a circular economy.

The scheme is administered by ThinkNewsBrands, the consortium of Australia’s major national news publishing media companies including Nine, News Corp Australia and Seven West Media.

Under the scheme, news publishing media companies commit to using sustainable fibres and non-hazardous inks to support safe recycling, and to recycle unsold products.

The industry-led scheme has been operating for over 30 years and reports it has supported an increase in printed news recycling rates from 28 per cent in 1989 to 61 per cent in 2023. Last year, only 0.2 per cent of all printed newspapers went to landfill.

Tanya Plibersek

The Minister for the Environment and Water Tanya Plibersek said: “It’s great to see Australia’s major news publishers at the forefront of the waste and recycling transition – taking responsibility for the impacts of their products and production processes on the environment.

“Product stewardship goes above and beyond recycling and considers all stages of the product lifecycle for better environmental outcomes. This includes design, manufacture, distribution and sale, use and recovery of materials and products.”

Vanessa Lyons

The chief executive officer of ThinkNewsBrands, Vanessa Lyons, said: “Australian news publishers are committed to environmental sustainability and have for nearly 35 years been making real strides together to drive more sustainable industry practices. The industry is immensely proud of its world-leading product stewardship scheme, and the impact it has made for Australia. It’s great to see our news industry success being recognised and celebrated.”

ThinkNewsBrand members comment on scheme

Executive chairman, News Corp Australasia, Michael Miller: “Australia’s print media companies have always maintained a healthy competitive streak, so it’s always terrific to see bi-partisan support when it comes to important issues such as environmental sustainability.

“I would also like to thank the Albanese government and ThinkNewsBrands for strengthening this long-standing agreement through accreditation.”

Managing director, Nine Publishing, Tory Maguire: “Our printed newspapers and magazines are here for the long haul so it’s vital we continue to make improvements to the sustainability of our products. Our readers and advertisers expect nothing less. This accreditation of our industry’s voluntary scheme is recognition of how seriously we take our responsibilities to protect people’s health and the environment.”

Managing director and chief executive officer, Seven West Media, Jeff Howard: “Seven West Media aims to use the power of our print, digital and TV platforms to raise awareness of important environment initiatives and help drive positive behavioural change.

“We are committed to recycling as a key sustainability focus, through initiatives including the National Environmental Sustainability Agreement [NESA] and the many millions of dollars in promotional time that Seven West Media donates to our key environmental partner Planet Ark each year to promote National Recycling Week.”

Chief executive officer, Are Media Group, Jane Huxley: “Are Media has long been committed to reducing the impact we have on the environment and supporting product stewardship is a key component in ensuring we deliver the best environmental outcomes for the magazine industry and our customers.”

Top image [L-R]: Tory Maguire, Michael Miller, Jane Huxley, Jeff Howard

See also: Exposing the brand suitability myth: Advertisers missing out when avoiding hard news

Paramount Australia and Football Australia have completed a multi-year and multi-platform agreement to broadcast an extended package of CommBank Matildas and Subway Socceroos’ games on Network 10 and Paramount+, through 2028.

Under the agreement, Network 10 and Paramount+ will become the exclusive home to all Australian Women’s Senior National Team matches for the next four years, including the FIFA Women’s World Cup Brazil 2027, up until the LA 2028 Summer Olympics, and the Men’s Senior National Team matches including all AFC Asian Qualifiers (FIFA World Cup 2026 Asian Qualifiers Final Round) except the FIFA World Cup 2026.

Football Australia brokered the agreement in partnership with IMG, and means both teams will be available to 96% of Australian homes.

For the first time, the agreement brings together rights for one broadcaster for the AFC Women’s Asian Cup 2026, in addition to the AFC Asian Qualifiers (FIFA World Cup 2026 Asian Qualifiers Final Round), the FIFA Women’s World Cup Brazil 2027, the AFC Asian Cup Saudi Arabia 2027, and international friendly matches for both the CommBank Matildas and Subway Socceroos.

James Johnson, CEO of Football Australia, commented: “This landmark agreement with Paramount Australia is a pivotal moment for Australian football. It brings unprecedented exposure to our national teams and provides fans with unparalleled access to the CommBank Matildas and Subway Socceroos.

