Wednesday July 3, 2024

QMS - Tim Murphy
From Sydney to Paris: QMS' Tim Murphy on the resilience of out of home

By Tess Connery

Plus: Tender wins “set the business up to really shift market share going to 2025.”

In a tough market, QMS chief sales officer, Tim Murphy, tells Mediaweek “We are a resilient bunch, there’s no doubt about that.”

The most recent Guideline SMI results showed that outdoor media was the only major media to report growth, with total bookings up 1.6%.

“The medium is very resilient, our audience is only getting stronger. The investment from a form, product, and innovation point of view from all the players, all parts of the sector, is immense,” said Murphy.

There’s a lot of investment into infrastructure, assets, and networks and that is helping to support that resilience in regards to revenue performance.”

Having joined the company in February, Murphy said the ambition for the company’s sales function “is to be as connected and coordinated as we possibly can be, and to be the best digital out-of-home sales team in Australia. There’s no reason why we can’t be exactly that.”

In the last few weeks, QMS has announced a series of tender wins, including Transport for NSWThe Hills Shire Council, the Australian Turf Club’s Rosehill Gardens Racecourse, and the Australian Rail Track Corporation’s (ARTC) out-of-home assets across Sydney.

Murphy said this has been the result of “a very significant and very acute focus, from a commercial development point of view, around our Sydney offering.”

“That’s been the one part of our network where we’ve had some vulnerability, so there’s been a very, very clear, direct strategic direction around focusing on that part of the country. It’s brilliant when a plan comes together, and that’s been happening over the last handful of weeks.”

In addition to the City of Sydney network – “which we refer to as the jewel in the crown”, Murphy adds – as of January QMS is reaching 92% of all Sydneysiders on a weekly basis. 

“They’re terrific tender wins, they set the business up to really shift market share going to 2025. The job for us as a leadership function is to ensure that we’ve got the resources, the capability, and the capacity within our business to make the most of that opportunity.”

Taking on Paris 2024

QMS’ Paris 2024 Digital Screen Network supports both the Olympic and Paralympic Games, and was launched in April with partners including Allianz, Stan, Toyota Australia, and Patties Food Group. 

See also: John O’Neill: Paris Olympics and Paralympics pose huge advantage for brands. Are you ready to play?

Murphy said QMS’ partnership with the Australian Olympic and Paralympic Committee is “a major program of work, which is like nothing this business has embarked on before.”

“We’re days away now from the Opening Ceremony, which is horrifying, but really exciting. The partners that have come on board are really connected to what we’re trying to achieve there, and our opportunity to deliver and execute this program is something that we’re very, very focused on.”

Taking on a project the size and scale of the Paris 2024 Network requires every single part of the organisation to be completely in step. 

“Australians will be waking up and driving to work in the morning, and seeing all the all the updates – all the different elements that come through require hundreds and thousands of pieces of dynamic content to be delivered across our Olympic network.

“It’s going to be brilliant. Seeing it come to life is going to show a lot of different advertisers and brands that this is a premium digital ad home network, and this is how you can use it to its full effect,” Murphy said. 

Top image: Tim Murphy

James Warburton
James Warburton confirms new role after leaving Seven

By Tess Connery

Warburton ended his time as CEO of Seven West Media on 18 April.

James Warburton, former managing director and CEO of Seven West Media, has joined the board of photo-sharing app Tinybeans as a non-executive director. His tenure began on 1 July.

Founded in Sydney in 2012, Tinybeans is a photo-sharing app designed for parents that gives posters full ownership of the photos and videos uploaded, as well as full control over who can see them.

Speaking of his new role, Warburton said “I’m excited about the opportunity for Tinybeans. It is a business with incredible potential to grow and scale given the issues of privacy that will continue to be at the forefront of people’s minds.

“My interactions with the chair Chantale Millard and chief executive Zsofi Paterson have been impressive, and I look forward to proactively assisting to maximise the return for all shareholders.”

Tinybeans chair, Chantale Millard, said, “James has impressive experience, leadership and knowledge within the broader media and advertising landscape that adds valuable strength to the board as it focuses on leveraging the business’s platform for growth.

“James’ appointment is an incredibly strong endorsement of the Tinybeans business and its commercial potential. The Board and Zsofi are looking forward to working with James to realise the potential of the Tinybeans business and maximise shareholder returns.”

Warburton ended his time as CEO of Seven West Media on 18 April, after having announced his resignation in December 2023. He was succeeded by chief financial officer Jeff Howard.

See also: Farewell, James Warburton: Seven West Media CEO’s last day in the office

During his time with Seven, Warburton secured an extension of its AFL agreement, a deal that will last until the end of the 2031 season and is worth $4.5 billion – the biggest broadcast deal in Australian history.

He also ensured Seven has the FTA cricket rights for the next seven years, including streaming for the first time. Under Warburton, the network also secured coverage of the Matildas at the FIFA Women’s World Cup.

James Warburton ranked #1 on the Mediaweek 100 in 2023.

Following Howard’s appointment, the network confirmed a new operating model in the wake of redundancies and other cost actions at the network.

Under the new model, SWM will have three divisions: Television, Digital, and Western Australia.

Chief revenue officer, Kurt Burnette, chief marketing officer, Melissa Hopkins, and head of sport and managing director of Seven Melbourne, Lewis Martin are confirmed to be exiting the business, with Howard saying he “sincerely thanks Kurt, Lewis, and Mel for their contributions to Seven and they leave with our best wishes for the future.”

See also: Seven West Media: New divisions and leadership roles in wake of redundancies

Samantha McLeod departs McDonald's as marketing director
McDonald's marketing director Samantha McLeod exits the business

By Amy Shapiro

McLeod joined McDonald’s in September 2023.

McDonald’s Australia’s director of marketing, Samantha McLeod, has announced her departure from the fast food giant after ten months in the position.

McLeod took to LinkedIn to announce her exit, inferring she exits with no immediate plans as she is “open to opportunities.”

“Talk about going out on a high,” her post read.

“After being a part of winning a silver Lion in Brand Experience for our Big Mac Campaign orginialmouthful. I would like to thank McDonalds Australia for the opportunity to work for one of the world’s most famous super brands. I am grateful for the opportunity, the experience, the learnings and the relationships.

“Now looking forward to the next chapter in my career and I am open to opportunities.”

McLeod joined McDonald’s Australia in September from her previous role as general manager of brand, digital, and design at Coles, based out of Melbourne. Before that, she was the business lead for BBH in London.

In April, McDonald’s launched its Original Mouthful campaign through its creative agency of record, DDB, as a nostalgic homage to the legendary Big Mac, reviving the classic chant: “Two all-beef patties, Special Sauce, lettuce, cheese, pickles, onions on a sesame seed bun.”

At the time, McLeod described the campaign as “McDonald’s ‘feel good marketing’ at its best.”

McDonald’s is one of the largest accounts for DDB. In May, it was announced that Porsche Cars Australia had put its creative account up for pitch, with DDB Melbourne as the incumbent, having first won the account in 2015 in a pitch supported by Trinity P3.

In April, DDB Sydney’s chief strategy officer, Fran Clayton, left the agency after almost ten years to become AUNZ CSO at Ogilvy.

Mediaweek has reached out to McLeod, DDB, and McDonald’s for comment.

See also: McDonald’s and DDB Sydney revive 1987 Big Mac promo, ‘passing the baton of the chant between generations’

Top Image: Samantha McLeod

Adobe - Keith Eadie
New APAC lead for Adobe as Keith Eadie named region's general manager

By Alisha Buaya

Eadie joined Adobe in 2017 through the acquisition of TubeMogul, where he was chief marketing and strategy officer.

Adobe has appointed Keith Eadie to general manager, APAC, to lead the business across the region. Eadie will report to Stephen Frieder, chief revenue officer of Adobe Enterprise.

Eadie joined Adobe in 2017 through the acquisition of TubeMogul, where he was chief marketing and strategy officer.

At Adobe, Eadie has led several divisions, including Adobe Advertising, Adobe Analytics and Adobe Sign. In 2022, he moved to Singapore to lead international product marketing for Adobe’s Digital Experience business. His most recent role saw him lead digital experience strategy and GTM for APAC and Japan. 

