Mamamia has appointed Georgie Nichols as its new chief revenue officer (CRO).

Nichols brings over 25 years of experience to the media group across media, marketing and agency teams, including general manager at Carat and media director at Telstra. Her most recent role was as national sales director at Seven West Media.

She will join Mamamia in mid-October, leading the sales team and setting the strategic commercial direction for revenue and partnership growth.

Nichols will join the executive leadership team, which also includes newly appointed chief content officer Zara Curtis, chief operations and product officer Luca Lavigne, chief financial officer Riley O’Neill, chief creative officer and co-founder Mia Freedman, and executive chair and co-founder Jason Lavigne.

Natalie Harvey, CEO, said: “We took our time, searching far and wide to find the perfect leader for our Sales team and to join our Executive Leadership Team. This role was the missing piece of our puzzle and we were looking for the best of the best.

“As we launch hard into the new era at Mamamia, we needed someone who was entrepreneurial, curious and strategic, commercially strong, had strong relationships in market and was an exceptional leader.

Mamamia team

“Basically we were looking for a unicorn and we found her. Georgie has all of these attributes & more. Her passion for leading people while creating and nurturing client & agency relationships as well as her enormous engine and infectious energy is inspiring.
 
“Her undeniable strengths combined with the ambition and the momentum of Mamamia is a perfect match. She is the best people & commercial leader I have ever worked with and I can’t wait to see her make magic at Mamamia,” Harvey added.
 
Nichols said of her new role: “Working for a media brand whose purpose you are passionate about with an incredible leadership team focused on sustainable growth is my definition of THE Dream.
 
“Mamamia’s core purpose is to make the world a better place for women and girls and with one of the strongest leadership teams in the country, my dream is about to become a reality!
 
“Mia, Jason and the entire Mamamia team have done an incredible job building Australia’s largest independent women’s media brand over the last 16 years.
 
She added: “I am so excited to join them alongside media powerhouse and newly appointed CEO Natalie Harvey, and creative and brand extraordinaire and chief content officer Zara Curtis to help continue to drive the Mamamia brand forward. I can’t wait to get started!”

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Top image: Georgie Nichols

Foxtel Group chief executive Patrick Delany recently explained to Mediaweek the important part Foxtel Media plays in the business model.

This week Mediaweek met the Foxtel Media chief executive Mark Frain to hear more about that growth and future plans.

“FY24 was our best year on record in terms of advertising, just under $50 million worth of growth year-on-year. That came in what was, let’s be honest, a very challenging market.

“We were delighted with that result with growth coming from the new digital assets of Kayo and Binge, which we’ve worked tirelessly on for the last three or four years. To see them delivering high double-digit growth was outstanding. That was the end of a three-year strategy for Foxtel Media to have 50% or more of our revenue being from digital and we’re on track for that going into the start of FY25.”

‘Digital growth looking strong again’

When asked about his current ad market outlook, Frain said: “It feels like we’ve been in this cycle for a long time with the advertising bouncing along the bottom in terms of growth.”

Frain usually tells it like it is. Talking more about the current climate, he added: “The ad market coming into this new financial year is still a bit stuffed, still a bit fragile. July was probably not as strong as we would like, but we’ve seen the quarter build from that moment and digital growth is looking strong again into this new year.”

He said Foxtel Media’s momentum from FY24 has certainly continued.

Mark Frain at Foxtel Media 2024 Upfront

Kantar panel progress

It’s been just under 12 months since Foxtel Media detailed its plans to leverage its set top boxes in a new measurement platform in partnership with Kantar Media. Former Foxtel Media exec Murray Love returned to the company to build it. More recently former OzTAM boss Doug Peiffer came on board too as a special advisor.

Foxtel Media will unveil more detail about the measurement system at next month’s Upfront event. But Frain did tell Mediaweek: “We’ve been working tirelessly, primarily on the sport side, to make sure that valuable content is measured accurately and consistently. We did a lot of work with our agency partners over the months leading into the 2024 football seasons.

“It’s been a record-breaking season for both codes. It’s critically important for us to have the big-ticket items of live sport accurately measured.

And because we don’t interrupt live sport, a lot of the brand integration work we do with clients also in the magazine shows, whether that be AFL 360 or NRL 360, AFL Tonight and others. What we’ve seen through the Kantar data is the audiences are more engaged in those shows.

“Advertisers and agencies are really seeing the benefit of that data when it comes justifying their investment decisions in live sport and the associated magazine shows.

“If you’re continually proving to clients how much you’re delivering for them in terms of return on investment, they’re likely to carry on spending with you. And then increase that spend as your audience continues to grow.”

Viewing experience

With Foxtel Media revenue climbing, the platform continues to place importance on the viewing experience. Apart from the Binge ad tier, Frain noted not to much has changed regarding ad loads.

“We’re still averaging four to five minutes of ads an hour.”

Viewers might notice slight changes, yet there seems to be much content that carries few interruptions. “There’s quite a few things that are still pretty sacrosanct,” grinned Frain.

“We are very conscious of respecting paying subscribers. There’s only so far you can push it – the viewing experience is massively important.”

Frain did admit: “We have a very healthy debate internally on the ad loads that we run and where we run them. And that is the right debate to have when we’ve got millions of customers that are paying for their content experience.”

See also: Foxtel Upfront 2024 – Kantar Media partnership to deliver comprehensive ratings data

Foxtel Media hot property: Fox Footy’s Michael McNeill with hosts Sarah Jones, Jason Dunstall, David King and Leigh Montagna

Binge ad tier attracting different customers

There seems to be general acceptance from many viewers that in some cases watching ads is a fair trade off for access to the content for a certain price.

“Based on the right value equation, many viewers are certainly not put off by advertising. But I say again, only if it’s done with a like-minded respect for their viewing experience.