“Innovation is the cornerstone of our approach to sustaining and expanding the influence of Australian football. Reacquiring the Asian Football Confederation (AFC) National Team rights and securing the broadcast rights to the FIFA Women’s World Cup Brazil 2027TM are strategic moves designed to maximise control over our content, enhance fan accessibility and unlock new revenue streams.

“These rights are integral to our strategy to secure a transformative broadcast deal that we anticipate will set new benchmarks in the valuation of football media rights in Australia. Bringing as much national team content as possible to a multi-platform partner was a key objective from a fan’s perspective, and we are thrilled to achieve this.”

Beverley McGarvey, president of Network 10 and Paramount Australia’s head of streaming and regional lead said: “Never before have fans had such incredible access to the sport they love, ranging from the A- Leagues all the way through to premium international games broadcast on the one free-to-air network and on one of Australia’s fastest growing streaming platforms.

“Perhaps one of the most appealing aspects of the Paramount Australia agreement, which we see as an exciting extension of our coverage of the A-Leagues, is the opportunity for women’s football.”

Network 10 and Paramount+ will broadcast more than 100 internationals over the four-year agreement with at least 50 games on free-to-air television.

Exclusive behind-the-scenes content, interactive fan engagement opportunities and social media initiatives will be part of the coverage.

See also: Matildas still worth $200m? Just one of many eye-popping global TV sports rights deals

The full list of rights included in the agreement are:

• AFC Asian Qualifiers (FIFA World Cup 2026 Asian Qualifiers Final Round)
– 5 Sep 24 – Australia v Bahrain on Network 10, 10 Play and Paramount+.
– 10 Sep 24 – Indonesia v Australia exclusive on Paramount+.
– 10 Oct 24 – Australia v China PR on Network 10, 10 Play and Paramount+.
– 15 Oct 24 – Japan v Australia exclusive on Paramount+.
– 14 Nov 24 – Australia v Saudi Arabia on Network 10, 10 Play and Paramount+.
– 19 Nov 24 – Bahrain v Australia exclusive on Paramount+.
– 20 Mar 25 – Australia v Indonesia on Network 10, 10 Play and Paramount+.
– 25 Mar 25 – China PR v Australia exclusive on Paramount+.
– 5 Jun 25 – Australia v Japan on Network 10, 10 Play and Paramount+.
– 10 Jun 25 – Saudi Arabia v Australia exclusive on Paramount+.

• FIFA Women’s World Cup Brazil 2027 (15 matches on Network 10, all matches on Paramount+).
• AFC Women’s Asian Cup 2026 (six matches on Network 10, all matches on Paramount+).
• AFC Asian Cup Saudi Arabia 2027 (all matches exclusively on Paramount+).
• AFC U23 Asian Cup 2026 and 2028.
• All CommBank Matildas and Subway Socceroos International Friendlies 2025 to 2028 (15 CommBank Matildas Friendlies on Network 10, all matches on Paramount+ and 10 Subway Socceroos’ Friendlies on Network 10, all matches on Paramount+).
• Australia Cup Finals 2025 to 2028.

Gravity Media has partnered with TEG Sport to create and deliver coverage of the Perth International Football Cup presented by Ninja across Australian and international screens, showcasing four of the world’s leading women’s football teams.

As the “host” broadcast company for the event, Gravity Media Australia will access internationally acknowledged camera and broadcast and production technologies designed and developed by Gravity Media.

The live creative production and media services provider has also been appointed as the television production company for the Perth

International Football Cup presented by Ninja, working in collaboration with Optus Sport and globally with BeIN Sports and the participating Women’s Super League teams’ and Paris Saint-Germain broadcast platforms in creating, producing and delivering the complete television production of the event for audiences in Australia and across the world.

Some of the biggest clubs and names in women’s football will be live on Optus Sport when the Perth International Football Cup presented by Ninja gets underway on Wednesday, 28 August.

Fans in Australia will be able to watch all four matches for free by simply creating an Optus Sport account. Along with exclusive live coverage, Optus Sport will provide extensive on-demand options including highlights and mini matches for tournament.

The tournament features Barclays Women’s Super League sides West Ham United (home to Katrina Gorry), Manchester City (featuring Mary Fowler and Alanna Kennedy) and Leicester City (including Courtney Nevin) battle it out alongside French giants Paris Saint-Germain.

