Two of the news industry’s biggest advocates – Schwartz Media CEO Ben Shepherd and ThinkNewsBrands’ CEO Vanessa Lyons – have hammered outgoing GroupM CEO Christian Juhl‘s claims that “brands prefer to avoid advertising” next to the news.

Appearing in Washington for the House Judiciary Committee hearing on Collusion in the Global Alliance for Responsible Media earlier this month, Juhl said: “Today, trust in news sites is at a low point, and brands generally disfavour advertising next to news. For example, only 1.28% of brand spend is allocated to online news at this point.

“This is because brands prefer to avoid advertising alongside common news content, war, scandal, political division, and also because they do not need to advertise there to reach their target audience. Alternatives such as sports and entertainment provide a better way to reach these same consumers.”

Shepherd spent 15 years working for agencies, before taking the major publisher-side role earlier this year. He said in his time at agencies like CHEP, Thinkerbell, and Dentsu, “I never heard a client say they wanted to avoid the news.”

Shepherd told Mediaweek that he has had discussions with brands over concerns about appearing near inflammatory opinion pieces, and recommended avoiding specific verticals if there was discomfort. But he never encountered a client who wanted to completely avoid the news.

“And I never have had a client categorise news as Juhl did as ‘war, political division and scandal’,” Shepherd added.

“This is a categorical misrepresentation that is stunning from the leader of a media agency in control of over USD$60 billion of investment globally.”

Ben Shepherd

Lyons, CEO of ThinkNewsBrands, agreed with Shepherd that news is engaging and effective, and questioned the accuracy of Juhl’s comments.

“The thinking around ‘brand suitability’ which has seen some brands and their agencies avoiding news has gotten completely out of hand and isn’t based on facts,” Lyons told Mediaweek.
 
“Recent research by Stagwell and HarrisX found that placing ads next to news stories about conflict, inflation or crime had no discernible difference on brand perception compared to ads placed next to sport or entertainment.
 
“This misconception is leading brands to miss out on an extremely effective media environment where consumers are actively seeking information rather than just vacantly scrolling.
 
“The real facts tell the story.”

Vanessa Lyons

Shepherd concurred: “What we have here is a global media group CEO asserting that the entire media agency world is removing itself from news based off an incorrect assertion.” He acknowledged that “the news industry can shoot itself in the foot when it engages in tactics that are way out of step with the values of broader society,” such as “funding the defamation defence of an alleged war criminal (and losing)”.

“But they do not represent the work that 99.9% of news organisations and journalists do every single day, and the value that audiences place on this content,” he said. 

GroupM declined to comment on Shepherd’s argument.

At the hearing, Juhl was grilled by Ben Shapiro, a right-wing commentator and co-founder of conservative news site The Daily Wire. Shapiro said the Global Alliance for Responsible Media (GARM) – which creates advertiser guidelines with brand safety in mind – is a “cartel”.

Juhl said that amidst social and political division, advertisers “have placed a growing emphasis on brand suitability and accountability.”

“One of marketers’ biggest fears is that years, sometimes even generations, of reputation could evaporate overnight as a consequence of bad ad placement.”

He noted that sports and entertainment content was an alternative, and better, less risky, way to reach the same consumers who read other types of news.
 
Shepherd told Mediaweek said there is no credible delineation between the verticals – hard news and sport and entertainment news all serve to engage audiences.
 
“Some brands have an affinity towards sport as they want to be associated with performance and/or high passion, but ultimately at the end of the day all these forms of content are just that, content.”

In his industry newsletter, Signal, Shepherd calculated that based on Juhl’s assertion that only 1.28% of spend went to news content, GroupM would have spent $751 million in online news environments in 2023, as part of its USD$62.2 billion in total media investment. In Australia, he predicted the amount would be $22 million of GroupM’s total investment.

“Based on the CEO’s testimony that only 5% went into news environments overall, this would mean a little over $3 billion globally reaches news adjacent placements.

“This is staggering considering the audience volume for news online, for news on TV, for news in podcasts and audio, and news content on online video. News is a primary driver of engagement for all of these mediums. In every market in the world.”

‘Brands should be investing more in news, not less’

Lyons highlighted research by FiftyFive5 that showed engagement increased 2.3 times more in news environments than the average of other media channels. The same research showed advertising in news is 18% more trustworthy relative to all other media.

She also pointed to Peter Field’s IPA DataBank that demonstrated that brands advertising on news platforms from 2018-2022 had an 88% higher profit growth.

“Brands should be investing more in news, not less,” she said.

“The strategic reallocation of media spend into Total News, even by an additional 6%, can significantly enhance both upper and lower funnel metrics.

“ThinkNewsBrands is compiling a report to be released in the coming weeks, in which we will collate some of the leading research on this topic that will put these sorts of myths to bed. We look forward to sharing it with the industry and its clients.”

‘It’s a stunning gap between the actions of consumers and the actions of an agency’

Shepherd pointed to Meta, the parent company of Facebook and Instagram, as “one of the least trusted brands in Australia.”

He told Mediaweek: “It receives $5 billion from advertisers and a huge chunk of this is from agencies like GroupM.

“But trust is used by the GroupM CEO as an explanation as to why, despite almost 50% of the world’s population being news consumers, and the majority via digital means, only 1.28% of GroupM spend goes to digital news environments.

“It’s a stunning gap between the actions of consumers and the actions of an agency seeking to make their clients’ brands appealing to these consumers.”

Earlier this month, GroupM announced Brian Lesser will become global CEO in September when Juhl moves into the position of president, corporate development at WPP. Juhl has spent five years as GroupM boss.

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Top image: Juhl

Mutinex has finally made a long-rumoured hire official, appointing Danny Bass as chief revenue officer of the marketing measurement start-up as it moves to a “Salesforce-style” model.

Bass joins a stacked leadership line-up headlined by newly-minted APAC boss Mat Baxter, vice president US, multinational, and global John Sintras, and co-founder and global CEO Henry Innis.

“Danny is a super capable and highly experienced industry leader,” Baxter said of Bass.

“He has the exact pedigree Mutinex needs to continue our explosive growth and ambitious expansion both here in Australia and around the world. I couldn’t be more excited for him to join the team.