“If you abuse that, you could get into some challenges. But we certainly haven’t done that. We feel the level of the advertising on the Binge base tier is at a low enough level.

“We’re certainly not seeing high levels of negativity towards advertising. There’s always a preconception that if you introduce ads anywhere it has an adverse effect. There’s a growing new generation of streaming customers that have kind of been brought up on advertising experience in different platforms, whether that be YouTube, whether that be TikTok or some of the other brands.

Get ready for Super Saturday

It’s a bit early perhaps to talk too much about AFL Super Saturday coming to Kayo Sports and Foxtel customers next year. Especially when the current season still has four weeks to go.

But…“It will be enormously exciting next year. We see on the AFL side a different level of exclusivity than we’ve ever had before, especially around Super Saturday,” said Frain.

“I don’t want to give too much away, but you’ll see a significant evolution of the Super Saturday product, particularly on AFL, but likely on NRL as well.”

More details likely to be unveiled at the Foxtel Media Upfront in October.

See also: As AFL and NRL head towards finals, Foxtel Media reveals 2024 audience growth

News Corp Australia’s newly formed free news & lifestyle business unit has unveiled its publishing team to spearhead the next stage of growth.

Led by managing director and publisher, Pippa Leary, the free news & lifestyle division encompasses news.com.au, as well as lifestyle sites such as Escape, Taste.com.au and Body+Soul among others.

Leary said: “Our new team brings together the leading experts in the Australian publishing, video and e-commerce space and reflects our strategic focus to drive both user engagement at scale and strong client outcomes across our suite of properties.”

Pippa Leary

General manager of group strategy, Nitin Goel, takes on the newly created role of general manager, audience, product and marketing. He will lead the strategy to convert audience engagement into client outcomes, optimising the audience experience through data-led insights and digital product management.

Head of ad product & strategy, Ryan Hedditch, has been promoted to general manager of commercial video & audio. He will define ad client product strategies in order to continue driving profitable growth for video, native, display and audio.

General manager of partnerships, Georgi Pell, has been appointed to the new position of general manager of Client Commercial. She will drive optimisation across the suite of free news & lifestyle brands, planning and prioritising client revenue growth.

Director, commercial data, video & product, Paul Blackburn, takes on the new role of director of commercial data & e-commerce. He will work on the strategic commercialisation of data assets through products and partnerships as well as drive the e-commerce strategy.

Rounding out the leadership team is Meagan Gray, who has accepted the newly established role of head of commercial product. She will lead the prioritisation, roadmap development and delivery of portfolio initiatives and lead client product delivery.

The new leadership team comes off the back of News Corp launching its state and communities masthead division in August.

Led by managing director and publisher, Mark Reinke, Reinke appointed John Lehmann to the newly-created role of commercial director of the State and Communities Mastheads, which includes the Herald Sun, The Daily Telegraph, The Courier-Mail, The Advertiser as well as regional, rural and community titles.

See also: Staff shuffles at News Corp with launch of State and Communities Mastheads division

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Top image: L-R: Ryan Hedditch, Meagan Gray, Pippa Leary, Nitin Goel, Georgi Pell, Paul Blackburn. 

Seven West Media has appointed Jordan King to the new role of digital sales strategy director, effective 4 November.

Reporting to group managing director of Seven Digital, Gereurd Roberts, King will work with Seven’s sales and digital business leadership to define its future-focused go-to-market strategy, product portfolio, programmatic approach and tech stack.

King joins Seven from Nine Network, where he was director of programmatic and digital sales for three years. His previous roles at Nine include director of audience and automation and head of audience and automation. He has also held senior roles at Unruly and News Corp Australia, and is a member of IAB Australia’s Executive Technology Council.

Roberts said: “We couldn’t be more excited to welcome Jordan to the team. He is widely regarded as one of the best digital sales talents in the country and will play a leading role as we accelerate Seven’s digital growth and ambitions.

“With the onboarding of both cricket and AFL digital rights later this year, alongside our unbeatable slate of premium on-demand content, it is the perfect time to bring Jordan on board. 7plus is primed to deliver high-value audiences at scale, and Jordan will work to ensure that equals efficient and effective results for our partners.”

King said: “I’m tremendously excited to be joining Seven as it continues to transition and evolve into a media business of the future. Seven is bolstering its impressive BVOD footprint and expanding its live-streaming credentials with the introduction of the cricket and AFL digital rights. It is uniquely placed to capture audiences at scale in the Australian market.

“I couldn’t be prouder of my time at Nine and thank the individuals and organisation for seven fulfilling years. I’m energised at the opportunities emerging at Seven and across BVOD with the launch of VOZ Streaming and can’t wait to get started.”

Former Nine director of sales for total television, Richard Hunwick is joining Adgile as its chief commercial officer.

Adgile is a TV ad measurement company founded in 2015 whose vision is ‘to democratise Total Video advertising measurement.’

Hunwick is joining its executive leadership team alongside founder and MD Shaun Lohman, chief customer officer Craig Service and COO Mark Schanzl. 

Hunwick stepped down from his role at Nine after 14 years with the business. Resigning in May, he said at the time: “It’s been an amazing journey at Nine, and it’s been a privilege to lead the best sales team in the country to some incredible success, as we navigated a period of unheralded transformation from a stand alone TV business, to a digital first, multi-platform, content company.”

“Over the last six months, I’ve been thinking about all we’ve achieved, my own future and what opportunities lie ahead. Whilst it was a tough decision to walk away from a business that’s primed for growth in an Olympic year, it’s also the most exciting time I can remember in the media industry.”

Hunwick joined Nine in December 2010 as director of sales in Brisbane, then was promoted to national director of sales for television and radio through to his current role.