Eadie said: “As the digital economy continues to expand, and in the era of generative AI, business leaders across APAC are looking to deliver next-generation experiences for their customers.

“I’m excited for the opportunity to lead an exceptional team and to work with our customers and partners to empower them to drive experience-led growth,” he added.

See also: Adobe’s AI Assistant made available across applications

Frieder welcomed Eadie’s promotion and said: “Keith Eadie is a transformational business leader with a track record of driving success across teams and value to our customers. Under Keith’s leadership, I’m excited to see the APAC region continue to build on its strong growth trajectory.”

Eadie’s promotion comes after Adobe released the Future of Trust Study for Australia and New Zealand, which surveyed over 1,000 consumers in the two countries as part of a global study on encountering misinformation online and concerns about the impact of generative AI.

The report found that while most people in Australia and New Zealand are optimistic about the benefits of AI (66%), 82% expressed concern that the content they consume online is vulnerable to being altered to fuel misinformation.

See also: Aussies and Kiwis concerned content is being altered to fuel misinformation

Top image: Keith Eadie

Lisa Millar
Lisa Millar to farewell ABC News Breakfast in August

By Jasper Baumann

Millar will continue to work full-time on other projects across the ABC.

After five years on the couch, Lisa Millar is leaving ABC News Breakfast to focus full-time on other projects across the ABC.

The journalist and presenter departs as News Breakfast co-host on 23 August but will remain a regular presence on the ABC, continuing on as narrator of the series Muster Dogs – recently nominated for a Logie – guest presenter of Back Roads, and co-host of podcast series The Newsreader. Millar will also present Muster Dogs: Where are they now? later this year.

Millar’s first stint on News Breakfast was in 2018, before joining fellow host Michael Rowland on the couch permanently the following year.

“What a blast the past five years has been, whether it was interviewing prime ministers and global thought leaders or getting karaoke encouragement from my childhood idol Gladys Knight,’’ she said.

“In 35 years of journalism I’ve never done anything so exciting, unpredictable, and fun. It’s only worked because of the awesome team in front of the cameras and behind the scenes who kept me laughing.

“Most importantly, I want to thank our viewers who brought me into their homes and lives every morning. I’ve loved sharing breakfast with you all.

“I’m excited to hit the road and discover more of the incredible stories that make up the remarkable tapestry of our culture. There are so many adventures ahead, whether it be with Back Roads, Muster Dogs, or new projects we’re cooking up. What a privilege it is to be a part of that future.”

Millar joined the ABC in 1993 and is one of the ABC’s longest-serving foreign correspondents, serving as Bureau Chief in both the US and Europe.

She has covered stories including US presidential elections, the Boston bombing, the Sandy Hook school shooting, Hurricane Sandy, the terrorist attacks in Paris, as well as royal weddings and Olympic Games.

Director, ABC News Justin Stevens said: “Lisa Millar is a superb journalist and broadcaster who personifies the very best values and attributes of ABC journalists. We value her immensely. While we’re sad to lose her from News, I’m excited to see her take up this opportunity and continue to go from strength to strength at the ABC.

“She’s done a fantastic job presenting News Breakfast over the past five years – one of the toughest jobs in Australian TV. The relentless hours never impeded her incredible warmth and energy, or her passion for delivering the best program for the audience.”

Woolley Marketing: When is an agency no longer an agency?

“The way agency business is increasingly undertaken raises the question of whether it is potentially misleading and deceptive for agencies to present themselves as an agency.”

Here’s a question: is your agency really acting as your agent?

Yes, I know it sounds like a trick question. Or possibly a ‘dad joke’ with a weird punch line but this question is more than just semantics. It’s perhaps the most important a CMO or their procurement team can ask of their agency.

The reason is that the term agency has a definite meaning both in language and in law, particularly in Australian contract law. Yet the way agency business is increasingly undertaken raises the question of whether it is potentially misleading and deceptive for agencies to present themselves as an agency – especially if the actual legal relationship is no longer an agent relationship.

But what is an ‘agency’ relationship? And why are advertising agencies less and less acting as agents these days? How did we get here? And what does it mean going forward?

The dictionary defines an agency as: A business or organization providing a particular service on behalf of another business, person, or group. e.g. “an advertising agency”

In many ways most agencies fit this common definition, providing services including everything from media planning and buying through to communication strategy, creative concepts and production.

Then there is the legal definition of an agency which is: “The legal relationship that exists between a principal and a person appointed with the power to act on their behalf and has the power to legally bind a principal to arrangements.”

Agency is inherently a ‘fiduciary’ relationship. This means that an agent has a legal obligation to act in the best interest of the principal.

But this is where the nature of the relationship between marketers and their agencies has fundamentally evolved in a way that threatens the agent / principal relationship.

By Dennis Flad

By Dennis Flad

When the media commission system was in place up to 30 years ago, the ‘agency’ provided media and creative services under an agent agreement, where the agency acted on behalf of the client to procure media and production services on behalf of the client, binding the client to those agreements.

This meant that if something changed, such as the advertising needed to stop, even due to unforeseen circumstances, the client was legally bound to pay the costs incurred by the agency acting on their behalf. This includes third-party production cost for creative agencies, but more significantly, it includes media cost with media owners.

Usually, the agency would take all steps to minimise the cost on behalf of their client, negotiating with the suppliers and media owners to ensure the impact on the client was minimal. This was because they were acting on the client’s behalf and primarily to their benefit.

But then procurement became involved. One of the functions of procurement is to not just reduce cost to the business, but to also minimise risk. Having an agent contract with an external supplier legally means the client carries the risk as the agency has the right to legally bind the client as the principal to the financial risk.

Therefore, procurement introduced contractor agreement to replace the traditional agent agreements to minimise this risk. This is a vendor / principal agreement. Now the agency, who was no longer an agent, took the risk.

It meant that if a creative agency wanted to engage a third-party production company, they would not only need to have the client approve the proposed cost in writing, but they would also have to have the client approve the contract with the production company, and approve any cost overruns in writing, as the agency could no longer legally bind the client to the agreement on their behalf.

For media agencies, it meant that in the process of negotiating with the various media suppliers, they would need to have the client approve the final negotiation in what was often a time-sensitive process.

This has been made even more complex when it comes to digital transactions, where often the agency is transacting with the various platforms and the ad tech vendors through their own accounts on behalf of the client, and now taking all the risk should the transaction fail to meet the client’s needs.

But there is one part of the agent agreement that did work in the client’s favour and that was an expectation that the agency acting on the client’s behalf would offer full transparency to those agreements. This is why when the contracts changed from agent agreements to contractor agreements, procurement would go to great lengths to add clauses demanding transparency from the agency regarding mark-ups, kickbacks, rebates and commissions.

So why, when most agreements between clients and their agencies are no longer agent agreements, why do we still call them agencies? And does it matter?

Operationally both the agent and the contractor agreements work. But there is a fundamental difference between the two. Agent agreements require a high level of trust and integrity. Look at the examples of other agent agreements – newsagents, real estate agents – all act on behalf of the sellers and this comes with significant fiduciary responsibilities that do not immediately apply to contractor arrangements.

By continuing to refer to agencies as agencies, when they are no longer legally acting as agents on behalf of their clients or principal infers a relationship that simply no longer exists.

See also: Woolley Marketing: AI or not AI, is that even a question now?

Darren Woolley is Global CEO of TrinityP3, Australia’s largest and most influential independent marketing / pitch consultancy and is well known to the advertising industry. Founded more than 20 years ago TrinityP3 has a significant presence in Australia where it leads the pitch process for many of the country’s leading advertising accounts as well as having offices in London, New York and Zurich.

Darren Woolley Darren Woolley

Dennis Flad is responsible for Trinity P3 EMEA and founder of t’charta, a management consultancy boutique for strategic product management, pricing and go-to-market based in Zurich, Switzerland. Dennis worked his entire life in marketing and advertising, which allows him to infuse his whimsical drawings with a realistic understanding of management practices and behaviours.