The event will see two semi-finals at HBF Park, with the opening game between Manchester City and Leicester City on 28 August. West Ham United will take on Paris Saint-Germain on 29 August. The winners of the semi-finals will take on each other on 1 September, with the other two teams playing beforehand in a 3rd place playoff.

Gravity Media will deploy 11 cameras, state-of-the-art high definition outside broadcast truck technology and a crew of 40 to cover the event in Perth, coupled with cellular and cloud-based technologies linking to the Gravity Media Production Centre in Sydney to streamline and enhance the efficient delivery of the complete broadcast production to a global audience across multiple international broadcast and content delivery platforms.

The live creative production and media services provider will also deliver the complete live production and post-production for the coverage including creating the opening video sequences and on-screen graphics outcomes.

Mike Purcell, Gravity Media Australia head of production, said: “Gravity Media is thrilled to be appointed by and work closely with TEG Sport in providing a turnkey solution. Football is in our production and broadcast DNA. We look forward to delivering an engaging and exciting worldwide broadcast of the Perth International Football Cup.”

“Gravity Media looks forward to the Perth International Cup and playing a major role in taking this new event to a global audience,” said Nigel Naseby, Gravity Media Australia business development manager.

TEG Group CEO Geoff Jones said: “TEG Sport is delighted to appoint Gravity Media as the Broadcast Partner for the Perth International Football Cup presented by Ninja.

“We look forward to working with them to bring football fans a state-of-the-art viewing experience from the comfort of home. I encourage all fans to tune into Optus Sport for what is sure to be an exciting match.”

The First Exorcist is the name of a feature thriller that will see director Greg McLean and producer Mark Fennessy collaborating.

The successful duo is calling The First Exorcist “a spellbinding fusion of religious and supernatural events set in Biblical times. A mother’s harrowing quest to save her daughter from demonic possession.

“As their lives descend into a nightmare, the mother learns of a mysterious healer with the power to expel demons, and embarks on a dangerous race against time – encountering hostile Roman authorities on her perilous mission to find the healer and save her daughter’s life.”

The First Exorcist will be produced in Victoria in 2025 utilising Virtual Production Technology to bring epic ancient cities and locations in the story to life.

Greg McLean (Wolf Creek, Rogue, The Belko Experiment, Jungle) will direct the thriller.

Mark Fennessy commented: “Greg’s script delivers an intensity and emotional depth that, combined with jaw-dropping scares, a fascinating historical setting and powerful supernatural themes, will create a milestone film experience. His refined storytelling and dynamic visual style will elevate The First Exorcist, and we are thrilled to bring his spine-chilling vision to life.”

Funding, distribution and casting details are yet to be announced.

Mark Fennessy

About Mark Fennessy and Helium

Helium was founded in 2021 by Mark Fennessy, and comprises Helium Pictures, Helium Studios and Helium Music co. The company creates and produces premium content within the primary genres of scripted, unscripted and factual for all networks, platforms and mediums. Helium Pictures’ recent productions include two seasons of the event drama Last King of the Cross (Paramount+, Sky), the factual series The Assembly (ABC), the eight-hour scripted drama Paper Dolls (Paramount+, WBD), and the feature film 6 Festivals (Paramount+).

Greg McLean

About Greg McLean and Emu Creek Pictures

The Emu Creek Pictures portfolio includes the Wolf Creek franchise. Outside of Emu Creek, McLean has directed high-end television including The Gloaming (ABC), Bloom (Sony), Jack Irish (ABC), La Brea (NBC), The Twelve (Warners), Scrublands (Stan) and the upcoming Netflix series Territory. Recently McLean joined fellow director Patrick Hughes in establishing Huge Film, a partnership to produce film and television projects.

See also: Mark Fennessy’s Helium: Production pioneer launches new business

The IMAA has revealed the finalists of the inaugural Pitch-Chella initiative set to present virtual pitches to a panel of media industry experts this week.

The Pitch-Chella program, sponsored by Audience360 and supported by Meta, was developed by the IMAA to support and nurture emerging independent media agency talent with less than five years of media agency experience.