In November 2023, Omnicom Media Group Australia (OMGA) extended its commercial partnership with Adgile. 

OMGA introduced a third-party quality assurance against every VOD campaign for all clients, in what the holding company called “an industry-first move”.

Alex Pacey, OMGA chief product officer, said Adgile’s capability to benchmark a wide range of metrics empowers clients to generate insights at an impression level, addressing VOD quality issues immediately.

“The ongoing proliferation of consumer eyeballs onto all available screens is self-evident in Australia. Brand dollars are following. The mandate for Omnicom agencies is to ensure we can provide market-leading, tech agnostic, transparent view of where those dollars are going and where the ads are appearing.

“The opportunity to bring Adgile tech and measurement capabilities within our existing agencies processes gives OMG clients a clear market advantage.”

See also: Omnicom Media Group Australia extends commercial partnership with Adgile

The Australian entertainment subscription market, which includes video, music and gaming services, grew by 5 per cent to 52.3 million services in the 12 months to June 2024, despite cost-of-living pressures and services’ increasing focus on profitability, according to new research by emerging technology analyst firm Telsyte. The research is contained in the new Telsyte Australian Subscription Entertainment Study 2024.

The study indicates the market is maturing, particularly in Subscription Video-on-demand (SVOD) services, where most (over 70%) subscribers now have more than one service. We will focus on the results for the SVOD sector in this summary of the report.

Growth rates are in single digits: SVOD (4%), streaming music (9%), and games-related subscriptions (6%). Streaming music’s higher growth was boosted by the launch of TikTok Music during this period.

Ad-supported plans driving SVOD growth

SVOD continues to grow in a mature market and the total number of (SVOD) services grew by 4% year-on-year, reaching 25.3 million in June 2024.

Subscriber growth is attributed to a population increase, the introduction of more affordable ad-supported plans, and strong consumer interest in diverse content across multiple services. Revenue growth was driven by subscription cost increases and increased service adoption.

Netflix remains the clear leader with 6.2 million subscriptions at the end of June 24, followed by Amazon Prime Video (4.8 million); Disney+ (3.1 million); Stan (2.6 million); Paramount+ (1.8 million); Binge (1.6 million); Kayo Sports (1.6 million); and YouTube Premium (1.0 million).

The long tail of smaller services (below 1 million subscriptions) collectively increased by 1 per cent, driven by consumer interest in diversified content at affordable price points, sometimes under $10 per month.

Among all services above 100,000 subscriptions, Britbox saw the fastest growth in FY2024. Anime-focused Crunchyroll and reality TV-focused Hayu also showed strong performance.

 SVOD ad-supported subs grow from 1m to 2.5m

Excluding dedicated sports services that serve ads during live sports broadcasts, Telsyte’s research found there are some 2.5 million SVOD subscriptions subsidised by advertisements (June 2024), up from around million a year ago. Ad-supported subscriptions now account for 11% of the total SVOD services.

Ad-supported plans offered by Netflix, Binge and Paramount+ are the most affordable base tier and come at a time when consumers are increasingly tightening their wallets.

This growth is set to continue as the study found consumers are increasingly receptive towards having advertisements on their SVOD services if it can help subsidise the subscription cost. Close to 1 in 2 (45%) of SVOD users are interested in such a plan, a sharp 9% increase from a year ago.

Telsyte estimates the introduction of more ad-supported plans could potentially lift the average number of subscriptions per household closer to 3.7 (currently 3.5) by 2028.

Average monthly budget for SVOD is just $36

SVOD services remain an important part of Australians’ video entertainment mix with over half (53%) of SVOD subscribers Telsyte surveyed indicating they continue to discover interesting new content and 45% are comfortable paying for multiple services.

However, the study among those willing to pay for streaming video services, the average monthly budget has marginally declined by 2 per cent to just under $36, adding to last year’s 7% increase. The hardest-hit consumer segments that saw their SVOD budgets reduced the most are young families and individuals with a medium income.

The study found the SVOD market revenue (excluding advertisements) reached an estimated $3.5b for FY2024, a 15% year-on-year increase driven by cost rises and increased service adoption.

Anna Torv in the forthcoming Netflix drama Territory

Price rises bite: When will bundling be a thing?

Depending on the plan, the retail costs of top SVOD services have increased between 10% and 67% since June 2020, impacting the affordability of accessing services.

The increasing costs highlight the potential interest in bundling multiple services to save costs, with nearly half of SVOD users claiming they will consider subscribing to new services if they come with a bundled discount with services they are already paying for.

According to Telsyte’s research, the average total weekly video entertainment consumption increased by 4% year-on-year to 47 hours, driven by free sources such as BVOD, YouTube and videos on social media.

Social media video platforms such as YouTube and Tiktok continue to be popular. Telsyte estimates over a million are subscribed to YouTube Premium, the paid version of YouTube, highlighting the demand for niche and user-generated content.

Broadcasting Video On Demand services (BVOD, incl. 7Plus, 9Now, 10Play, ABC iView and SBS On Demand) remained popular and most BVOD platforms had more than 11m viewers during FY2024. The research also highlighted the increased usage of 9Now during the 2024 Paris Olympics.

Nearly 5m Australians claim they have used Free and Ad-supported streaming TV (FAST) services or services that offer FAST channels in the last 12 months.

The FAST market has quickly expanded over the last 24 months, with services such as Samsung TV Plus, LG Channels and Plex. Dedicated fast channels can also now be found on all of the BVOD services and Fetch’s platform.

What’s key to growing customer base?

Telsyte estimates the total number of SVOD subscriptions could reach over 30 million by June 2028, driven by robust content piepline; potential new market entrants such as HBO Max; increasing availability of ad-supported plans across numerous services; and more immersive video experiences.