Dennis Flad Dennis Flad

Lego Group appoints Publicis One to global media account

By Alisha Buaya

The toy bricks brand recorded a global media spend of $467 million last year.

The Lego Group has awarded its global media account to Publicis One, a bespoke team led by Starcom, after seven years with incumbent Initiative/IPG.

In a statement, Lego noted that Publicis One will begin onboarding from the start of July and will work with Initiative over a three-month transition period.

Julia Goldin, The LEGO Group’s chief product and marketing officer, said in a statement: “We were impressed with Publicis One’s depth and breadth of expertise – as well as their aligned cultural values.

“We look forward to working together to further enhance our ecosystem, leveraging their insights and capabilities to create engaging and meaningful experiences for our audiences. Together, we aim to inspire children and families globally, nurturing creativity and fostering learning through play.”

Goldin also thanks the Initiative/IPG team for their work for the past seven years. She said: “They have been with us every step of the way as we significantly grew the business, launched our first global brand campaign, and reached more children than ever before. We are grateful for their support and collaboration.”

The Danish-based company’s decision to move its media account comes after an 18-month review, Ad Age reported.

The toy bricks brand recorded a global media spend of $467 million last year, 70% of that was spent on digital media, according to COMvergence.

In Australia, the partnership between Initiative and Lego proved to be successful with the agency winning the prestigious Grand Prix at the 2023 MFA Awards for the LEGO City Goes Nitro campaign.

Melissa Fein, the now outgoing CEO of Initiative, told Mediaweek at the time of the win: “Last night’s event is the culmination of the most exciting and challenging year to-date. To say I am proud of my team is an understatement…we are both humbled and ecstatic and will celebrate this achievement in true Initiative style – as a team.”

Aside from Initiative and Lego parting ways, Fein will also be departing the agency alongside Initiative’s managing director Sam Geer and chief strategy officer Chris Colter.

News of the trio’s defection from the Mediabrands agency for Accenture Song broke in May. 

See also: Updated: Melissa Fein, Sam Geer, and Chris Colter leave Initiative for Accenture Song

Saatchi & Saatchi - Rachel Walker and Patrick Rowe
Saatchi & Saatchi appoints Rachel Walker as chief strategy officer

By Alisha Buaya

Walker will work across a range of portfolios, including Vodafone and Arnott’s.

Rachel Walker joins Saatchi & Saatchi Australia as chief strategy officer, overseeing its national strategy and planning practice.

Walker brings more than 30 years of experience from the UK and Australian markets to the creative agency. She has experience in the consumer goods, aviation, defence, automotive and fintech sectors and has won awards for effectiveness and creative strategy – including Effie awards, APG, and Grands Prix in both the IPA Effectiveness and Marketing Society awards.

Walker is also a seasoned judge for various international shows, including AWARD awards and The Effies. The new role marks a move back to the Publicis Groupe network, as she previously worked as Global Strategy Director at Publicis London.

Patrick Rowe, CEO at Saatchi & Saatchi Australia, said: “Rachel will make a huge contribution to Saatchi & Saatchi. She has an incredible track record of working with mature brands, producing impactful campaigns that people love, and with a list of effectiveness awards that is nothing short of amazing. We’re so excited that she’s part of our team.”

Walker said of her new role: “I’m thrilled to be joining the brilliant team at Saatchi & Saatchi Australia. It’s an iconic agency I’ve admired throughout my career, and I am delighted to finally have the opportunity to work with some of Australia’s best brands.”

Walker will work across a range of portfolios, including Vodafone and Arnott’s.

Rowe marked one year as CEO of the agency earlier this year, succeeding Anthony Gregorio. He was no stranger to Publicis, having spent 25 years within the holdco‘s ecosystem. Before joining Saatchis, he served as the managing director of team one, Publicis’ bespoke agency for Lexus.

He told Mediaweek: “I like to say that we are the shopfront window for Publicis Groupe, where our work is what’s seen and noticed, and clients might come in through a creative doorway.”

See also: Saatchis is a ‘shopfront’ for Publicis: Patrick Rowe on a year as CEO

Top image: Patrick Rowe and Rachel Walker

Kieran Simpson
'Social media is an invaluable tool for our industry': Kieran Simpson on adapting to audience preferences

By Jasper Baumann

“Social media also allows us to foster deeper connections… that go beyond traditional broadcasting.”

Kieran Simpson, head of digital at The Project, Roving Enterprises/Paramount, has told Mediaweek that social media is an invaluable tool for the industry to stay relevant and top-of-mind with the public.

Simpson took home the win for Social Media Specialist at Mediaweek‘s 2024 Next of the Best Awards.

Mediaweek caught up with Simpson to speak about what it takes to stand out on social media in the industry, his proudest moment working at Paramount/Roving Enterprises and what the future looks like for social media. 

The awards have been judged by an all-star line-up, what does it mean to you to be recognised by this group?

To have my work acknowledged by the very people I admire and look to for inspiration is both humbling and motivating. This recognition isn’t just a personal achievement; it’s a testament to the power of collaboration and the incredible team I have the privilege of working with at The Project.

We work hard to ensure our audience can trust our content, while continually entertaining them at the same time.

What does it take to stand out on social media in this industry?

Standing out on social media, especially in our industry, requires a deep understanding of your audience and a willingness to adapt. It’s crucial to remember that it’s not about your personal preferences but about catering to what resonates with your viewers.

As short-form content like TikTok and Reels continue to dominate, it’s up to teams like ours to ensure that even the best long-form content, like our TV shows, gets the attention it deserves. This means getting creative and adapting that content to fit these new formats.

The traditional media landscape might be shifting, but shows like The Project are proving that success on social media is achievable. Our record growth is a testament to the power of collaboration between our editorial and social teams. By working together to finesse content and deliver what our audience truly cares about, we’re able to make the show sing on social media and have more eyeballs on us than ever.

What do you think the future looks like for social media in the industry?

Social media is an invaluable tool for our industry to stay relevant and top-of-mind with the public. TV brands evoke a sense of trust that’s hard to replicate elsewhere However, to maintain this connection, we must adapt to audience preferences and understand how they consume content.

While attention spans may seem shorter, high-quality and engaging content will always captivate audiences, regardless of length or format. We must continue to surprise and delight audiences with unexpected formats and stories.

Linear broadcast will always have its place, but building brand extensions beyond advertising revenue is becoming increasingly crucial. Audiences are savvy and can easily distinguish ads from organic content on social media. They expect a different experience on these platforms compared to traditional broadcasting.

Social media also allows us to foster deeper connections with our audience and create communities that go beyond traditional broadcasting.

What’s your proudest moment working in social media at Paramount?

Witnessing the remarkable growth of The Project online and our evolving understanding of our audience is a source of daily pride for me. The fact that our social media presence is now deeply intertwined with the show, influencing content decisions based on audience feedback, is truly incredible.

My achievement is a testament to the time and effort our team has invested in building trust between Network 10 and the team at The Project. 10’s confidence in our vision and approach has been instrumental in achieving this remarkable growth.

Being Next of The Best – what can the industry expect next from you?

Being named Next of the Best is an incredible motivator. It fuels my passion for understanding audiences and creating strategies that drive meaningful engagement, whether through new formats or a complete reimagining of existing approaches. Seeing those positive results is always a thrill.

However, what truly excites me is empowering others. Sharing knowledge and seeing my team members succeed with the skills I’ve helped them develop is incredibly rewarding.

So, you can expect to see me continuing to explore new ways to connect with audiences, analyse data, and refine strategies. But above all, I’ll be focused on mentoring and empowering those around me to achieve their full potential. And continuing to produce some podcasts on the side.

Top image: Kieran Simpson

Interbrand - Megan Schierhout
Interbrand promotes Megan Schierhout to associate creative director

Schierhout has been a design director with the brand consultancy since 2021.

Interbrand has promoted design director Megan Schierhout to associate creative director.

Schierhout will lead creative for Interbrand in Australia, using design to develop brand solutions for a range of clients, while also overseeing the creative talent within the team.

She has been a design director with the brand consultancy since 2021, working across a number of Australian brands including McDonald’s, Coles, Sydney Fish Market, and Dulux.