“Increasingly, businesses are focused on getting answers on how to grow instead of wading through reams of data. And as we evolve our product to do exactly that, it’s people like Danny that will help educate the market about these new, supercharged capabilities.”

The company said Bass – who was most recently Dentsu Media CEO until April, when he exited amidst a restructure – will accelerate the company’s global growth agenda.

“I’ve seen increasingly how the GrowthOS platform has become adopted much like Salesforce by the C-suite,” Bass said of joining Mutinex.

“C-Suite leaders and marketing teams are looking for one, unified platform to make sense of how to invest their growth dollars across pricing, media and more.

“That’s the platform our industry has been waiting for, and Mutinex has built it in GrowthOS. It’s why incredible leaders are joining them. And it’s why I see an amazing opportunity here to work to build this into a Salesforce-style platform for growth with both C-Suite leaders and our wider agency ecosystem.”

During his time at Dentsu Media, Bass lead the partnership agreement between the media agency and Mutinex when the platinum partnership agreement, in April last year.

Dentsu signed on as the start-up’s exclusive agency launch partner and provided the agency and eligible customers access to Mutinex GrowthOS.

Bass has also been CEO of Mediabrands Australia, and held senior roles at GroupM, Snap, and News Corp. His breadth of experience is what convinced Innis that the former dentsu CEO was the right person for the job.

“We’ve been scaling the go-to-market team for some time at Mutinex,” said Innis, who was recently named Mediaweek‘s Next of the Best in the leadership category.

“With a larger go-to-market team across both the APAC and US markets, and with EU to come, we felt that it was important to delineate clear leadership across the markets.

“Danny will work across both the US and APAC markets to drive our expansion further, embed with brands and ensure we maximise the value we also bring to our agency partnership channel.

“We anticipate Danny bringing significant maturity to how we service agencies as we move to a Salesforce-style model of engagement, and ensure we are building a technology that empowers every marketer to make the most effective growth decisions possible.”

When Innis hired Baxter, he told Mediaweek: “You don’t hire leaders like Mat Baxter unless you know you’re strapping in for a roller coaster ride of growth.”

“Mat is going to ship product at such a relentless rate that there will be no other tech company shipping product as quickly as us within six months,” Innis said. 

“If that’s the partnership that we form, all I’d say is good luck to anybody else.”

Baxter also invested $500,000 in the business, a “no brainer” decision: “Number one, I want to make money, of course. But number two, because I believe in the business, I wanted to put capital into the business because I think it’s a great investment.”

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Top image: Henry Innis and Danny Bass

With the Paris 2024 Olympics in action, Mediaweek is catching up with the standout brand partners powering the Summer Games to hear first-hand from their marketing guns about running campaigns on the world’s biggest sporting stage. Today, we’re with Michelle Klein, chief customer and marketing officer of Nine Olympic broadcast partner, NRMA Insurance.

What does being a broadcast partner of Nine’s coverage of the Olympic and Paralympic Games Paris 2024 mean for NRMA Insurance?

MK: It is the first time in history NRMA Insurance has supported a network’s Olympic and Paralympic Games broadcast. The event is universally loved by people around the world and it’s our honour to partner with Nine’s coverage, helping to bring the broadcast to Australians nationwide. As one of the world’s most iconic sporting events, this was the ideal platform for our trusted Australian brand to connect with audiences across the country at scale.

Can you walk us through your campaign for the Nine broadcast partnership? What are the key elements and what inspired the creative direction?

I am incredibly proud to be launching new positioning for NRMA Insurance as A Help Company, which will be amplified during our broadcast partnership with Nine’s coverage of the Olympic and Paralympic Games Paris 2024. The creative campaign that audiences will see during the broadcast is part of an enduring platform for our brand, which is also supported by a new, differentiated visual identity.

A Help Company builds on our almost-100 year heritage of help, setting a bold declaration for how the company will deliver for its customers and communities now and into the future. The TVC launches a new era for NRMA Insurance as A Help Company by asking a single question: What would A Help Company do? Being A Help Company is more than marketing, it means taking action to educate and advocate for our customers at scale but it’s also about delivering the basics brilliantly and that’s what we wanted to capture through this new positioning and the first creative campaign that supports it.

What objectives did you set out to achieve with this campaign?

More broadly we are focused on maintaining brand love and relevance, as well as delivering a superior customer experience. Our partnership with Nine’s broadcast of the Olympic and Paralympic Games Paris 2024 is an opportunity to reach a national audience at scale, which aligns with our objectives to connect with and help more Australians across the country.

What is the weighting of your media mix, and what has driven this decision?

We are working in true partnership with Nine to leverage their entire ecosystem. Our media mix touches every channel including broadcast TV, BVOD, radio, press and digital. We want to amplify our new positioning of A Help Company at scale so there is a heavy focus on screen-led media across broadcast TV and BVOD to ensure we land our message during a key cultural event that millions of Australians will be tuning in for.

Within our media mix across screens, we have accounted for the continuing consumer trend of viewers watching content via BVOD, in particular on demand. The 9Now BVOD experience allows users to control their Olympic and Paralympic Games viewing experience and also allows brands to be front and centre when the audience may be catching up on key moments from the overnight broadcast.

Do you believe FTA TV coverage is still an important part of a campaign?

Broadcast TV is still an important part of the campaign. There is no doubt that audience screen consumption is fragmenting to on-demand digital services and our media approach has catered to this trend. However, we know that sport is the main property that Australians tune into at scale via FTA linear TV coverage.

The Matildas semi final broke viewership records last year and was a clear indication that audiences still turn up to watch key cultural sporting events via FTA TV. Broadcast FTA TV has the unique ability to drive mass reach to an entire metropolitan or regional TV signal via ad placement.

What aspect of this campaign and partnership are you most proud of?

A Help Company is a big and different proposition, yet completely linked to where we’ve been. Consumers understand it and it taps into our values and heritage. This goes beyond marketing, it is a signal to our customers and communities for how we are going to help them now and into the future and it cuts across every touchpoint. I’m incredibly proud of how our teams internally have galvanised around this proposition and what it represents for our people. To bring it to life through our broadcast partnership with Nine’s coverage of the Olympic and Paralympic Games Paris 2024 is a significant opportunity for NRMA Insurance to communicate our message at scale.