The study highlighted significant interest in Australian content on SVOD platforms in the past year, and two in three (64%) Australians claim they have watched Australian-related content on SVOD during that time.

Drama, documentaries and comedy content were among the most popular categories, with more than half (56%) say they want to see more on these platforms.

Half of subscribers still believe it is important to have content that has Australian stories, voices, culture and values on SVOD services. Additionally, 37% of Australians say they are more likely to tune in if the video content is about Australia or is an Australian production.

See also: Telsyte streaming report 2023 – Paramount+ fastest growing, Netflix reports first YOY drop

For details of purchasing The Telsyte Australian Subscription Entertainment Study 2024 go to [email protected]

Wineglass Bay in Tasmania has been voted Australia’s best beach while the Big Banana in Coffs Harbour is the country’s favourite ‘big thing’, according to exclusive research conducted by Nine.

9Travel and Today have joined forces to launch the Aussie Travel Trends Index – a comprehensive survey into the travel habits of Australians.

The research, conducted through the Nine Audience Insights team, looked at where, when and how Australians are travelling, the emerging trends in travel and some key shifts for the future.

The number one beach in Australia, voted for by Nine readers and viewers, was Wineglass Bay in Tasmania. Closely followed by Whitehaven Beach in Queensland, Hyams Beach in NSW and Noosa Beach, Surfers Paradise rounded out the top five. Sydney’s Bondi had only 4% of the Nine audience ranking it as the number one beach destination.

Far North Queensland and Melbourne were the winners when it came to domestic travel, while overwhelmingly Europe was the top overseas holiday destination.

Australians also revealed they were willing to spend up to $5,000 on a domestic holiday and up to $20,000 on an international trip.

When it came to “Big Things” the number one Big Thing was the Big Banana in Coffs Harbour, followed by the Big Pineapple then the Big Merino.

The Aussie Travel Trends Index also looked at the best camping spots, the top tourist destination, Australia’s favourite regional town and the best Honeymoon spot.

Director of Nine.com.au Kerri Elstub said: “The Aussie Travel Trends Index highlights all the very best things about our great country – as well as providing valuable insights for our commercial partners. We can tell you exactly how much our audience wants to spend and where.”

Steven Burling, director of morning television, said: “Today viewers are passionate travellers and they particularly love exploring Australia. I know they’ll be intrigued to see where their favourite destinations place on the Aussie Travel Trends Index.”

The research will be rolled out across 9Travel over the next ten weeks – and will be presented on Today in a series of appearances by traveller and presenter Sami Lukis.

Paris Olympics has boosted ad revenue for host broadcaster Nine Entertainment group for July 2024, according to data from Guideline SMI.

The strong shift in ad spend to Nine came in a market experiencing softer ad demand, with the value of total bookings back 7.8% from last year’s record level of July ad spend.

As a result, all major media are reporting lower ad spend, although Audio media has delivered growth of 0.1% when Linear and Digital Radio revenues are combined.

Guideline SMI APAC managing director Jane Ractliffe said the Olympics had created an abnormal month for ad spend with bookings moving to the host broadcaster.

“The strength of Nine’s Olympics broadcast and the success of so many Australians at the Games has clearly moved an abnormal amount of revenue to the Nine group in July, and with more Olympic broadcast days falling in August that trend will continue next month,” she said.

“At the same time it seems advertisers not associated with the Olympics have decided to reduce their media investment and that’s led to another month of lower bookings.”

Among the major product categories, the Government category was again the standout in July with a 61.2% jump in ad bookings, with Linear TV gaining the largest share of that ad spend with its total share jumping to close to 30% of all Government bookings in the month.

Elsewhere, demand from Retail advertisers was strong in July (+12.4%) as was Automotive Brand demand (+5.8%) but that was offset by large declines in ad demand from the Communications and Media categories.

“We can see there is a two-speed ad market developing as the product categories delivering growth are growing that media investment in the high double-digit range, and that’s meant that on a combined basis the largest growth categories have lifted revenues 9.8% this month – way outpacing the broader market,” Ractliffe said.

And Guideline’s calendar year-to-date results show total demand back just 1.5% to with Outdoor showing the largest gain of 5.1% followed by Cinema (+3.9% YOY) and Digital (+3.6%).

Nunn Media has welcomed the appointments of Mitch Hunter and Melissa Galanos to the independent media agency.

Hunter joins Nunn Media’s Sydney office as head of strategy and innovation and brings a wealth of experience from a multi-disciplinary background spanning creative, media, and customer experience (CX).

Her skills in creative planning, communications strategy, and CX will help ensure every touchpoint of the customer journey works together to maximise success for clients.

Hunter has worked in senior roles at agencies including PHD, Naked, Apparent, Bohemia, Mojo and The Core Agency. Throughout her career, she has supported many iconic brands, including Vodafone, Coca-Cola, Pepsico, Tourism Australia, Telstra, and Unilever.

Chris Walton, managing director of Nunn Media Sydney, said: “Mitch has done everything from helping redefine client business models to developing award-winning creative and media campaigns. Her ability to blend creative strategy with a deep understanding of the customer journey makes her the perfect fit for this role. Her passion for tackling challenges head-on and driving demonstrable results will deliver strong outcomes for our clients.”

Melissa Galanos also joins Nunn Media in the newly created senior account manager. She brings more than six years of experience in media and a background in planning and buying having worked across both offline and online channels.

Galanos comes to Nunn Media after more than three years at Slingshot and has worked across brands including Universal Sony Pictures Home Entertainment, Australian Pork, Daikin and Inspirations Paint.

Walton said: “Melissa has a proven ability to manage complex campaigns and deliver results for a broad base of clients in what is a rapidly evolving media landscape. We welcome both her and Mitch to the growing Nunn Media business in Sydney.”