The finalists of the inaugural Pitch-Chella are:

• Assembled Media/Hatched: Chelsea Schultz, Sophie Morris, Lauren Campagna and Bella Masters.
• AFFINITY: Angus Gawdat, Annabelle Harrington, Lukass Strungs and Nathan Sullivan.
• BCM/Wahoo: Avon Ang, Ellie Fraser, Max McDonald and Alexandra Smith.
• Half Dome: Sophia Lin, Molly O’Sullivan and Hannah Drummond.
• Enigma: Sarah O’Toole, Grace Haddow, Joshua Richardson and Amelia Sultana.
• Enigma: Noah Smith, Tracy-Lea Meyer, Tom McLoughlin and Poppy Rhodes.
• Slingshot/Waples: Alyssa Uzunovski, Florence Gleeson-Cook, Cobey Johnston and Elise Sinclair.
• TMS: Daniel Paoli, Adriana Catanese and Emma Davis.

The eight teams, selected from 76 participants from across 21 IMAA member agencies, were selected following written campaign pitches for two national charities.

Teams were tasked with putting together pitches for either Indigenous business advocacy service Northern Territory Indigenous Business Network’s (NTIBN) Buy Blak campaign, aimed at boosting the profile of NT Indigenous businesses, and the Waves of Wellness Foundation’s (WOW) annual Ducktober fundraising event, raising funds for surf therapy to help improve mental health and well-being.
 
The pitches were then reviewed by a panel of expert marketing professionals, including gold sponsor Audience360’s managing director, Jenny Parkes, Sparrow’s Nest Consulting’s Greg Graham, TrinityP3 Global media consultant, Stephen Wright, Kennards Hire general manager marketing and customer experience, Manelle Mehri, Tumbleturn Marketing advisory partner, Daniel Johns, and Orand founder and senior media consultant, Adam Hickey.
 
IMAA CEO, Sam Buchanan, said the judging panel was thoroughly impressed with the calibre of the entries. He noted that the competition was very close, with only a few points separating the entries. 
 
“Each pitch demonstrated a high level of creativity and innovation, and a deep understanding of the brief, target audience and desired result.
 
“Our teams showed they had thoroughly considered and strategised how best to achieve ROI and engagement for their chosen charities, showcasing a breadth of knowledge, professionalism and understanding well beyond their years of experience in the industry,” he said.
 
“We have been blown away by the talent, insight, and ideas put forward by all the teams involved – it’s a sign that the future of our industry is in very good hands. We look forward to seeing what the finalists come up with during this week’s presentations.”

Virtual pitches will be presented to the judging panel on August 30. The official winner will be announced at a closing celebration at Sydney’s Beresford Hotel on September 18.
 
The Pitch-Chella initiative was spearheaded by a steering committee of independent agency leaders including Mike Wilson (Hatched), Jessica Bray (Audience Precision), Jac Ely (Apparent), Lisa Blackshaw (Edge), Taylor Fielding (TFM Digital) and the IMAA team.

QMS claims it has served more than 40,000 pieces of DOOH content during the Paris 2024 Olympic Games, demonstrating the immediacy and impact of its network as Australia prepares to cheer on its athletes in the Paralympic Games.

The digital out of home company‘s Paris 2024 Digital Screen Network has showcased content, in real time, to share the stories of strength, unity and triumph of our athletes and bring the excitement of the Games to every corner of Australia.

This includes breaking news, medal moments, what to watch and medal tally updates. Among the brand ads featured in the Olympics offering are Allianz, Woolworths, and Patties Food Group.

The QMS network launched in mid-April and will run until the Closing Ceremony of the Paralympic Games on 8 September. QMS is the official and exclusive Outdoor Media Partner of both the Australian Olympic and Paralympic Teams.

The Paris 2024 Digital Screen Network spans QMS digital large format billboards, the City of Sydney street furniture network, The Convenience Network, Canberra Airport and Gold Coast street furniture assets, rallying the nation to celebrate and support our athletes nationally.

Tim Murphy, QMS chief sales officer, said: “Our partnership with the Australian Olympic Committee, has supercharged our ability to showcase the benefits of being a digital-first out of home [DOOH] network during the Paris 2024 Olympic Games.
 
“For example, our breaking news headlines were delivered so quickly that we were live across our billboards nationally with the Australian Women’s 4 x 100m Relay team gold medal to peak hour commuters before they had even left the pool deck in Paris!”