How do you plan to build upon or expand this campaign moving forward?

The new positioning highlights the ways NRMA Insurance helps its customers through its core products and services as well as its education, social impact and advocacy initiatives to create more resilient communities in the face of increased extreme weather events.

Last November we launched Help Nation, an initiative to educate Australians about their local risks and how to prepare for extreme weather. To help do this, we’ve proudly partnered with Australian Red Cross, Lifeline Australia, and South Australian SES.

We’re also introducing new customer experiences such as a Policy Snapshot to provide customers with helpful information about our policies.

We will continue to explore other new initiatives and experiences. Because that’s what A Help Company would do. 

How does this campaign align with NRMA’s broader marketing strategy?

As we embarked on this journey of building on our almost 100-year heritage to charter the future, we wanted to use this moment to communicate key customer benefits and deliver a message that would stand out from the usual sporting themed tropes which can become a very cluttered environment. Our goal in launching NRMA Insurance as A Help Company is to go beyond category norms by sharing the customer benefits that come with a business that is obsessed with helping customers every single day.

See also: NRMA repositions as ‘A Help Company’ via Accenture Song

Top image: Michelle Klein

Ogilvy’s head of culture and influence, Liana Rossi, has departed the creative network to set up her own consultancy practice, Mediaweek can reveal.

Ogilvy confirmed with Mediaweek that Rossi left the business several months ago and is now working as an independent consultant.

“While we’re sad that Liana decided to leave, we also respect her wishes to work independently on a range of different creative projects,” said CEO Ogilvy PR and Ogilvy Health, Richard Brett.

“Since joining Ogilvy more than two years ago, Liana has made an enormous contribution to the business, our creative approach and focus on cultural insights. She will be missed, but remains a good friend of the agency, and we already have plans to work with her in the future in her capacity as a consultant.”

Rossi said of her departure: “After two action packed years at Ogilvy – working with incredible clients and the whip-smart Ogilvy team on earned, culture and influence led creative – I have decided to take the leap and get my own show on the road.

“For over a decade, I’ve found immense satisfaction in collaborating with and nurturing emerging makers and creators. Engaging in culture is who I am, as such my consultancy practice is working with agencies and in-house teams, as well as early career-artists and commercial gallerists.

“I’m very grateful to have the support of and mentors in Richard Brett, Toby Talbot and Bridget Jung, as well as all the other legends.”

Rossi, also known for her appearances on ABC’s Gruen, began her agency career at Present Company. Her early work included contributing to Sydney’s cultural scene through street publications, fashion blogs, and collaborations with emerging designers and artists.

She joined Ogilvy in 2022 as head of culture and influencer, a newly-created role, following five years as head of content at MONA, Australia’s largest privately-owned museum.

Before MONA, Rossi worked on social and activation projects at R/GA, Revolver, Special Group, We Are Social, and DDB Sydney, where she contributed to the Sydney Opera House’s #comeonin campaign. She has also worked on projects for the FOMA Festival, Air Mofo, Moo Brew, Moorilla, and Domaine A wineries.

Rossi departs amidst a series of recent hires at Ogilvy. In May, the network announced the appointment of BMF’s Lisa Down and Leila Cranswick as joint creative directors for its Sydney office. The following month, it announced Sophie Paterson had joined Ogilvy PR in the newly created role of head of gaming and entertainment.

Fran Clayton has also recently started at the agency as chief strategy officer.

See also:
Ogilvy Sydney taps BMF’s Lisa Down and Leila Cranswick as joint CDs
Sophie Paterson joins Ogilvy PR as head of gaming and entertainment

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Top image: Liana Rossi

“All great crises are the turning point for an organisation or for a situation to evolve into something better. To publicly be held to account is an opportunity to evolve, grow, and learn,” Odette Barry, founder of PR agency Odette & Co and host of Hack Your Own PR, tells Mediaweek.

Journalists at The Sydney Morning Herald, The Age, The Australian Financial Review, Brisbane Times and WAtoday walked off the job on Friday. The industry union, MEAA, has asked readers to not buy Nine newspapers or click on digital stories, and urged freelancers not to accept work from Nine during the strike, which is set to end tomorrow morning.

The union argues Nine is “spending hundreds of thousands of dollars wining and dining its top managers and their guests in Paris but says it needs to sack 90 journalists to save costs.”

Barry says: “It’s just so important that that people have the right and freedom to unionise, and to take action. What better time to disrupt?”

Picket lines and rallies were held outside Nine offices in Sydney, Melbourne, Brisbane, and Perth, with journalists appearing in matching t-shirts featuring a caricature of Sneesby running with the Olympic torch.

Phoebe Netto, founder and managing director of Pure Public Relations, tells Mediaweek that “in general, audiences tune in to a show of choice, not to a network or publisher. This means their opinions are formed about shows, presenters and social media content produced by programs – not of a media company as a whole.”

She adds that readers and viewers are able to “differentiate between the decisions made in boardrooms and the reputation of mastheads, programs, presenters and journalists.”

As a result, Netto says that given the “current reckoning of much of the media landscape” which is impacting multiple media outlets and networks, “those who are not involved in the industry will see these instances as being blended into one – rather than being owned by any particular network.”

Combined with layoffs across the industry, “and the negative sentiment to any one network is diluted.”

Both Seven and Nine have announced cuts in recent weeks – Nine is set to axe up to 200 jobs, and 150 jobs are on the line for Seven. In addition, News Corp’s ongoing restructuring will likely result in upwards of 100 redundancies, and Paramount Global, the owner of Network 10, has also confirmed that it will be axing Australian staff to cut costs. 

“There is pressure on the media industry after the extraction of Meta’s support for news distribution, but equally the withdrawal of advertising dollars in the cost of living crisis,” said Barry.

“There’s a lot of pressure, but my understanding is that [Nine] is doing very well in terms of the broader landscape. It’s really important that profitable publications support the journalists that are working for them.”