Schierhout has previously worked with prominent design agencies, Re (part of the M&C Saatchi Group), Designworks (owned by WPP), and Sydney-based consultancy ET Collective, where she worked on brands such as Optus, UNSW, ActionAid, and The Benevolent Society.

Her promotion at the brand consultancy comes as it continues to invest internally and develop its talent.

Nathan Birch, CEO of Interbrand Australia, said: “Megan is set to bring a wealth of experience and a fresh perspective to her new role. Throughout her tenure at Interbrand, Megan has consistently demonstrated exceptional creative skills, delivering outstanding work and nurturing client relationships to foster creative and strategic outcomes.

“Her leadership has been instrumental in promoting a collaborative and innovative environment within the creative team.”

“As she steps into her new role, Megan’s vision and approach will undoubtedly contribute to the company’s continued success and growth,” Birch added.

Schierhout said of her new role: “I came to Interbrand as a contractor, initially attracted by the client names but was quickly won over by the people. The team is a standout – a rare mix of truly talented and nice individuals. So, after three years here, I’m incredibly honoured and proud to step into the creative lead role.

“I’m excited to continue challenging both myself and the team to deliver beautifully crafted, meaningful ideas for clients and their communities, and to contribute to Interbrand’s iconic legacy,” said Schierhout.

Top image: Megan Schierhout

next of the best justeggs
Adtech firm Seedtag acquires JustEggs in bid to grow in APAC

By Amy Shapiro

The acquisition of JustEggs increases Seedtag’s presence to a total of 17 markets.

Australian-owned creative intelligence business JustEggs has been acquired by Madrid-based contextual advertising solutions business, Seedtag.

The acquisition is a bid to support business growth across the APAC region by introducing Seedtag’s proprietary contextual AI technology, Liz, to the Australian market.

Founded in 2013, JustEggs specialises in leveraging its digital solutions to create campaigns that offer value for brands and advertisers. From July, JustEggs will integrate Seedtag’s privacy-first targeting technologies into its offering to further enhance its advertising solutions.

To ensure a smooth integration of both technologies, Seedtag and JustEggs will work closely together while delivering a seamless experience to their partners. JustEggs’ CEO and Founder, Nik Kontoulas, will remain with the company, assuming the role of managing director ANZ.

The number of internet users in Australia is expected to exceed 23.3 million by 2025, achieving an internet penetration rate of over 89% according to Statista. For Seedtag, entering the Australian market was a step toward fulfilling its mission of becoming the contextual partner for brands, agencies, and publishers. This launch follows Seedtag’s successful market entries in India and Peru in 2023 and Canada in 2024.

For over a decade, Seedtag has been developing its in-house contextual AI technology, Liz, to meet the needs of the adtech industry. In 2024, Seedtag was awarded Best Contextual Targeting Offering at Digiday Media Awards. The acquisition of JustEggs increases Seedtag’s presence to a total of 17 markets.

“The acquisition of JustEggs is a clear example of Seedtag’s willingness to continue its international expansion into the APAC region,” said Albert Nieto, co-CEO and co-founder of Seedtag. “We are very excited to partner with one of the best teams in our industry to bring contextual intelligence to new heights.”

“Teaming up with Seedtag thrusts us into a fresh era of digital advertising innovation for the ANZ market,” said Nik Kontoulas, founder of JustEggs. “With their proprietary tech and global reach, we’re geared up for success in a cookieless world and beyond. It’s an exciting journey ahead.”

“Australia is a very sophisticated, data and technology-led market, and we have much to contribute to this local digital advertising industry,” said Dal Gill, VP of New Markets at Seedtag. “Following our successful entry into India, this is the second market we have opened in the APAC region. I’m confident that our unique contextual advertising solutions will greatly benefit Australian brands and publishers in achieving their advertising goals while meeting the demand for privacy-first, scalable targeting.”

Top image: Nik Kontoulas

SXSW Sydney
CommBank returns as Super Sponsor of SXSW Sydney 2024

By Jasper Baumann

The convention will take place on 14-20 October.

CommBank will return as a super sponsor of SXSW Sydney in 2024, with the convention set to take place on 14-20 October.

SXSW Sydney 2023 was the first time the festival was held outside of its birthplace of Austin, Texas.

CommBank’s chief marketing officer, Jo Boundy, said the bank is “thrilled” to sponsor SXSW Sydney for the second year running.

“We’re excited to reconnect with a diverse group of forward-thinkers and change-makers, while demonstrating our commitment to reimagining banking for our customers and the wider community,” said Boundy.

“Technology plays a fundamental role in building the bank of the future and meeting the needs of our customers today and tomorrow, so there’s a natural synergy in CommBank partnering with SXSW Sydney to promote how technology and innovation can create better outcomes and solutions for the Australian community and economy.

“SXSW Sydney 2024 promises to be a fantastic event, bringing together a range of people, sharing different perspectives and experiences, and fostering positive change and challenging the status quo,” she said.

“CommBank is looking forward to exploring new ways to challenge, educate and inspire attendees to strive for a brighter future.”

In June, SXSW Sydney revealed more than 500 new speakers, workshops, artists, screenings, games and experiences for this year’s event.

Leading the announcement of new speakers appearing is Reed Jobs, founder of venture capital firm Yosemite, which has raised more than $200 million to finance innovation in cancer care.

Badge holders will also hear from Google DeepMind AI researcher Clare Bycroft, managing director of Bunnings Mike Schneider, founder of BuildClub Annie Liao, deputy associate dean education, UTS Business Dr Amanda White OAM, founder and lead of the first National Indigenous Space Academy (NISA) Professor Christopher Lawrence, CEO of Andromedia Robotics Grace Brown plus more.

See also: SXSW Sydney 2024 unveils new speakers and sessions

digital video
Two thirds of people watch digital video while commuting

By Jasper Baumann

The study found that 94% use a device when commuting and 88% use their commute time to watch, listen to, or read something. 

Two out of three commuters watch digital video on their commute, with 44% watching SVOD and a quarter watching BVOD according to a new study from Prophesy Digital and Hoop Research Group.

The study found that 94% use a device when commuting and 88% use their commute time to watch, listen to, or read something, over getting tasks done. 

The study also found that commuters are embracing the digital video ecosystem in all its forms. Habits are changing rapidly, with more permission to view video in more environments – none more so than the morning and afternoon commute.

Two-thirds (65%) of commuters are watching video content, with more video consumed in the morning (50%) than in the afternoon (44%). 

In addition, more than half (55%) claim to watch video that isn’t social media video, however, 82% do browse social media.

digital video

On average, commuters use two video platforms – almost half (44%) watch SVOD, such as Netflix, Stan and Binge, and more than a quarter (24%) watch BVOD.

“App-based entertainment has enabled consumers to essentially extend their evening entertainment to their commute – the seamless transition between devices allows viewers to continue watching their favourite shows, switching between devices from home to commute and vice versa,” said Mehrak Saheb, founder and digital media strategist, Prophesy Digital.

“Understanding different digital moments like the commute is critical for effective digital media planning, in this case for digital video strategies,” he said.

“Current video planning relies on data and channel selection, but we can enhance effectiveness by also considering consumer mindset and the most receptive moments to connect. The commute offers a unique opportunity to reach audiences in an active mindset, with available time and focused attention on a single device.

“Video consumption on the commute is focused attention on a single device. Intimate, one- on-one, and heightened focus means consumers are more open and receptive to absorbing advertising messages. This moment is a key opportunity to not only use video as an upper funnel tactic but as a conversion tool to drive immediate action, such as making a purchase, visiting a website, or engaging with a brand.”

The research was undertaken in May 2024, via an online survey to n=400 commuters aged 18-65 years.

Man of Many
Man of Many launches second digital edition with cover stars Alexandra Daddario, Patrick Dempsey, and Tom Morello

By Jasper Baumann

The latest edition takes readers inside Man of Many’s key verticals: watches, automotive, entertainment, and fashion.

Man of Many is launching its CREATION Digital Edtion, fronted by a trio of internationally recognised cover stars.