Nunn Media’s clients include Spotlight Retail Group, JB HiFi, The Lottery Office, 13CABS, MG Motors, Aussie Broadband, Silversea Cruises, Spin Master and Bakers Delight.

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Top image: Mitch Hunter and Melissa Galanos

TOP 5

1. Deadpool & Wolverine – $2,280,943 (1)

Walt Disney’s Deadpool & Wolverine continues to perform exceedingly well, hitting over $1 billion in box office gross globally. This is the Merc with the Mouth’s first appearance in the MCU, which is now possible due to Disney buying Twentieth Century Fox in 2019. Aussie Hugh Jackman also returns as Wolverine. The film now has the eighth-biggest opening weekend of all time globally. Coming in first place this week, Deadpool & Wolverine took $2,280,943 in its sixth week, averaging $5,256 over 434 screens.

Total Australian Box Office gross to date: $61,723,069

Synopsis: Deadpool’s peaceful existence comes crashing down when the Time Variance Authority recruits him to help safeguard the multiverse. He soon unites with his would-be pal, Wolverine, to complete the mission and save his world from an existential threat.

2. It Ends With Us – $1,312,702 (2)

Sony’s It Ends With Us is based on the bestseller of the same name, written by Colleen Hoover. Boasting a massive debut, a sequel, is assumingly all but confirmed. It will also assumingly be based on the book ‘It Starts With Us’. Coming in second place this week, It Ends With Us took $1,312,702 in its fourth week, averaging $2,752 over 477 screens.

Total Australian Box Office gross to date: $19,867,091

Synopsis: Lily Bloom moves to Boston to chase her lifelong dream of opening her own business. A chance meeting with charming neurosurgeon Ryle Kincaid soon sparks an intense connection, but as the two fall deeply in love, she begins to see sides of Ryle that remind her of her parents’ relationship. When Lily’s first love, Atlas Corrigan, suddenly reenters her life, her relationship with Ryle gets upended, leaving her with an impossible choice.

3. Alien: Romulus – $1,231,902 (3)

Disney’s new entry in the Alien franchise comes from the director of the Evil Dead remake, Fede Alvarez. Starring Cailee Spaeny in the leading role, the film returns to its horror roots while also adopting classic filmmaking techniques such as using animatronics, not CGI and building large sets, and not relying on green screen. Coming in third place this week, Alien: Romulus took $1,231,902 in its third week, averaging $3,384 over 364 screens.

Total Australian Box Office gross to date: $8,036,570

Synopsis: Space colonizers come face to face with the most terrifying life-form in the universe while scavenging the deep ends of a derelict space station.

4. André Rieu’s 2024 Maastricht Concert: Power of Love – $658,056 (debut)

Coming in fourth place this week, André Rieu’s 2024 Maastricht Concert took $658,056 in its first week, averaging $3,519 over 187 screens.

Synopsis: From his picturesque hometown of Maastricht The King of the Waltz presents a must-see big-screen spectacular. In a concert overflowing with passion, André’s unique repertoire combines classical, musicals, pop and rock.

5. Blink Twice – $505,148 (4)

Coming in fifth place this week, Warner Bros. Blink Twice took $505,148 in its second week, averaging $1,824 over 277 screens.

Total Australian Box Office gross to date: $1,612,591

Synopsis: When tech billionaire Slater King meets cocktail waitress Frida at his fundraising gala, he invites her to join him and his friends for a dream vacation on his private island. Wild nights soon blend into sun-soaked days, but when strange things start to happen, Frida must uncover the truth if she hopes to make it out alive.

Top 6 – 10

6. Despicable Me 4
7. Inside Out 2
8. The Crow
9. Stree 2
10. AfrAId

UM Australia and Mutinex have teamed up to lead a media data integration that will automates data sharing between the agency’s data systems and Mutinex’s GrowthOS platform.

The innovation aims to deliver unprecedented time savings and enhanced data accuracy for UM clients, led by foundation client Optus.

Adam Krass, chief digital, data and tech officer of UM, said: “As we move towards a future dominated by data-driven strategies, this collaboration underscores UM’s commitment to innovation, privacy, and security.

“The seamless and secure data transfer process aligns with the highest standards of data protection, ensuring client information is handled in compliance with government regulation and leading encryption solutions.”

Mat Baxter, Mutinex CEO, APAC said the integration allows clients to make quick and informed decisions. “UM and Optus deserve congratulations for pioneering the way media data is supplied for MMM. Let’s be frank, the more fluid the data supply the more valuable the insight. It’s as simple as that.”

The groundbreaking integration offers substantial benefits to foundational client, Optus, by enabling faster and more accurate data-driven decision-making.

The integration aims to deliver enhanced efficiency to reduce manual work loads, improved data accuracy, accelerated decision-making, and privacy and security.

Cam Luby, head of consumer marketing of Optus, said: “This collaboration marks a significant leap forward in how we leverage data to drive growth and innovation at Optus. By automating the flow of data between UM and Optus technology, we are not just improving our decision-making speed but also elevating the precision and impact of our marketing strategy.”

The integration between Mutinex and UM will be extended to other shared clients delivering exceptional value and improved marketing and business outcomes.

This comes after UM defended the federal government’s master media account. Last month Mediaweek confirmed the Mediabrands agency beat out Omnicom’s PHD in the final stages of the competitive pitch.

See also: UM defends federal government master media account

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Top image: Adam Krass

Convo Media, formerly Convo Ink, has launched its rebrand to better reflect its focus on making programmatic content straightforward and effective.

The rebrand comes as the agency expands its services, sharpens approach to programmatic advertising and strengthens its relationships with leading publishers under chief executive officer Monique Harris, a strategic investor and major shareholder of the business.