Looking ahead, Netto said that audiences “have a relatively short-term memory when they control their remote or read their go-to news.” 

“If we are served content that engages us and attract regular viewing or reading, then that is what will remain memorable – not issues.”

This is not the case for shareholders, advertisers, staff, and future hires. The reputation of the network as a whole will matter to them, and Netto said “strong financial performance and time will be what is needed to put those concerns behind them.”

Finally, Barry draws a line between the “incredible hard work that has gone into each of the athletes that have trained to prepare for operating at the most elite level in sport,” and the “journalists, editors, and news producers, who work incredibly hard on the daily to produce essential journalism for our democracy at an elite level.”

“They ought to be paid and remunerated for that,” she adds.

See also: Striking journos call for Sneesby to sacrifice bonuses and save jobs

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Top image: Phoebe Netto and Odette Barry

While it is the 11th Olympics for Nine veteran journalist Damien Ryan, producer and sports presenter at 2GB Sydney Spiro Christopoulos is making the trip to Paris for his very first games. 

Speaking to Mediaweek, Christopoulos, who is a producer and sports presenter on Ben Fordham‘s breakfast show, says this will also be his first time covering an international sporting event.

“It’s super exciting and it’s a great honour and privilege to be able to be there in person in Paris to cover it,” he says.

Christopoulos will be in Paris across the whole fortnight and says that while it’s about the sport, “it’s also about the city.”

“There’s no sport we won’t be covering. If there’s a medal chance in the archery or even something like breakdancing, we’ll be there to tell the stories of our athletes in Paris. 

“We will take our listeners up the Eiffel Tower as well as through the historical streets of Paris. While the focus is of course sport and our Olympians, we want to highlight what an amazing city Paris is.”

Spiro Christopoulos

Used to an early wake-up, Christopoulos says he’s looking forward to the time difference. 

“We’ll be on from 9:30pm to 1am compared to my usual 5:30am to 9am, so I’m looking forward to not clocking on at 3:30am every day.

“I’m excited to make the most out of our days though, because we can just get out and watch as much sport as possible, see the athletes in action and then report on all of it from the Trocadero come nightfall.”

Ryan is also used to a time difference or two and says that reporting on an Olympics comes down to how much access you have.

“You’ve got a front-row seat when you own the rights to the games,” he said.

“When you don’t own the rights, you’re a little bit limited and I think that makes the work harder because there’s rules and regulations that go with your accreditation.

“In that case, you are always thinking outside the circle because the days are so long and arduous no matter where the Olympics are being held.”

Ryan won’t have to think “outside the circle” this year, or for years to come as Nine owns the exclusive Olympic broadcast rights from Paris in 2024 through to Brisbane in 2032.

Nine spent $305 million to acquire the Olympic broadcast rights from Seven.

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

“I’ve never seen Paris look so clean and the Olympics just have that effect,” Ryan said.

“This will now be my 11th Olympics and I think out of all of them, this will be the most spectacular.

“You have these pop-up stadiums with the backdrop being some of the most extraordinary landmarks in the world. It’s going to be so beautiful to watch.”

Nine has reported the Sunday 28 July broadcast of the Olympics (up until 2am Monday AEST) secured a National Total TV Reach of 10.7 million across Channel 9, 9Gem and 9Now. It gave the network its highest-reaching TV ratings day in VOZ history.

A total of 13.4 million Australians have tuned into Nine’s broadcast of the Olympic Games Paris 2024 to date, representing half of the country’s population.

However, Nine’s coverage has been impacted by the ongoing Nine Publishing journalists strike, set to end tomorrow morning. While radio and TV coverage has been unaffected, a team of 15-20 print journalists sent to Paris had to choose between doing their jobs or joining the strike, which began the day of the Opening Ceremony.

Striking journalists have also called upon CEO Mike Sneesby – derided by staff for holding the torch in Paris while ‘torching’ journalism – and his executive team to forego their bonuses this year and next year instead of cutting 70-90 jobs.

After discovering a lack of specific training programs designed to equip mentors with the skills needed to respond to disclosures of gender-based violence and discrimination, The Aunties, alongside Women’s Health Victoria, has crafted and launched its own: Support Talk.

“It wasn’t until I received a current disclosure first-hand that I realised how important it is to be prepared for these conversations,” Phoebe Sloane tells Mediaweek.

The Aunties is Australia’s largest mentoring movement in the advertising and creative industry, creating a support network for women and marginalised genders.

Sloane, founding Auntie at The Aunties and senior copywriter at Clemenger BBDO, explains that with one in four women in the advertising and creative industry reporting being bullied, undermined, or harassed in some way at work over the last 12 months, according to recent Create Space Survey results, the organisation felt the imperative to equip Aunties in future programs with the skills to respond.

“Disclosures are unpredictable,” she explains. “Ultimately, you don’t know who, when, or what information someone might share with you. While majority of disclosures are of a historic nature, if you receive a recent disclosure, there’s a high chance you might be one of the first people someone has told.

“Disclosures in a mentoring context also aren’t always workplace related. With rise in domestic violence rates, and one Australian woman murdered at the hands of an intimate partner every four days, there’s also a chance someone might disclose family violence.”

Anonymous survey feedback from The Aunties’ initial programs revealed mentees felt comfortable confiding all kinds of experiences to their mentors – sometimes moreso than a manager, co-worker, friend, or family member.

“Because Aunties don’t work at the same agency as their mentee, this neutrality meant conversations could take place in objective circumstances,” Sloane continues. “Free from politics, scrutiny, and retribution. In a few cases, this included instances of sexual harassment, gender-based bullying and discrimination.

“While The Aunties are very proud to have opened up a safe space for conversation, it’s really important to us that our mentors feel confident to respond to these situations should they arise. And look after themselves too.”

Recounting her own experience with a disclosure as an industry mentor, Sloane recalls, “what I thought was a routine folio chat and coffee turned into an emotional and in-depth sharing of gender-based bullying and sexual harassment happening from a boss. Besides her mum and sister, I was the first person she had shared that information with.