The latest quarterly volume explores the creative process from all angles, celebrating the thinkers, doers, and dreamers who bring ideas to fruition.

Kicking off with an Australian exclusive, CREATION sees actress Alexandra Daddario recount her journey in Hollywood. According to Nick Hall, Man of Many editor-in-chief, The White Lotus star’s candid and honest feature set the tone for an inspiring collection of stories.

“There are few people on Earth who better encapsulate the creative zeitgeist than Alexandra. As a creative working in one of the most competitive industries on earth, she’s faced her fair share of disappointments, but after a blockbuster showing in one of the biggest television series of all time, she’s become a shining example of what can happen when an artist refuses to compromise their art,” Hall said.

The latest edition also takes readers inside Man of Many’s key verticals: watches, automotive, entertainment, and fashion.

“Our second Digital Edition is a celebration of the innovators and visionaries who shape our world,” said Hall. 

“This collection of stories is among the most diverse we have curated, however, they all share a common underlying theme: that the act of making, whether it be whisky, food, art, or music, is not a job or a vocation but a gift that must be nurtured. Our CREATION Edition is a love letter to passion and a reminder that art is almost never purely for art’s sake.”

Digital cover stars:

• Alexandra Daddario: In an Australian exclusive, ‘The White Lotus’ star talks about setbacks, breakthroughs, and the ‘finicky’ nature of Hollywood.

• Patrick Dempsey: In a revealing personal account, the actor and race car driver detailed the thrill of starring in Michael Mann’s ‘Ferrari’ and how he managed to one-up Steve McQueen.

• Tom Morello: Morello reveals how he found his signature sound, his predictions for the future of the electric guitar, and what revolution in the modern age really means.

The edition also features interviews and profiles with:

• Joel Edgerton: The actor and filmmaker discusses his latest projects and creative process.

• Chef Nobu Matsuhisa: The chef talks about his culinary innovations and the global success of his restaurants.

• Heather Tillott: The Sullivans Cove distillery manager explains the art, science, and ‘revelation’ behind the Tasmanian label’s award-winning whisky.

In June, co-founder of Man of Many Scott Purcell won the Publishing Award at Mediaweek’s Next of the Best Awards.

He told Mediaweek that being an independent publisher means the team can create “pure, honest content” with “no strings attached.”

See also: Scott Purcell: Independence allows Man of Many ‘to stay true to our vision’

Women in Media Pivots and Portfolios panellists - Anisha Khopkar, Jane Caro AM, Zara Siedler & Megan Brownlow
New sessions and speakers announced for Women in Media National Conference

By Amy Shapiro

Guests include Anisha Khopkar, Jane Caro, Zara Siedler, Megan Brownlow, Rachel Griffiths, Liz Haye, Justice Michael Lee, and Ita Buttrose.

Women in Media has announced a host of panels and speakers for their annual conference, taking place on 9 August at Sydney’s Sofitel Wentworth.

The marquee event organised by the non-profit, which is dedicated to helping women excel in media, brings together professionals from all corners of the industry.

Pivots and portfolios

Research shows that most people will change careers three to seven times, and changing jobs is more common than ever before. This panel will discuss these career trends in media and explore the rising diversity in our working lives, including career pivots, job diversity, and the gig economy.

Featuring media strategist Anisha Khopkar, who left her role with the ABC to start her own business, Walkley award-winning columnist and author Jane Caro AM, and The Daily Aus co-founder Zara Siedler, and moderated by journalist-come-board director Megan Brownlow of Houston Consulting.

“Women working in media are familiar with short contracts and having to be multi-skilled and flexible to be employable,” explained Women in Media general manager, Kym Middleton.

“This brings challenges but also lots of opportunities that different generations are seizing. It will be wonderful to hear how this impressive trio of women manage their professional pivots and portfolio careers.”

Rachel Griffiths AM and Liz Hayes

Australian film icon and Academy Award-nominated actress Rachel Griffiths AM (Muriel’s Wedding, Six Feet Under) will join Liz Hayes for an in-depth conversation about Griffiths’ career and life in the screen industry. Hayes will delve into Griffiths’ career as an actress, director, and producer, as well as her role in highlighting women’s issues over the years.

Rachel Griffiths AM

Rachel Griffiths AM

Middleton called the pairing of Griffiths and Hayes as “frankly, really special.”

She continued, “Despite coming from wildly different parts of our industry, Rachel Griffiths and Liz Hayes are both storytellers at heart. They just do it in different ways; one through scripted films and TV, the other through reporting on news events. Each has interesting skills in creativity, investigation, narrative-making, and character exploration that we can learn from.”

Justice Michael Lee and Ita Buttrose AC OBE

The conversation between Justice Michael Lee of the Federal Court of Australia and pre-eminent journalist, media industry powerhouse and trailblazer for women, and Women in Media Patron, Ita Buttrose AC OBE will have a particular focus on the themes of truth and trust.

Lee, known for his incisive handling of complex legal cases, and Buttrose, a veteran journalist and former Chair of the ABC, will explore critical issues affecting both the media and judicial landscapes. The session is a unique opportunity for attendees to gain perspectives from both the legal bench and the media hot seat on maintaining and fostering public trust.

Middleton described the session as one that will offer a comprehensive view of how the media and legal systems intersect, and the crucial role trust plays in both arenas.

“This conversation is a rare opportunity for women working across different forms of media to hear from two highly experienced figures on the intersections of public discourse and legal standards,” Middleton stated.

“This session is more than just an exploration of problems; it’s about empowering women in media to lead with integrity and champion the truth. Justice Lee and Ita Buttrose bring unparalleled insights that will inspire and equip attendees to contribute positively to our media landscape.”

See also: ‘Highly concerned’: Avoiding potential talent drain of women in media

Top Image: Anisha Khopkar, Jane Caro AM, Zara Siedler & Megan Brownlow

Bohemia - Natasha Young
Bohemia appoints Natasha Young to group trading and partnerships director

By Alisha Buaya

“I am thrilled to step into this role and build on the vision and progress we have achieved as an agency.”

Bohemia has appointed Natasha Young to the newly created role of group trading and partnerships director. 

Young has been with the M&C Saatchi Group media agency for the past six years and was previously the client lead on several key accounts, including the Australian Retirement Trust. 

In addition to the Superannuation category, Young’s has experience leading Bohemia clients in banking and finance, retail, furniture and clothing, and event ticketing.

In the role, Young will drive the agency’s efforts in delivering memorable media with a new approach to handcrafting, implementing, and trading in the market with media partners and drive growth for clients.

Young will report to Bohemia’s general manager, Sev Griffiths, and CEO, Paul Hutchison.

She said of her new role: “I am thrilled to step into this role and build on the vision and progress we have achieved as an agency in delivering handcrafted media and integrated campaigns for our clients.

“I’m particularly looking forward to refining our partnership and trading product with innovative solutions designed to accelerate our clients business growth, especially in challenging market conditions.”

Griffiths said: “We are delighted to promote from within for this crucial role. Natasha joins our senior leadership team with a deep understanding of our clients’ needs coupled with her wealth of experience in planning, trading and partnership activations.” 

Hutchison said: “Tash is a brilliant Bohemian respected and admired by clients, our partners and our people alike.”

“We relaunched Bohemia 18 months ago with a promise to move people through handcrafted memorable media. This isn’t just a strategic planning proposition, it is critical that we are as thoughtful about where and with whom we activate campaigns on behalf of our clients if we are going to live up to our promise.

“I have no doubt that Tash will thrive in this new critical Senior role for our clients and our business,” he added.

Top image: Natasha Young

Scroll Media
Scroll Media partners with Dailymotion Advertising

By Jasper Baumann

“Partnering with Dailymotion Advertising in Australia allows our clients access to video ad experiences powered by AI.”

Dailymotion Advertising and Scroll Media are partnering to offer enhanced video advertising reach with high-intent audience insight personas. 

Dailymotion Advertising is Dailymotion’s video marketing platform based in France. It brings together over 5,000 professional content publishers using its video technology. 