Harris, who has successfully led digital ventures like Tempest Media and SheSaid.com.au, brings her years of experience and straightforward approach to drive the business forward.

“Convo Media isn’t just a new name; it’s a renewed commitment to simplifying programmatic content,” said Harris. “We’re a female-led team that’s all about cutting through the noise and getting things done. We’re here to make programmatic easy for our clients and partners, delivering effective solutions without the hassle.”

Since starting as Convo Ink in 2021, the agency has grown from offering three programmatic ad units with three publishers to now having eight live formats and custom ad units tailored for specific clients. The Convo Media Publisher network now includes premium Australian websites such as News.com.au, Nine.com.au, The Daily Mail, Carsales, SEN, Rome2Rio  and MindFood.

Emma Yexley, national sales director, said: “We’ve built a strong network of publishers, giving our clients better reach and engagement. Our content is designed to hit the mark with audiences and fits seamlessly with these premium trusted publishers.”

Convo Media is also taking steps to reduce its carbon footprint by partnering with an additional ad server. The agency monitors and reports to advertisers how much carbon emissions each campaign has saved, making digital advertising not just effective but also more sustainable.

“We’re all about delivering great content while keeping an eye on our environmental impact,” added Harris. “Good advertising should drive results and be responsible at the same time.”

Looking ahead, Harris said: “We’re excited about where Convo Media is headed. Our team is strong, our partnerships are solid, and we’re ready to keep making programmatic content that works. We’re here to simplify the process and make it fun along the way.”

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Top image: Emma Yexley and Monique Harris

Sparro by Brainlabs has been appointed to manage SEO for Healthengine, the health platform that connects millions of users with over 9,000 Australian healthcare practices, including GPs, dental, allied health, medical specialists, and pharmacies nationwide.
 
Matt Gudge, newly-appointed CMO at Healthengine, said: “Investing in our ability to connect patients to providers has been the backbone of our business and core to our mission.

“That’s why we are excited to announce that Sparro has been onboarded as our SEO agency, to support our continued efforts to simplify the patient journey and grow our providers’ businesses.”

The digital marketing agency will work closely with Healthengine to revise its website structure, user experience and on-site content. The vision of this work is to efficiently connect searchers with healthcare providers, right when they need a seamless experience most.

Morris Bryant, co-founder and partner at Sparro by Brainlabs, said Healthengine is a great business to be partnered with.

“Healthengine are trying to create better accessibility of medical support for the end customer, while also adding a heap of value for the medical provider. The medical system needs that more than ever.”

“We’re stoked to be a part of it and fill more vacancies through our SEO work.”

CMO Matt Gudge said: “In the ever-changing SEO landscape it’s critical to have a partner onboard that can continue to support, optimise and lift Healthengine’s great efforts in this space.

“I am excited to welcome Sparro and their incredible team to the business and am eager to see the impact this investment can have on our provider network.”

The Healthengine’s SEO account win for Sparro by Brainlabs comes after the digital marketing agency was appointed to to manage Under Armour’s paid digital media, above-the-line media, SEO, and affiliate marketing.

See also: Sparro by Brainlabs wins Under Armour’s media account

Australian publisher Common has welcomed Airing Your Dirty Laundry (AYDL) to its show roster, offering a fresh and engaging entry point into the music, festival and pop culture scene for both Australian audiences and brands.

AYDL, hosted by Daphne Berry, transforms a modest laundromat into a dynamic stage for intimate conversations with the music community.

Berry, who is deeply immersed in this world through her engagement with Oliver Leimbach of Lime Cordiale, brings a unique perspective to the show. The talk show features vibrant, unscripted dialogues that delve into artists’ passions, struggles, and triumphs. It aims to be a mix of entertainment, inspiration, and revelation, ensuring that more than just laundry gets aired.

The YouTube show has already featured notable guests such as Peach PRC, 360, BBNO$, and The Snuts, with a highly anticipated roster for 2025.

In addition to music interviews, the show will include unique segments with guests like KIC co-founder, Steph Claire Smith to expand their audiences experience when consuming AYDL content.

The partnership with Common will enable the show to tap into the publisher’s expansive reach, which includes a global audience of 36 million and 2.5 million viewers in Australia each month. This collaboration will significantly boost the show’s visibility, awareness, and overall impact. Additionally, Common will facilitate connections with Australian brands, paving the way for multi-faceted partnerships that span video, audio, and even into live events.

Berry said: “We’re incredibly excited about A YDL – The Australian music media landscape is in need of some TLC, and I wholeheartedly believe A YDL will play a key role in its revitalisation.

“The support we’ve received so far from the music industry has been nothing short of amazing, and I’m confident we’ll become the leading YouTube show for young Australians passionate about music and pop culture. Common is the perfect partner for us — our goals are completely aligned.”

Common’s COO Rachel Henry (née Hall) said that signing AYDL is a huge step forward for House of Common. “This show is breaking new ground in Australia, providing a unique offering that no one else is currently delivering. The fresh space and opportunities it presents are incredibly exciting.

“We’re already collaborating with Daphne on Common’s own franchise, Common Voices, and are seeing impressive results. We’re confident that this show will quickly be of huge value to advertisers looking to actually connect with music culture.

“Our goal is to work with the best creator shows and podcasts that social has to offer. Through this partnership we have taken another big step forward.”

See also: New Aussie publisher Common aims to celebrate humanity at its best

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Top image: Daphne Berry

nib has launched its new brand campaign this week, repositioning itself as a total health partner for its members.

‘Potentially Amazing’, created by Dentsu Creative, is designed to accelerate nib’s corporate transformation from ‘payer to partner’, meaning the brand isn’t just there for the rainy days but every day.