“I felt overwhelmed in that moment. Scrambled for words and afraid of saying the wrong thing, but also, not saying the right thing. Too little or too much. 

“Realising the impact mentors could have in situations like the one I found myself in, it compelled me to learn the best way to respond, and to create something we could share and teach Aunties. And to do this, we needed to pause our mentor programs until we had this training resource for Aunties and the industry.

“And we needed something highly accessible. Online, engaging and 40 to 60 minutes long for time-poor industry professionals.”

For the next three months, the training, which also addresses scenarios that cover instances of family violence, is open to anyone to complete for free. It will also become a requisite for all mentors participating in future Aunties programs.

The training features a range of short-hand content, quizzes, and a series of training videos. The videos, created by Poppet Productions and directed by Lizzy Bailey, feature industry Aunties to teach important mini lessons.

“Given the large and connected network of The Aunties, if we can provide training to Aunties at scale, we know these skills would have a ripple effect,” says Sloane. 

“Aunties would apply these learnings in current or future management roles at their agencies, and it would have a positive impact on wider industry.

“We’re also experiencing a new generation who won’t tolerate this kind of behaviour, alongside a current generation who are rising into leadership positions and becoming more empowered to speak up and make the industry better for them and the women around them.”

Ultimately, Sloane says while “the problem is still prolific, more women than ever before are feeling more inclined to speak up, so we need to be ready for these conversations as an industry. It will only make us better.”

She hopes that from the training, mentors will walk away feeling equipped and empowered to respond to these situations if they happen, that will leave those disclosing feeling heard and validated.

Sloane also issues a reminder that mentoring can take many forms. “Support Talk is also highly relevant for managers including senior leaders, managers, people and culture professionals and those working in HR. As well as anyone interested in leading change for gender equity in an advertising workplace,” she says.

“At The Aunties, we know creating spaces for safe and supportive conversation can lead to positive change — especially if we can have them at scale. So we continue to create an industry culture where violence and discrimination of any kind is not tolerated.”

See also: Full schedule revealed for Women in Media National Conference

Credits
Women’s Health Victoria
Manager Gender Equity & Capacity Building, Lauren Zappa
Design & Communications Lead, Anne Johnston
Senior Training & Capacity Building Coordinator, Linette Johnson
Health Promotion and Communications Officer, Bethany Knight

Creative – The Aunties
Creative Lead – Phoebe Sloane
Creative – Amanda Chen
Creative – Sarah McGregor
Design Lead – Maddy Merzvinskis
Design Lead – Ika Jumali
Design – Rhodesia Saykao
Design – Madeline McDonald
PR Lead – Abigail Dawson
PR – Erin Dowling
PR – Elliott Holohan                     
Social Lead – Beatrix Fisher       
Social – Angelina Lay
Social – Madelene McGuinness  
Social – Sarah Gevaux
Operations – Sive Buckley
Photography – Darcy Scales                                                   

Production – Poppet
Director, Lizzy Bailey
Producer, Beth Malcher
Executive Producer, Nat Taylor,
Director of Photography, Amy Dellar
Art Director and wardrobe, Paige Anderson
AC / B Cam, Georgia Stewart
2nd AC / Digi Cam, Alessia Chapman
2nd Unit AD & PA, Chelsea Addison
Gaffer/Grip, Dan Carr
Lighting Assistant, Catie Carr
Sound Recordist, Lynne Butler
Runner & Standby Props, Jackson Sharpe
Props Painter, Stacy Jewell
Make-up Artist, Joyce Ying
Runner, Amalia Krueger
Runner, Anna King

Film Talent
Lauren Zappa, Women’s Health Vic
Anne Johnston
Nat Taylor
Nomfundo Msomi
Dhivia Pillai
Robyn Bergmann
Beatrix Fisher
Amanda Chen
Phoebe Sloane             

Film – Post Production – Clemenger BBDO
Executive Producer, Karolina Bozajkovska
Offline & Online Editor, Jamie Williamson
Offline Editor & Grade, Jen Cahir

–

Top image: Phoebe Sloane

More records were again set in the arenas in Paris plus in TV ratings via lounge rooms around Australia overnight.

The coverage on Nine and 9Now on Sunday 28 July included the end of Day 1 competition and then the start of Day 2.

Nine has reported the Sunday broadcast of the Olympic Games Paris 2024 (up until 2am Monday AEST) secured a National Total TV Reach of 10.7 million across Channel 9, 9Gem and 9Now, gave the network its highest-reaching TV ratings day in VOZ history.

A total of 13.4 million Australians have tuned into Nine’s broadcast of the Olympic Games Paris 2024 to date, representing half of the country’s population.

Olympic Games Paris 2024 Day 2 Night Session (7pm-9pm) was Australia’s No. 1 program with all key demos and Total People. It registered a National Total TV Reach of 5.740 million, a Total TV National Audience of 2.512 million and a BVOD audience of 331,000. This session featured the day’s swimming heats in which Australia’s Mollie O’Callaghan and Ariarne Titmus qualified for the semi-finals of the Women’s 200m Freestyle.

Olympic Games Paris 2024 Day 2 Night Session 2 (9pm-10:30pm) was Australia’s No. 2 program with all key demos and Total People. The broadcast, which saw the Hockeyroos secure a 2-1 comeback win over South Africa in their campaign opener, secured a National Total TV Reach of 4.419 million, a Total TV National Audience of 1.738 million and a BVOD audience of 265,000.

Olympic Games Paris 2024 Day 2 Late (10:30pm-12am) dominated its timeslot across Australia with Total People and all key demos. It achieved a National Total TV Reach of 2.319 million, a Total TV National Audience of 824,000 and a BVOD audience of 136,000. Audiences in this slot saw the Women’s Mountain Bike Cross-Country Race in the picturesque Elancourt Hill region on the outskirts of Paris.

Nine secured 67% share of 25-54 on Sunday

The 9Network was the No. 1 network across the 5 City Metro with Total People and all key demos, soaring to massive shares of 67.3% with People 25-54, 74.3% with People 16-39 and 56.6% with Total People.