Murphy continued: “For QMS, the Paris 2024 Olympic Games have been the preeminent display of how brands can utilise DOOH’s immediacy and its geographical impact to deliver broadcast scale audience reach with relevant and contextualised creative content that can connect on community cultures like never before. This is a momentous step change for DOOH and the role it can play in major events and campaigns.

“By tapping into the immediacy and scale of digital, we have showcased how advanced our digital capabilities now are, and in doing so, delivered the gold standard for our partners,” he said.

“I’d like to congratulate and thank our partner brands Woolworths, Toyota, Allianz, Stan and Patties Food Group who jumped at the opportunity to help engage Australian’s as they went about their day. It’s truly been out of the ordinary.”

QMS’ Paris 2024 Digital Screen Network will continue delivering breaking news, what to watch, medal moments and medal tallies for the duration of the Paris 2024 Paralympic Games, which kick off on Thursday 29 August.

Red Rooster has launched Crunch Time, a short-term blitz campaign featuring Sydney Roosters players Joseph Sua’ali’i, Sam Walker, and Sandon Smith.

Created by Leo Burnett, the campaign rolls out ahead of the Footy Finals season, spotlighting the chicken chain’s fried chicken and burgers with a 15-second hero spot and three six-second iterations.

“The TVCs highlight some tongue in cheek training sessions, putting the players (Smith, Sua’ali’i and Walker) through their paces in a dedicated and unusual challenge, testing how they resist the temptation to try our crunchy fried chicken,” said Red Rooster’s director of marketing, Ashley Hughes.

The campaign continues Red Roosters’ long-standing sponsorship of the Sydney Roosters (NRL), St Kilda FC (AFL), and Touch Football Australia.

Joseph Sua’ali’i

According to Hughes, the company was after “a fun way” to amplify its long-term sports sponsorships and partnerships.

“Reds has been a sponsor of the Roosters for years, but this is the first campaign we have created celebrating the partnership,” he said.

“The campaign centres around the idea that Roosters players know Final Season is crunch time and they need to focus, but Reds decides to introduce them to a new version of Crunch Time, tempting them to satisfy their chicken cravings and test how focussed they really are.”

The campaign is supported by a bespoke Crunch Time Box, featuring logos of all three major Red Rooster sports partners – Sydney Roosters, St Kilda FC, and Touch Football Australia – along with a gift-with-purchase: a free mini footy.

Launching from Wednesday 28 August, the campaign will run across FTA, social media, digital platforms, and in-restaurant.

Crunch Time follows the integrated creative effort by Leo Burnett for Red Rooster in May, where the chicken brand teamed up with Four’N Twenty pies for a limited edition chicken and gravy pie ahead of the AFL finals.

It also included special edition wearables available through the Red Rooster merch website.

See also: Red Rooster and Four’N Twenty launch collab via Leo Burnett

Credits

Client: Red Rooster
Ashley Hughes: Director of Marketing, Red Rooster
Jane Hillsdon: Marketing Manager, Red Rooster
Julia Lo Presti: Senior Brand Manager, Red Rooster
Stella Katsaros: PR & Communications Manager, Red Rooster

Creative Agency: Leo Burnett
Chief Client Partner: Amanda Wheeler
Business Director: Dani Garabedian
Business Executive: Max Reiser
Creative Director: Marijke Spain
Creative Director: Michelle Walsh
Copywriter: Kevin Ma
Senior Designer: Dinah Pollard
PXP Senior Integrated Producer: Lauren Woods

Production Company: Taxi Film Production   
Producer: Simone Mackie    
Director: Joshua Logue    
DOP: Jani Hakli   
Food Stylist: Ben Masters   
Offline Editor: Matt Bennett   
Online: Chris Grocott @ White Chocolate  
Sound Post: Daniel William @ Rumble Studios   
Casting: Fountainhead Casting

–

Top Image: Sandon Smith

LinkedIn has teamed up with Australian skincare brand frank body to launch a content series, Off(ice) Script, to help young women enter the workforce with confidence.

The series features seven female leaders, offering practical advice to the next generation of professionals.

Among the featured speakers are Bree Johnson, co-founder of frank body and Willow and Blake, Kristy Dickinson, founder and director of Haus of Dizzy and proud Wiradjuri woman, Cayla Dengate, LinkedIn Australia career expert, Jo Barr, head of talent acquisition at MECCA Brands, Rhiannon Joyce, head of business development at Shameless Media, personal branding expert Rosie Chong, and Taz Zammit, creator and co-founder of the TeamTANDA app.