The Dailymotion video player is an instream solution, compliant with MOAT and IAS, achieving 85% viewability with no UGC content. Dailymotion states that for advertisers, the partnership unlocks full-funnel video performance, providing deep consumer behaviour insights, high-impact video ad units, and cookieless data solutions. 

Vijay Kunduri, Dailymotion Advertising MD of APAC said: “We are delighted to partner with Scroll Media for video advertising sales representation in Australia, given the success of their Gameloft partnership, another Vivendi owned company.

“We are happy to provide brands in Australia with premium instream inventory at scale, along with our proprietary data solutions for media planning and measurement.”

Jane Ormsby, MD of Scroll Media said: “Partnering with Dailymotion Advertising in Australia, allows our clients access to video ad experiences powered by AI, on the Dailymotion video player that resonate with consumers and drives unparalleled campaign success.”

In May, Scroll Media hired Costa Panagos as digital sales manager to strengthen its Scroll Gaming capability.

Panagos brings his experience in gaming advertising and media sales to the digital publisher network. He joined after almost two years with Amazon as an account executive at Twitch, and three years in media sales at News Corp. He also recently completed a Twitch Gameplan certification.

“I am really impressed with the enormous reach of Scroll Media’s gaming network and our ability to reach gamers across all aspects of the gaming funnel from streaming, influencers, integration and gamification,” Panagos said.

Scroll Media Australia is headed up by Adam DeRoma, who sits on the IAB Australia Gaming Council. He said the company is committed to growing the share of in-game advertising revenue spend with continued education and global case studies.

“With our exclusive partnership of four years with Gameloft plus partnering with Player Media and more broadly iion, Scroll Media is able to showcase the best of the in-game advertising best practice and champion the growth of the category,” DeRoma said.

See also: Scroll Media hires Costa Panagos as digital sales manager

Top image: Jane Ormsby, Managing Director, Scroll Media and Dr Vijay Kunduri, Managing Director APAC DailyMotion.

Melbourne Social Co - Novotel and Ibis Styles Melbourne Airport
Melbourne Social Co to lead social media for Novotel and Ibis Styles Melbourne Airport

By Alisha Buaya

The agency will lead the development of the hotel’s social media strategy, as well as creating and delivering social media content.

Melbourne Social Co has been appointed as the creative agency to lead the launch on social media for the newly opened $230 million hotel Novotel and Ibis Styles Melbourne Airport.

The agency will act as an extension of the marketing team, leading the development of the hotel’s social media strategy, as well as creating and delivering social media content.

Shelley Friesen, Melbourne Social Co’s director, said: “We’re thrilled to act as an extension of the Novotel and Ibis Styles brand, to support the incredible team in strategising and delivering content that aligns with the brand’s core values and goals for the social media accounts.

“The precinct is so much more than just a hotel, it’s a destination in itself, and we look forward to spreading the word about the incredible facilities with a local and international audience,” she added.

The hotel, operated by Accor, includes three food and beverage outlets, function facilities, Aerofoil, a co-working space and Higher State, Melbourne’s first airport health and wellbeing club with an indoor heated pool, sauna, massage and fitness centre.

Friesen founded the agency in 2011, and its offering includes a range of services to clients, including strategy, content creation, channel management, influencer outreach and paid social media ads management.

She said: “While our service offering has evolved over the years, we’ve always had a strong focus on social media strategy and premium content creation.”

As the director, Friesen shared that while she oversees the overall running of the business, the creative side is an area she likes to play a part in.

“As a creative at heart, I also have a strong focus on the creative direction of the agency and its output,” she said.

Friesen previously spoke to Mediaweek about Melbourne Social Co’s services to clients, including strategy, content creation, channel management, influencer outreach and paid social media ads management.

“While our service offering has evolved over the years, we’ve always had a strong focus on social media strategy and premium content creation,” she said.

 Friesen added that while she oversees the overall running of the business as its director, she still plays a part in the creative side.

“As a creative at heart, I also have a strong focus on the creative direction of the agency and its output,” she said.

IPG Mediabrands - WIC
IPG Mediabrands launches Woolyungah Indigenous Scholarship

By Alisha Buaya

Mark Coad: “It is a natural and important step through IPG Mediabrands’ RAP for our company to support Aboriginal and Torres Strait Islander students to achieve their career dreams.”

IPG Mediabrands has sponsored the 2024 Indigenous Nationals and established the inaugural Woolyungah Indigenous Scholarship. The sponsorship comes about through IPG’s partnership with the Woolyungah Indigenous Centre (WIC) at the University of Wollongong.

The Woolyungah Scholarship, valued at $10,000, will be awarded annually to a University of Wollongong (UOW) undergraduate student of Aboriginal or Torres Strait Islander descent who aspires to have a career in the media industry. It also includes a two week internship in IPG’s Sydney office with a dedicated mentor, plus financial assistance to cover travel, accommodation and meals throughout the internship. 

Monique Black, head of talent acquisition at IPG Mediabrands said: “One of the most rewarding aspects of our Innovate-Level RAP is the relationship we have developed with WIC, which directly led to the opportunity to sponsor the Indigenous Nationals, and importantly enabled us to engage with potential future media industry talent.”

“IPG Mediabrands are truly walking the walk with their commitment to advancing spaces for our People,” Jaymee Beveridge, UOW executive director, Indigenous strategy.
“The organic nature of our partnership was built on a clear values alignment and a desire from IPG Mediabrands to authentically engage with WIC and our students – with the goal of tailoring their commitments to our students’ needs. I have loved being a part of this journey with them and having IPG Mediabrands as our sponsor at the Indigenous Nationals illuminates our trust in what is collectively being achieved.”

Black continued: “Sponsoring the Indigenous Nationals allowed us to set up a careers’ stand and engage with nearly 500 students that came together from all over Australia. Perhaps one of them will be the recipient of our first Woolyungah Scholarship through WIC and UOW and we will be so happy to welcome them to IPG Mediabrands to kickstart their media career.

“We were able to share practical information about a career in the media industry including helping students consider fulfilling roles directly suited to their interests, as well as providing an avenue through which they can understand how a media career can support their communities. We look forward to deeper conversations with those students who are excited about the prospect and diversity of a career in the media sector.

“This gives me so much pride as IPG Mediabrands continues its commitment to provide a thriving and diverse workplace for all Australians,” Black concluded. 

Mark Coad, CEO Mediabrands, said: “It is a natural and important step through IPG Mediabrands’ RAP for our company to support Aboriginal and Torres Strait Islander students to achieve their career dreams and bring their unique contribution to both our sector and their communities.

“Sponsoring the Indigenous Nationals via our partnership with Woolyungah Indigenous Centre allowed us to directly engage with the community and we look forward to welcoming the successful recipient of our inaugural Woolyungah Scholarship to IPG Mediabrands next year.”

Top image: University of Wollongong Indigenous Nationals with Woolyungah Indigenous Centre

ALDI launches 'ALDIcore' campaign with Ogilvy PR, BMF & Zenith
ALDI launches 'ALDIcore' campaign with Ogilvy PR, BMF, and Zenith

By Amy Shapiro

Jenny Melhuish: “At its core this campaign celebrates the delight and diversity in our community.”

ALDI has launched its largest competition to date under its Good Different platform, ‘ALDIcore’, via Ogilvy PR, media agency Zenith, and its creative agency of record, BMF.

The integrated campaign, running until July 27, spans broadcast, digital, earned, and influencer channels. It invites consumers to demonstrate their ‘ALDIcore’ spirit by visiting the competition website or tagging @ALDIAustralia and using the hashtag #ALDIcore on TikTok, Instagram, and Facebook.

Participants stand to win three years’ worth of ALDI groceries, with five runners-up receiving one year’s supply.


The campaign’s owned social efforts aim to inspire ALDI customers to share their ‘ALDIcore’ pride. ALDI has also been amplifying the stories of Australian ‘ALDIcore’ shoppers, including Phyllis, a 95-year-old who walks to her local store daily, and a Knoppers aficionado who proudly wears her love for the snack on her sleeve.