9Now was the No. 1 CFTA BVOD platform across Australia with Total People and all key demos, climbing to huge shares of 87.7% with People 25-54, 89.6% with People 16-39 and 86.3% with Total People. A total of 426 million minutes of content were streamed on 9Now, making it the highest minutes consumed in a single day of any broadcaster ever.

See also:
• Paris 2024 Olympics TV ratings: Opening Ceremony and Day 1
• Stan Sport sets new viewing record as people pay to watch 2024 Paris Olympics ad-free in 4K

All People TV ratings rankings for Sunday July 28, 2024

Broadsheet has promoted Sian Whitaker to the role of managing director, effective immediately.  

Whitaker joined Broadsheet in 2018, and has served as general manager for the past three and a half years.

As managing director, Whitaker will work to drive business growth and execute the company’s vision. She will continue to lead all departments, including editorial, commercial, product, finance, operations, and reader revenue. 

Whitaker will continue to report directly to Nick Shelton, Broadsheet’s publisher, and CEO.

Shelton said: “Sian has been an exceptional leader at Broadsheet over the past five years, with our team flourishing under her direction as general manager. Her elevation to managing director is a testament to the trust and confidence we place in her ability to execute our exciting strategic vision. This transition also allows me to focus on exploring new entrepreneurial opportunities for Broadsheet. I couldn’t be more excited for this next chapter in our journey.”  

Whitaker said of her promotion: “I’m thrilled to step into the role of managing director at Broadsheet. I’ve had the privilege of working with an incredible team over the past few years, and I’m excited to continue our journey together. My focus will be on making sure our great ideas translate to real results. As always, I’m committed to fostering a high-performance culture and driving business success. I can’t wait to see what we achieve next.”

Earlier this month, Broadsheet appointed Nick Connellan to the newly created role of Australia editor, to oversee daily operations of the editorial team and contribute to the strategic direction of local content.

Connellan has been with the company since 2015 and was its first directory editor, maintaining several thousand venue listings across the country and spearheading the launch of Broadsheet Brisbane, Adelaide and Perth in January 2016.

Later, he co-hosted the publisher’s Around Town podcast, managed quarterly print papers in Melbourne and Sydney, and edited three hardcover books: The Broadsheet Italian Cookbook, Home Made and Travels.

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Top image: Nick Shelton and Sian Whitaker

Four of Australia’s leading tech journalists have launched a campaign to alert consumers about AI content, called 100% Human.

The initiative is aimed at highlighting published content is crafted by real human experts, not machines. 100% Human is aiming to combat the surge of AI-generated online content.

The initiative is led by Valens Quinn of Gadgetguy.com.au, known as Sunrise’s tech expert, Trevor Long, who is the Today show tech expert and editor of EFTM.com, Stephen Fenech of TechGuide.com.au and Sky News tech expert, plus Djuro Sen from Image Matrix Tech and Sky News.

The coalition seeks to safeguard the integrity of content by prominently branding their articles as “100% Human.” The four tech gurus want the labelling to inform readers that their content is exclusively authored by humans.

Insight and accuracy under threat

“While AI has immense potential to democratise information, there’s a growing concern,” said Quinn. “It’s becoming too easy for automated systems to scrape and regurgitate content without human insight or accuracy.”

100% Human advocates for transparent disclosure when AI generates images, videos, or written pieces. It calls upon regulators to collaborate with Australian businesses, both large and small, to protect genuine human-created content from AI-driven plagiarism.

“We invite fellow publishers to join our cause,” urged Long. “Together, we can empower Australians to distinguish between authentic human-generated content and AI-generated material.”

All the tech websites involved now display the 100% Human logo on all content, as well as linking to a microsite which explains the concept to audiences.

Example of the 100% Human branding on Tech Guide

100% Mission Statement

1: Quality you can trust
AI-generated content might be everywhere, but it’s not always reliable. Our badge guarantees that the insights and reviews you read are created by experienced professionals who understand the nuances of their field.

2: Real reviews by real experts
When it comes to spending your hard-earned money, you deserve advice from those who truly know their stuff. Reviews require physical access to the product, adequate time to comprehensively test it, and expert industry knowledge to make recommendations that you can trust.

3: Fighting misinformation
As AI-generated content floods the internet, distinguishing fact from fiction becomes harder. 100% Human is your guarantee of accuracy and credibility from high-quality publications populated by real people.

4: Supporting human creators
AI algorithms often learn from our hard work without giving credit. We’re advocating for fair recognition and compensation for the valuable content we produce.

Top image: Tech gurus behind 100% Human (L-R) Trevor Long, Valens Quinn, Stephen Fenech, Djuro Sen

See also: Ruth Mortimer: Balancing the human and the artificial in the rise of AI

Havas Host has appointed Sebastian Vizor as its new executive creative director.

Vizor joins from The Royals, where he led the creative department after returning to Australia from Europe. His international experience includes roles at Sid Lee, B Reel, and 72andSunny. With over two decades in the industry, Vizor’s work has been recognized at major award shows.

Havas Host CEO Gayle While said: “Seb’s passion for creating work that impacts culture makes him an ideal fit for Havas Host and our commitment to making work that helps brands get noticed in an attention poor world.

“Seb has brought an infectious energy and strategic approach to the work. He cares about what he does. It’s a combination that’s already delivering exciting outcomes for our clients and the team. We’re thrilled to have him on board.” 

Vizor added: “We have all admired world-class creativity from Havas Host. I’m looking forward to raising the bar further in partnership with the brilliant Gayle, Ollie, and team, to leverage the unusual to make work that matters for our clients.”

Vizor, who started at Havas Host in February, succeeds Justin Ruben. Ruben left the agency in December last year to pursue a freelance consulting career. Last week, he announced the launch of his own creative agency, Oblong.

Ruben joined the agency in May 2023 after the departure of then-executive creative director Jon Austin. Austin, along with former Host/Havas CEO Laura Aldington and former Havas PR CEO Simone Gupta, went on to co-found the independent agency Supermassive.

In May, it was announced that full-service creative agency Today the Brave had appointed Alyce Gillis as head of strategy. Gillis joined from Havas Host, where she had spent five years, most recently serving as head of strategy and leading creative, PR, social, and influencer campaigns.