The work helps members see the total range of products and benefits available to them – from travel to NDIS services – ultimately enabling them to get great value, access, and insight into their health and wellbeing.

The campaign humorously explores just how far members might go if they used their nib membership to its fullest potential. While accessing Telehealth appointments might give someone the time to try out their children’s new video game, adding another benefit, and then another, could potentially lead to something ‘amazing’.

As well as driving signups, the work is also designed to target and engage existing members by reminding them of their membership benefits and encouraging them to make use of more of them.

Chris Donald, head of marketing & digital at nib, said: “As we expand our product and service offering, we wanted a creative platform which would expand the perception of nib – for both our members, as well as the broader community. When the team at Dentsu brought “Potentially Amazing” to us, we knew we had an idea that was engaging, enduring and lifted the brand to match our ambition.”

Ben Coulson, chief creative officer at Dentsu Creative, said: “Our last campaign took the first step towards establishing nib as Australia’s premier health partner. This one kicks the door down and does a bomb in your pool. Figuratively and literally.”

nib’s campaign launches across TV, cinema, radio, digital video, out-of-home, digital display and social on 1 September.

Credits:

nib:
• Head of Marketing & Digital: Chris Donald
• Senior Brand & Acquistion Manager: Kirsty Tapscott
• Brand and Communications Manager: Prue Frost
• Marketing Campaign Manager: Ryan Meredith

Creative Agency: Dentsu Creative:
• Chief Creative Officer: Ben Coulson
• Executive Creative Director: Sarah McGregor
• Strategy Partner: Graham Alvarez-Jarratt
• Senior Art Director: Mathew Hine
• Senior Copywriter: Tosh Greenslade
• Senior Producer: Tom Pearce
• Account Director: Joshua Pelz
• Account Manager: Emma Heazlett

Production Company: Hooves
• Director: Gustav Sundström
• Executive Producer: John Pace
• Producer: Helen Morahan
• DOP: Alex Serafini
• Production Designer: Mike Price
• Casting: Peta Einberg

Post Production: The Editors
• Editor: Stu Morley
• Online: Stu Cadzow
• VFX: Benjamin Zaugg
• Colourist: Ben Eagleton

Sound Design, Music Composition and Sonic Branding: Smith and Western

Budget Direct has debuted its Pet Insurance campaign featuring Chief – insurance detective Sarge’s canine companion – showcasing the insurer’s pet insurance, via 303 MullenLowe.

The new TVC is Budget Direct’s first pet insurance-specific work. It leverages past creative work since 2020, including carpark trolley trouble, an out of control leaf blower and a bath bomb gone wrong, and forms part of the broader, highly successful Insurance Solved platform.

Jonathan Kerr, chief growth officer of Budget Direct, said: “For several years, we’ve seen Chief taking an important role within Budget Direct’s Insurance Solved campaign.

 
“We know Australians love seeing the super smart Chief help out in all sorts of situations, but we took this opportunity to show another side to her relationship with Sarge in this latest spot.”

“A chocolate mishap is a familiar issue to many pet owners, so we have no doubt they’ll relate to this story as much as they have in our other Insurance Solved executions,” Kerr added.

Budget Direct’s Pet Insurance product recently won Canstar’s 2024 awards for Outstanding Value Pet Insurance and 2024 Outstanding Value Pet Insurance with routine care.

The longevity of the Insurance Solved platform has also been recognised by the broader industry; the work is a finalist in both ‘Long Term Effects’ and ‘Brand Value’ categories of the 2024 Australian Effie Awards.

The ‘Flashback’ campaign starts its rollout initially in Queensland this week across TV and online.

Credits:

Client – Budget Direct

Chief Growth Officer, Growth Ops – Jonathan Kerr
General Manager, Marketing and Communications, Growth Ops – Warren Marsh
Senior Marketing Manager, Marketing, Media & Acquisition, Growth Ops – Katie Lansdale
Marketing Manager, Pet Insurance – Marketing, Media & Acquisition, Growth Ops – Tara Hudson
 
Agency – 303 MullenLowe
 
Production Partners
Production Company – Good Oil Films
Director – Taylor Ferguson
DOP – Crighton Bone
Producer – Catherine Warner
Editor – Josh O’Sullivan @ ARC
Post Production – Blockhead VFX
Music and Sound Company – Sonar Music

KPMG Creates, the creative agency within KPMG Customer, has teamed up with superannuation fund Rest to launch the refresh of its visual brand identity.

Rest’s updated look will roll out gradually, beginning with the website and app, marking the beginning of a broader evolution that will touch all corners of Rest’s digital platforms and member communications.

Deborah Potts, chief member officer of Rest, said the refreshed brand is more than a facelift, calling it a statement of purpose.

“We represent around 2 million Australians, including more than a million who are younger than 30 years old. We want to create super they love by making the super experience simple.”

“The refreshed visual brand not only helps communicate our purpose but helps Rest deliver it. The goal is to make it easy for our members to build a relationship with their super. We believe helping members become more engaged in their super will help them build financial confidence today and be better prepared for the future.”

The KPMG Creates team worked with Rest to put simplicity at every step in the process, from the streamlined logo to the refined colour palette.

The logo now also features a heart symbol, reflecting the superannuation fund commitment to putting members at the heart of everything they do. The team’s choice of green as the signature colour gives Rest a fresh, distinctive edge in a competitive market.

KPMG Creates also worked with the Rest team to introduce cutting-edge AI tech to match Rest’s refreshed visual brand. The tool generates unique, non-photographic visuals, offering Rest more flexibility to tailor its communications to better engage members and offer more personalised experiences across digital channels.
 