@anastasiat24 Guys, remember when I said Knoppers were the greatest things in the world? Well ALDI noticed! Check out this one-of-a-kind Bridgerton style Knoppers dress they made me with *300* Knoppers bars. What a feast for the eyes. Couture, but make it #ALDIcore @AldiAustralia #ALDIAustralia #Gifted #Knoppers #sweettooth #ALDItiktok ♬ Give Me Everything (Stripped Down) – Archer Marsh

According to the discount supermarket chain, being ALDIcore can range from sharing ALDI recipes and favourite Special Buys to showing off can’t-live-without products or offering ‘Good Different’ tips, tricks, and hacks.

“At its core this campaign celebrates the delight and diversity in our community of ALDI shoppers,” said ALDI Australia marketing director, Jenny Melhuish.

“There’s no single way to ALDI and surfacing those stories of tips and tricks, fave products and recipes is what makes the world of #ALDIcore so rich to explore – every customer has their own unique take on how and why their proud to be an ALDI shopper. That’s what #ALDIcore is all about. And that’s worth rewarding.”

She continued, “From nodding to our middle aisle maestros who might visit for bread and milk and leave with a whipper snipper, to the passion of product evangelists who embrace a [Good] Different way of shopping to get their hands on their fave items, it’s been great to turn the lens on the customers who choose the brand with pride each and every day.”


In April, ALDI Australia launched its first-ever branded streetwear collection, ALDImania, featuring branded apparel items such as slides, bucket hats, beanies, fleece hoodies, and sneakers.

“Designed to celebrate and champion our shoppers, this new range is made specifically with ALDI budgets in mind, without compromising on quality or comfort,” said ALDI Australia’s buying director for ALDImania, Belinda Gric.

Most recently, Zenith and BMF’s How a Built-from-Scratch Data Set Won Christmas 2023 for ALDI was announced as a finalist in the Data-led Activation category at the 2024 MFA Awards. The event will be held on September 19.

See also: KFC, New Balance, FIFA, L’Oreal and ALDI campaigns among 2024 MFA Awards finalists


Client: ALDI Australia
Creative concept: Ogilvy PR & BMF
PR and earned social: Ogilvy PR
Creative: BMF
Media: Zenith
Digital: Digitas
Influencer: Social Soup

shEqual launches 'Commercial Breakdown' calling out harmful gender stereotypes
shEqual launches 'Commercial Breakdown' calling out harmful gender stereotypes

By Amy Shapiro

Lauren Zappa: “We want to give people the tools to challenge gender stereotypes and to support brands that promote authentic, respectful, and diverse portrayals of all Australians.”

Women’s Health Victoria’s advertising equality project, shEqual, has released its Commercial Breakdown campaign via The Open Arms ethical advertising agency to expose and address dangerous gender stereotypes in Australian ads.

Featuring comedians Alex Lee and Lewis Garnham, the campaign features a Gogglebox-style video where the duo call out harmful messages in recent Australian ads.


In these ads, while women are depicted at home cooking, cleaning, caring, and shopping, ‘the Aussie Bloke’ is shown out with his mates, sports-betting, beer-drinking, crypto-punting, and winning. This portrayal designates the outside world as a space primarily for men and suggests that fun, excitement, and success are reserved for men who can freely operate in these spaces, while women are often confined to domestic roles.

The work comes amidst Australia’s ongoing crisis of violence against women. Commercial Breakdown encourages Australians to discuss such harmful gender stereotypes viewers observe in ads and to support brands and agencies in creating advertisements that contribute to a more equitable Australia.

“The average Australian is exposed to thousands of ads a day, so what happens in those ads matters. That’s because advertising is a powerful multi-billion-dollar industry that exists only to influence us,” explained Women’s Health Victoria’s manager gender equity and capacity building, Lauren Zappa.

“We want to give people the tools to challenge gender stereotypes and to support brands that promote authentic, respectful, and diverse portrayals of all Australians.”

Advertising remains highly influential in shaping societal attitudes and behaviours towards women. Despite this, two out of three men believe there is a disconnect between their own views on success and how it is portrayed in advertising.

The 2023 Price of Success report, which studied 4,000 men in the United Kingdom and the United States, found that most men do not equate success with winning and find advertising often makes them feel worse about themselves.

Zappa continued: “Most ads still feature young, white, able-bodied, cis-gendered and heterosexual people, leaving many in our community unseen and unrepresented.”

See also: Suncorp, Telstra & Rebel named in shEqual’s 2023 top picks for gender equality in advertising

TV Ratings
TV Ratings 1 July 2024: Participants confront medical fears in Do You Want To Live Forever?

By Jasper Baumann

Mali searched for his brother during Home and Away.

Monday 1 July 2024: VOZ Total TV Ratings Overnight Top 30 – Programs ranked on reach

Total People TV Ratings

Nine’s Do You Want To Live Forever recorded a total TV national reach of 1,553,000, a total TV national audience of 637,000, and a BVOD audience of 54,000.

Nine’s A Current Affair recorded a total TV national reach of 1,634,000, a total TV national audience of 1,061,000, and a BVOD audience of 77,000.

Seven’s Dream Home recorded a total TV national reach of 1,364,000, a total TV national audience of 701,000, and a BVOD audience of 57,000.

Also on Seven, Home & Away recorded a total TV national reach of 1,283,000, a total TV national audience of 869,000, and a BVOD audience of 100,000.

10’s airing of MasterChef recorded a total TV national reach of 1,389,000, a total TV national audience of 689,000, and a BVOD audience of 64,000.

10’s airing of Have You Been Paying Attention? recorded a total TV national reach of 1,285,000, a total TV national audience of 810,000, and a BVOD audience of 39,000.

See Also: TV Report 1 July 2024: NSW Dream Home contestants enter final renovation cycle

People 25-54

Nine’s Do You Want To Live Forever:
• Total TV nation reach: 465,000
• National Audience: 196,000
• BVOD Audience: 29,000

Nine’s A Current Affair:
• Total TV nation reach: 460,000
• National Audience: 268,000
• BVOD Audience: 41,000

10’s MasterChef:
• Total TV nation reach: 529,000
• National Audience: 255,000 
• BVOD Audience: 35,000

Seven’s Dream Home:
• Total TV nation reach: 450,000
• National Audience: 226,000
• BVOD Audience: 33,000

Seven’s Home & Away:
• Total TV nation reach: 433,000
• National Audience: 291,000
• BVOD Audience: 57,000

10’s Have You Been Paying Attention?
• Total TV nation reach: 536,000
• National Audience: 359,000
• BVOD Audience: 23,000

People 16-39

Nine’s Do You Want To Live Forever:
• Total TV nation reach: 176,000
• National Audience: 70,000
• BVOD Audience: 15,000

Nine’s A Current Affair:
• Total TV nation reach: 169,000
• National Audience: 87,000
• BVOD Audience: 21,000

10’s MasterChef:
• Total TV nation reach: 229,000
• National Audience: 105,000 
• BVOD Audience: 19,000

Seven’s Dream Home:
• Total TV nation reach: 180,000
• National Audience: 88,000
• BVOD Audience: 17,000

Seven’s Home & Away:
• Total TV nation reach: 191,000
• National Audience: 132,000
• BVOD Audience: 35,000

10’s Have You Been Paying Attention?
• Total TV nation reach: 226,000
• National Audience: 156,000
• BVOD Audience: 12,000

Grocery Shoppers 18+ TV Ratings

Nine’s Do You Want To Live Forever:
• Total TV nation reach: 1,250,000
• National Audience: 507,000
• BVOD Audience: 43,000

Nine’s A Current Affair:
• Total TV nation reach: 1,306,000
• National Audience: 855,000
• BVOD Audience: 62,000

10’s MasterChef:
• Total TV nation reach: 1,106,000
• National Audience: 556,000 
• BVOD Audience: 52,000

Seven’s Dream Home:
• Total TV nation reach: 1,067,000
• National Audience: 555,000
• BVOD Audience: 46,000

Seven’s Home & Away:
• Total TV nation reach: 1,013,000
• National Audience: 687,000
• BVOD Audience: 80,000

10’s Have You Been Paying Attention?
• Total TV nation reach: 1,019,000
• National Audience: 645,000
• BVOD Audience: 31,000

TV Ratings

Data © OzTAM and Regional TAM 2024. Not to be reproduced, published or communicated (electronically or in hard copy) in whole or in part, without prior written consent of OzTAM and Regional TAM.