See also:
Justin Ruben launches Oblong creative agency
Today The Brave taps Havas Host’s Alyce Gillis as head of strategy

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Top image: Sebastian Vizor

Havas Media has promoted head of planning Alastair Baker to the newly-created role of chief planning officer.

Baker will introduce an integrated converged planning process and improved data and tool strategy to drive smarter, profit-driven decisions for clients, the company said. His focus will be on driving profitable growth for Havas’ clients in the short and long term.

Baker’s career spans more than 15 years, working across media, creative and digital agencies in the UK and Australia. He has worked at agencies including Dentsu X UK, Vizeum UK, and iProspect (a Dentsu company) in Melbourne.

Virginia Hyland, CEO of Havas Media Network, said: “We are at a critical time in our industry where marketers are feeling the loaded pressure from their businesses to do more with the same or lower budgets, do more with the same team.

“Our goal is to simplify the complicated for them. This challenge creates an opportunity for Alastair to develop customer solutions that enable clients’ businesses to deliver meaningful growth through understanding how to best utilise content in the most effective media channel and deliver influential always on engagement.
 
“Alastair’s role will mean that Havas Media continues to transform into the agency that is needed by marketers who are constantly faced with new challenges on a daily basis. He is such a talent, and we are excited to elevate him as a pivotal leader.”

Baker said his new role is an “unprecedented opportunity”.
 
“I’m energised by Havas’ investment in technology and data to deliver best-in-market solutions for clients,” Baker said.
 
“This new role is an exciting part of that commitment and a personal chapter I’m looking forward to greatly. It’s an unprecedented opportunity to work with clients to help them better understand their customers’ behaviours across the entire purchase journey and deliver effective growth solutions.”

Earlier this year, Havas Group appointed Marco Villella as head of talent.

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Top image: Alastair Baker

Former lead of esports at Activision Blizzard ANZ, PJ Russell, has launched Game Focus Consulting, an esports consulting firm specialising in strategic esports initiatives, brand partnerships, community engagement, and event management.

Russell told Mediaweek the gaming and esports industry is undergoing rapid change, which is “mainly driven by organisations and game publishers seeking more economical and wide-reaching programs.”

“A prime example is the Esports World Cup, currently taking place in Saudi Arabia, with ANZ competitors and attracting millions of viewers worldwide,” he said.

“Having led the local programs of global comps like the Overwatch World Cup and Starcraft II World Championship [at Blizzard], I’ve had first-hand experience in seeing local fans rally behind the games and players they love.

“As the sport becomes more mainstream, there’s a huge opportunity for broader consumer brands to create connections with this energetic audience. It’s a space I’m truly passionate about.”

Overwatch World Cup

According to Russell, because of this “rapid change”, new challenges and opportunities are emerging daily, and there is a crucial need for expert guidance and strategic insights. 

Esports is a form of competition generally played by professional gamers. The games usually played in esports competitions are multiplayer in nature and played competitively for spectators. 

The space is growing with every passing year, and right now, the Esports World Cup is currently underway in Saudi Arabia. Pepsi, LG and Adidas are major partners of the event and players are competing for a prize pool of over USD$60 million. 

As the Paris 2024 Olympics get underway, the International Olympic Committee (IOC) announced in early July it had partnered with the National Olympic Committee (NOC) of Saudi Arabia to host the inaugural Olympic Esports Games 2025 in Saudi Arabia. The partnership will be for 12 years, with Esports Games held regularly.

Starcraft II World Championship

Russell said the medium is “finally showing its value to these brands to target a young and connected, digitally native audience.

“With the IOC backing esports, there are even more opportunities locally, particularly when you think about what could be aligned with the Olympic Games in Brisbane 2032. The future locally looks bright.”

PJ Russell

Russell said Game Focus Consulting stands out in the market because it understands the dynamics of not only the project management, strategy, and setup of a competition but also “the dynamics and contacts needed to engage with publishers and IP owners.”

“[It] stands out because it is the only gaming agency in the market with 10+ years of experience working with a AAA publisher on several of the world’s biggest competition games.

“My work at Activision Blizzard leading competitions and partnerships for major esports events and initiatives makes my experience and expertise unique and now available on-demand to brands looking to be involved in this exciting market.”

The Australian Defence Force (ADF) has launched a new integrated brand platform for ADF Careers, Unlike Any Other Job, via its creative and digital agency of record, VML.

ADF Careers, which was launched last year, unites the Navy, Army, and Air Force under one recruitment brand. The new platform aims to highlight the positive impact ADF personnel make in Australia and overseas, as well as the personal and professional benefits of a career in the ADF.

The hero film, produced by film production company and creative studio COLLIDER and directed by Rupert Sanders, captures candid moments from the lives of ADF personnel, showcasing the variety of experiences they encounter, the impact they make, and the advanced capabilities, equipment, and technology they use daily.

“When working with Defence Force personnel and listening to their stories, one thing becomes clear: it really is a job unlike any other,” said VML creative director, James Wills. 

“It’s a career full of purpose that offers extraordinary experiences, and it was a privilege bringing this campaign to life with  Rupert, the team at COLLIDER, and photoplay photographer, Adam Ferguson.”

Defence Force Recruiting general manager marketing, Fiona Boughton, added: “We know that young Australians want a career with purpose and be able to make a real contribution to the world around them.

“This campaign really highlights the many ways in which people can make a difference to themselves and to their country.” 

The new brand platform launches across Australia with touchpoints including TV and cinema, 3D OOH, digital audio, digital, social, and events. It coincides with the Defence Force’s revamped candidate website that went live in April.

“This is a campaign platform we are extremely proud to bring it to life in partnership with the ADF Careers team,” said VML ANZ CEO, Thomas Tearle.

“It encapsulates our advertising  mission: to show that an ADF career is unlike any other and has something  to offer Australians, enabling them to make an impact both personally and  professionally. The campaign itself will have a huge impact and we’re  looking forward to building on it over the coming months.”

Neighbourhood Strategy has appointed Mike Ronkoske as head of strategy. Ronkoske becomes the first person to hold the position since the South Yarra-based consultancy launched in December last year. He will lead the consultancy’s product, with a particular focus on the creative agency market.