Additionally, new user-centric design elements, also created as part of the evolved identity, are being added across Rest’s digital experience. These elements help Rest communicate in a mobile optimised and member-friendly way, supporting its work to simplify complex information and empowering members to manage their super seamlessly, wherever they are.

Sudeep Gohil, partner, KPMG Australia, said: “This isn’t just a brand refresh; it’s the result of three years of collaboration and trust with Rest. As the superannuation landscape grows more complex, members expect simplicity and intuitiveness from their super funds, just like any other part of their tech-driven lives.
 
“We’ve built something that feels effortless, whether they’re engaging with Rest through marketing or the latest digital tools. It’s about delivering confidence and simplicity in every interaction.”

“This is the evolved Rest – a brand that’s as bold as it is simple, with its members at the very heart of every decision,” he added.

Arnott’s continues its second year of partnership with Channel Nine’s The Block with a new integration asset that will move from in-show editorial into off-line Arnott’s owned promotions.

The partnership deal between the iconic snack brand and the home renovation show was brokered by Spark Foundry Australia, part of Publicis Groupe Australia’s The Neighbourhood.

The ‘Tradie Treat Trailer’, which premiered in last night’s episode, will frame on-set Arnott’s snacking moments and will be used by Arnott’s in off-network activations throughout the series and beyond.

The partnership also see the return of ‘Arnott’s Big Bikkies’, which sees contestants receive an additional $10,000 for a perfect ten score and delivered by Scott Cam in an Arnott’s Big Bikkie biscuit toolbox.

The Big Bikkie promotion will also skip from in-show to social, running on Arnott’s owned channels and offering the public a chance to win the same Big Bikkie tool tin, filled with overflowing Arnott’s product and a $1,000 gift card.

“Our ambition with The Block is to seamlessly integrate the nation’s favourite biscuits into one of the nation’s favourite programmes,” Jenni Dill, chief marketing officer for The Arnott’s Group, said. “The integration starts on screen but is designed to live beyond that by creating a seamless connection between the show and Aussies right around the country.

“In the coming weeks, there will be plenty of chances to pick up your favourite Arnott’s snacks, gather with friends and family, and enjoy The Block together!”

Toby Aldred, chief client officer for The Neighbourhood, added: “Integrating into editorial is one of the most effective ways to deliver attention to your brand and deserves the same level of creative thinking as traditional in-break assets. That’s the beauty of having Spark Foundry Australia and Saatchi & Saatchi Australia working so closely together in The Neighbourhood.

“The Block has over 1000 moments of integration, so making sure your moments are delivered distinctly is incredibly important. Our ambition with Arnott’s is to add to the theatre and fun of the show; we hope we’ve achieved that.”

The Neighbourhood is Publicis Groupe Australia’s connected platform of agencies that works with The Arnott’s Group.

Sunday 1 September 2024: VOZ Total TV Ratings Overnight Top 30 – Programs ranked on reach

Total People TV Ratings

Nine’s The Block recorded a total TV national reach of 2,371,000, a total TV national audience of 1,211,000, and a BVOD audience of 179,000.

The final scores for the main ensuite week were: 

Jesse and Paige: 27.5
Courtney and Grant: 28
Ricky and Haydn: 4
Kylie and Brad: 23
Kristian and Mimi: 21.5

Nine’s 9News recorded a total TV national reach of 2,247,000, a total TV national audience of 1,233,000, and a BVOD audience of 98,000.

Nine’s Paralympics 2024 D4 – Night recorded a total TV national reach of 1,482,000, a total TV national audience of 714,000, and a BVOD audience of 65,000.

Seven’s The Voice recorded a total TV national reach of 2,171,000, a total TV national audience of 1,039,000, and a BVOD audience of 81,000.

Seven’s Seven News recorded a total TV national reach of 2,128,000, a total TV national audience of 1,265,000, and a BVOD audience of 56,000.

Seven’s Spotlight recorded a total TV national reach of 1,344,000, a total TV national audience of 607,000, and a BVOD audience of 31,000.

10’s airing of Hunted recorded a total TV national reach of 1,006,000, a total TV national audience of 479,000, and a BVOD audience of 35,000.

People 25-54

Nine’s The Block:
• Total TV nation reach: 945,000
• National Audience: 522,000
• BVOD Audience: 111,000

10’s Hunted:
• Total TV nation reach: 394,000
• National Audience: 204,000 
• BVOD Audience: 21,000

Seven’s The Voice:
• Total TV nation reach: 636,000
• National Audience: 304,000
• BVOD Audience: 42,000

Nine’s Paralympics 2024 D4 – Night:
• Total TV nation reach: 606,000
• National Audience: 297,000
• BVOD Audience: 40,000

People 16-39

Nine’s The Block:
• Total TV nation reach: 471,000
• National Audience: 273,000
• BVOD Audience: 66,000

10’s Hunted:
• Total TV nation reach: 154,000
• National Audience: 81,000 
• BVOD Audience: 11,000

Seven’s The Voice:
• Total TV nation reach: 226,000
• National Audience: 97,000
• BVOD Audience: 21,000

Nine’s Paralympics 2024 D4 – Night:
• Total TV nation reach: 283,000
• National Audience: 151,000
• BVOD Audience: 22,000

Grocery Shoppers 18+

Nine’s The Block:
• Total TV nation reach: 1,802,000
• National Audience: 932,000
• BVOD Audience: 143,000

10’s Hunted:
• Total TV nation reach: 751,000
• National Audience: 357,000 
• BVOD Audience: 28,000

Seven’s The Voice:
• Total TV nation reach: 1,677,000
• National Audience: 822,000
• BVOD Audience: 65,000

Nine’s Paralympics 2024 D4 – Night:
• Total TV nation reach: 1,142,000
• National Audience: 555,000
• BVOD Audience: 52,000

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