Off(ice) Script recognises the challenges university graduates face when entering the workforce, particularly in developing soft skills like interview preparation, writing cover letters, and networking.

Dengate offered advice to new female graduates: “My best tip for female graduates entering the workforce is to use all the superpowers that make you a great friend – forming connections, keeping in touch, asking great questions – and applying that to networking.”

“My top tip to a graduate getting into the workforce is be curious,” added Johnson.

“It’s amazing what can happen if you are curious and committed. Entry-level roles can lead into your dream job if you utilise the opportunity.”

Moreover, LinkedIn data has highlighted a confidence gap between men and women in the workplace, particularly when looking for work.

The data shows men are 10% more confident in job hunting than women, and 59% of women report that receiving a job rejection significantly impacts their confidence, compared to 45% of men.

“My top tip to a graduate getting into the workforce is be curious,” said Barr.

“It’s amazing what can happen if you are curious and committed. Entry-level roles can lead into your dream job if you utilise the opportunity.”

She continued: “Don’t fixate on a narrow role. Be as open-minded as you can as you may learn so much from a role you may not have considered. It may open your eyes to even more career options.”

The series is being rolled out across YouTube, LinkedIn, TikTok, Instagram, and other online channels.

The launch follows LinkedIn’s TikTok campaign in June, partnering with creative and production agency Jack Nimble to help Australian professionals reframe ‘Tall Poppy Syndrome’.

See also: LinkedIn launches TikTok campaign to curb Tall Poppy Syndrome via Jack Nimble

–

Top Image: Bree Johnson, Kristy Dickinson, Cayla Dengate, Jo Barr, Rhiannon Joyce, Rosie Chong & Taz Zammit.

Independent creative agency Dig has been appointed to handle the social media and content account for a2 Milk, following a competitive pitch process.

Dig Agency confirmed to Mediaweek that, with this win, it will work alongside a2 Milk’s existing creative agency, BMF, which launched its first campaign for the brand in April – Only a2 Will Do.

“It’s exciting to be partnering with the team at The a2 Milk Company, to build on the ‘tough tummies’ campaign and great work they’re doing,” said Pete Cerny, chief strategy officer at Dig.

“It is an incredible brand with a real point of difference, and we look forward to elevating that difference through a2 Milk’s digital and social content experience.”

The a2 Milk Company head of marketing for ANZ, Lou Tomkins, added: “Leveraging the power of social channels to tell the a2 Milk story is a critical enabler of future growth.

“Dig were able to demonstrate that they clearly understand our business objectives and opportunities we have and showed that they can deliver through their combination of strategic solutions, backed by an experienced team.”

In March, a2 Milk appointed Omnicom’s Resolution Digital as its dedicated global website agency. Last year, the company tapped This is Flow to manage its media planning and buying.

This news follows a series of wins for Dig, which also secured Australian Pork, Bulla, and Bendigo Bank as clients in the past year.

Dig and Bendigo Bank recently debuted the bank’s first major brand campaign since 2018, Bigger for You, reinforcing  Bendigo’s position as a challenger to the major banks.

In June, the agency launched new work for Australian Pork, introducing a new character, Ramón Jamón.

See also:
Bendigo Bank launches first major brand campaign in over five years via Dig
Dig launches brand campaign for Australian Pork with Ramón Jamón

Cadbury and Peters Ice Cream are opening a two-day pop-up store at Sydney’s Wynyard Station, CHOCBUSTER, drawing on the nostalgia of 1990s video rental stores.

The store concept and creative were developed by Sydney digital and creative marketing agency WiredCo., which also handled its design, PR, and influencer marketing.

Designed to evoke the movie night experience at home, the initiative is part of a promotional effort following the recent launch of Cadbury Choc Tops in Australia.

As part of the activation, Cadbury and Peters Ice Cream will be offering 8,000 free Cadbury Choc Tops and freshly made popcorn.

The CHOCBUSTER store is located at Shop 37, Wynyard Station Retail, and will be open from Wednesday 28 August to Thursday 29 August, between midday and 6 pm.