TV Report
TV Report 2 July 2024: Alex de Minaur beats James Duckworth during Wimbledon Day 2

By Jasper Baumann

The final days of Dream Home renovations start.

TV Report 2 July 2024:

Nine TV Report


Nine’s evening saw Day 2 of Wimbledon.

Matches last night included: Alex de Minaur (AUS) v James Duckworth (AUS), Ajla Tomljanovic (AUS) v J. Ostapenko (LAT), Christopher O’Connell (AUS) v T. Fritz (USA), Thanasi Kokkinakis (AUS) v F. Auger-Aliassime (CAN). de Minaur won against Duckworth while Ostapenko beat Tomljanovic.

A Current Affair

Over on A Current Affair, the program met with residents quoted $10k for NBN upgrade their neighbours will get for free and met with the youth crime program using compassion to turn young lives around. 

Seven TV Report

Dream Home

On Seven, there are only a few days left until the final Dream Home is revealed and with a backyard and $100,000 off a mortgage on the line, a lot is at stake.

Home & Away

Before Dream Home was Home & Away as Mackenzie invoked Mali’s wrath, Mali was shattered by Iluka’s decision and John complicated Tane’s proposal. 

10 TV Report

The Project

The Project on 10 looked into the US Supreme Court gives Trump partial immunity, why dupes are taking over the shopping world and the desk spoke to Ladybeard.

MasterChef Australia

On 10’s MasterChef, Chef Guillaume Brahimi brought a pressure test dish that pushed contestants to their limits. They had to replicate the dish as closely as possible, but had to plate up 5 serves.

The Cheap Seats

Taking a look at the week that was were The Cheap Seats hosts Melanie Bracewell and Tim McDonald as Mel Tracina, Adam Rozenbachs and Tony Armstrong joined in on the action.



Sarah Ferguson interviewed Prime Minister Anthony Albanese and the program looked into Sir Keir Starmer, the man likely to be the UK’s next prime minister.


Great British Railway Journeys

Beginning at London Marylebone, the last great Victorian railway terminus to be built in the capital, Michael Portillo embarks on a post-war exploration of Britain’s southern counties.

Business of Media

Ten wavers on turning off broadcast across swathe of WA

The Albanese government has thrown a last-minute lifeline to keep Network Ten on air for 500,000 people in Western Australia, after a joint venture between Seven West Media and WIN Corporation came within days of turning off the signal, reports Nine Publishing’s Sam Buckingham-Jones.

In May, Seven and WIN announced they would shut down a loss-making broadcast signal airing in Mildura, in north-western Victoria. The company, Mildura Digital Television, broadcast the Ten signal to an area the size of Belgium – an audience of about 70,000 people – and was “unable to justify” the expense.

[Read More]

Australia gives internet firms 6 months to draft online child-safety rules

Australia is giving the internet industry six months to come up with an enforceable code detailing how it will stop children seeing pornography and other inappropriate material online or face having a code imposed on it, a regulator said on Tuesday, reports Reuters.

The eSafety Commissioner said it wrote to members of the online industry demanding a plan by Oct. 3 setting out how they plan to protect minors from seeing high-impact material before they are ready, also including themes of suicide and eating disorders.


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Barry Diller explores bid to take control of Paramount

The billionaire Barry Diller is exploring a bid to take control of Paramount, the parent company of CBS, MTV and Nickelodeon, according to four people with knowledge of the matter, according to The New York Times‘ Lauren Hirsch and Benjamin Mullin.

Diller’s digital-media conglomerate, IAC, has signed nondisclosure agreements with National Amusements, Paramount’s controlling shareholder, the people said. Nondisclosure agreements are a key step in deal making, allowing both sides to exchange confidential information.

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Paramount renews talks to sell BET assets

After several stops and starts, Paramount Global appears to be renewing its effort to sell off its BET Media Group assets, reports The Hollywood Reporter‘s Erik Hayden.

The Shari Redstone-controlled media company is in talks with CC Capital chief Chinh Chu, whose private equity firm is backing BET president Scott Mills in a bid for the BET assets, Bloomberg reported on Tuesday. A rep for Paramount declined to comment and CC Capital did not reply for comment.

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Google Sandbox rollout could cost publishers 60% of online advertising revenue

Privacy Sandbox, Google’s upcoming replacement for third-party cookies, will reduce publishers’ revenue from programmatically-sold online ads by 60%, according to new research from advertising platform Criteo, reports Press Gazette‘s Jim Edwards.

Meanwhile, trade group the IAB Tech Lab has warned Sandbox would “throttle” smaller news publishers and restrict the media industry’s growth.

A spokesperson for Google said it was too early to judge the system.

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Rupert Murdoch’s Fox Corp launches Netflix rival Tubi in UK

Rupert Murdoch’s Fox Corporation has launched its ad-supported streaming service, Tubi, in the UK, reports The Guardian‘s Jamie Grierson.

The platform will compete with services such as Netflix, Disney+, ITVX and Channel 4’s streaming platform as well as BBC iPlayer.

Fox says the service will launch with more than 20,000 films and TV episodes on-demand, featuring content from Disney, Lionsgate, NBCUniversal and Sony Pictures Entertainment, in addition to its own originals.

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Ron Howard and Brian Grazer’s Imagine Entertainment Seeks Buyer

Imagine Entertainment, the Hollywood production company known for the Oscar-winning film A Beautiful Mind and hits such as The Da Vinci Code, is exploring a sale, reports The Wall Street Journal‘s Sarah Krouse and Jessica Toonkel.

The company, led by director Ron Howard and producer Brian Grazer, is working with an investment bank to help find a buyer after receiving some inbound interest from a potential suitor, according to people familiar with the matter.  

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‘The Bear’ Season 3 hits 5.4 million views in four days, Hulu’s biggest scripted TV premiere ever

The Season 3 premiere of The Bear reached 5.4 million views in its first four days of streaming, according to Disney, reports Variety Australia‘s Selome Hailu.

That marks not only the best performance ever for an FX premiere on Hulu, but the most-watched season premiere for any scripted series on Hulu. With unscripted series included, The Bear Season 3 is Hulu’s third-biggest season premiere of all time. (Note: a view is calculated by dividing the total time a title was watched by its runtime.)

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Mastermind marks 500th episode

Mastermind celebrates its 500th episode for SBS on Thursday, reports TV Tonight‘s David Knox.

Mastermind was first shown in the UK in 1972 and an Australian version first screened on ABC from 1978 to 1984 hosted by Huw Evans.

SBS revived the series in 2019, produced by BBC Studios Productions Australia, and hosted by Jennifer Byrne. Marc Fennell became host from Season 3.

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‘Colin From Accounts’ star Patrick Brammall to lead Apple TV+ series adaptation of ‘The Dispatcher’

Patrick Brammall is set to lead a series adaptation of the Ryan David Jahn novel The Dispatcher at Apple TV+, reports Variety‘s Joe Otterson.

Apple has given the series a six-episode order. It will be set in Australia.

The official description for the series states, “Police detective Ian Hunt’s (Brammall) life fell apart ten years ago when his young daughter Maggie disappeared without a trace. Now working as a police dispatcher, the only thing that has kept him going is his implacable refusal to accept that she might be gone forever. When he receives a distress call from a young girl he is certain is Maggie, he will stop at nothing to find her and reunite his broken family, whatever the cost.”

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Eddie Murphy’s ‘every man’ hero returns in ‘Beverly Hills Cop’ sequel

After more than a decade of superheroes saving the world on the movie screen, Eddie Murphy is bringing back the character he describes as “every man”, reports Reuters‘ Rollo Ross.

Murphy returns as Axel Foley in Beverly Hills Cop: Axel F, a new installment in the action comedy franchise that debuted 40 years ago in 1984. The movie lands on Netflix on Wednesday.

“For 10-15 years, everything was CG (computer-generated), big visual effects and superheroes and people saving the day wearing capes and tight suits,” Murphy said in an interview.

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