“Australians love a cozy movie night in, and to celebrate the recent launch of our new Cadbury Choc Tops, we wanted to inspire consumers to recreate the ultimate movie night at home through CHOCBUSTER,” said senior brand manager at Peters Ice Cream, Vanessa Mason.  

“We can’t wait to see everyone step back in time at Wynyard Station, enjoying popcorn and Choc Tops while  roaming our nostalgic store.”

The promotion follows the June launch of Cadbury’s video AI campaign as part of its ongoing Cheer & A Half platform. Produced by Ogilvy and Hogarth, the work aimed to recognise volunteers and their contributions to grassroots sports in Australia.

It also comes on the heels of another partnership by Mondelēz International, the owner of Cadbury, with its other product, OREO, launching its first brand collaboration with Coca-Cola. The collaboration introduced two limited-edition products: the Oreo Coca-Cola Sandwich Cookie and the Coca-Cola OREO Zero Sugar Limited Edition.

The launch campaign, created by Ogilvy in partnership with Spotify, featured the Bestie Mode Digital Experience platform, allowing fans in Australia and New Zealand to merge music tastes and enjoy a unique musical experience together. The platform invites fans to activate ‘Bestie Mode’.

See also:
Cadbury celebrates sporting volunteers with Gen AI campaign via Ogilvy
Coca-Cola and Oreo launch ‘Besties’ brand collaboration via Ogilvy

Credits:
WiredCo
Michelle Hampton, Managing Partner
David Kennedy-Cosgrove, Managing Partner
Joe Stuart, Creative Lead
Sophie Millican, Creative
Maria Pelosi, Designer
Sasha Thariani, Senior Account Director
Jessica Nutt, Earned Media Senior Account Manager

Peters Ice Cream
Andrea Hamori, Head of Marketing
Carla Loucas, Marketing Manager
Vanessa Mason, Senior Brand Manager

Monday 26 August 2024: VOZ Total TV Ratings Overnight Top 30 – Programs ranked on reach

Total People TV Ratings

Nine’s 9News recorded a total TV national reach of 2,113,000, a total TV national audience of 1,306,000, and a BVOD audience of 105,000.

Nine’s The Block recorded a total TV national reach of 1,788,000, a total TV national audience of 972,000, and a BVOD audience of 157,000.

Seven’s The Voice premiere recorded a total TV national reach of 1,930,000, a total TV national audience of 1,043,000, and a BVOD audience of 87,000.

Also on Seven, Seven News recorded a total TV national reach of 2,151,000, a total TV national audience of 1,380,000, and a BVOD audience of 72,000.

10’s Have You Been Paying Attention recorded a total TV national reach of 1,253,000, a total TV national audience of 772,000, and a BVOD audience of 32,000.

People 25-54

Nine’s The Block:
• Total TV nation reach: 743,000
• National Audience: 433,000
• BVOD Audience: 98,000

Nine’s 9News:
• Total TV nation reach: 642,000
• National Audience: 368,000
• BVOD Audience: 56,000

Seven’s The Voice:
• Total TV nation reach: 628,000
• National Audience: 329,000
• BVOD Audience: 46,000

10’s Have You Been Paying Attention:
• Total TV nation reach: 531,000
• National Audience: 337,000
• BVOD Audience: 20,000

People 16-39

Nine’s The Block:
• Total TV nation reach: 355,000
• National Audience: 217,000
• BVOD Audience: 59,000

Nine’s 9News:
• Total TV nation reach: 253,000
• National Audience: 131,000
• BVOD Audience: 29,000

Seven’s The Voice:
• Total TV nation reach: 271,000
• National Audience: 129,000
• BVOD Audience: 24,000

10’s Have You Been Paying Attention:
• Total TV nation reach: 225,000
• National Audience: 147,000
• BVOD Audience: 10,000

Grocery Shoppers 18+ TV Ratings

Nine’s The Block:
• Total TV nation reach: 1,371,000
• National Audience: 751,000
• BVOD Audience: 126,000

Nine’s 9News:
• Total TV nation reach: 1,648,000
• National Audience: 1,027,000
• BVOD Audience: 84,000

Seven’s The Voice:
• Total TV nation reach: 1,531,000
• National Audience: 853,000
• BVOD Audience: 70,000

10’s Have You Been Paying Attention:
• Total TV nation reach: 990,000
• National Audience: 617,000
• BVOD Audience: 26,000

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