Ronkoske joins Neighbourhood Strategy, an independent collective of experienced strategists specialising in brand strategy, after five years at Clemenger BBDO Melbourne. He joined Clemenger as planning director in August 2019 before being promoted to strategy partner in July 2022. During his time as strategy partner, he worked across accounts including TAC, Ford, Myer, PTV, and the Department of Education.

Prior to Clemenger, Ronkoske worked extensively in the United States at agencies including Goodby, Silverstein & Partners, Venables Bell and Partners, and Saatchi & Saatchi LA.

“Only seven months into our journey as a business, we have already forged some incredible partnerships with creative agencies,” said Neighbourhood Strategy CSO and founder, Jacqueline Witts.

“Bringing someone of Mike’s pedigree and talent only enhances the offering for agencies and brands to access senior, award-winning strategy talent when they need.”

Ronkoske said that being part of Neighbourhood’s “growth is incredible.”

“And the brief to go partner with some of Australia’s top creative agencies – arming them with high quality strategy – is a bit of a dream role,” he said.

Ronkoske’s appointment follows the March addition of 175-year-old retailer Harris Scarfe to Neighbourhood Strategy’s client roster. At the time, the consultancy also announced the appointment of Kate Silver, previously of Leo Burnett Australia, as general manager, and Christine O’Keefe, formerly of The Lab Research and Strategy, as director.

In May, tech giant Canva appointed Neighbourhood Strategy to lead its global brand architecture strategy as the Australian-based design platform ramps up its efforts to engage with large organisations and enhance its enterprise capabilities.

See also:
Neighbourhood Strategy welcomes Leo Burnett’s Kate Silver as GM, adds Harris Scarfe to client roster
Canva appoints Neighbourhood Strategy to lead global brand architecture

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Top Image: Mike Ronkoske

Taboo has appointed Charlotte Adorjan to the role of executive creative director of the Melbourne-based agency.

Adorjan, originally from London, joins the agency following an extensive global search. She brings over two decades of experience as a creative to the role, including a lengthy 17-year tenure at AMV BBDO.

She has also won a slew of accolades for her work with Cancer Research UK, The Lottery, Snickers, Bumble, and the Met Police. Adorjan has been recognised by international awards shows, including D&AD, Creative Circle, and Cannes Lions, and was listed as one of “The World’s Most Creative Women” in 2017. 

She said of her new role: “It’s a creative’s dream to find a place with such clever people and killer briefs. The potential to make ideas that push boundaries with a crew of abnormally lovely folk is pretty exciting. As is living in a country with much better weather.”

Adorjan is co-host of The Village Lantern Podcast and co-founder of Woodism, an art collaboration created with her husband and 11-year-old son that celebrates the value of diverse thinking.

Andrew Mackinnon (group CEO), Jonathan Isaacs (chairman), Frannie Rhodes (managing partner, talent and operations), Kim Stoddart (director of finance), Charlotte Adorjan (executive creative director), James Mackinnon (managing director), Kate Prowse (general manager).

Her arrival at the agency follows other significant leadership hires, including Frannie Rhodes as managing partner, joining to lead Taboo’s talent and operations from MullenLowe US; Kim Stoddart as director of finance, who joined from Clemenger Group; and Jonathan Issacs as chairman, also from Clemenger Group.

Rhodes said of Adorjan’s appointment: “It was a long search to find a creative lead whose vision aligns perfectly with TABOO’s creative ethos of breaking rules for good reasons. Charlotte’s incredible heritage in creativity and dedication to diverse thinking make her the ideal fit for our team.”

James Mackinnon, Taboo’s managing director. added: “To find someone of Charlotte’s experience and talent is hard enough, but to find someone who is also aligned to our attitude and values – and is just great fun to be around- is exceptional.

“Charlotte’s arrival marks a new chapter for Taboo and we couldn’t be more excited about what’s to come.”

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Top image: Charlotte Adorjan

CX Lavender has expanded its senior strategy team with the appointment of Francesca Tschuchnigg as CX and innovation director.

Tschuchnigg joins the independent agency from Optus, where she was CX design lead and led both core product and the Optus Sport customer experience and innovation teams.

Her experience also spans both agency and media owner sides.

In her new role at CX Lavender, she will oversee innovation and digital product delivery at CX Lavender. She will work closely with digital design partner Stan Cheung and report to CSO Kim Verbrugghe.

“We’re really excited to have Fran join us,” Verbrugghe said.

“Fran and I have worked together before, so I know she brings the perfect mix of smarts and creativity to complex business problems. Not only that, she’s a unicorn who can stretch from CX to product to UX. Her background in start-up, agency and client side make her the perfect all-rounder, balancing innovation and commercial delivery. Delivering 10X client growth today requires exactly these skills.”

Tschuchnigg also mentioned the benefit of working together with Verbrugghe previously.
 
“My time at Optus taught me much about building category-leading experiences for mass scale, balancing innovation with commercial return,” she said.
 
“CXL’s ability to execute end to end is rare and the team here is brilliant, so I’m looking forward to bringing these learnings back to agency side. Having worked with Kim before, I’m certain we’ll deliver.”
 
Tschuchnigg’s appointment follows a new business spree for the agency, which has welcomed Scenic World, Fletcher Insulation, IG Group and Mine Super over the past 12 months.
 
The business said it will have more client wins to announce shortly.

Earlier this month, the agency promoted Claire Austin and Rusty Nelson to creative director roles. Austin, a 17-year veteran of the agency, returned from a year’s maternity leave to the new role, after previously being head of copy. Nelson, who has been with the agency for eight years, steps up from his previous role of associate creative director.
 
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Top image: Stan Cheung, Francesca Tschuchnigg and Kim Verbrugghe

The 2024 Advertising Capstone Challenge (ACC) has launched with TBWA\Melbourne and NAB as this year’s industry partners.

Since its inception in 2016, the Advertising Capstone Challenge has provided final-year advertising and marketing students from Australia and New Zealand with an opportunity to bridge the gap between academic learning and professional practice.

The program aims to give students a competitive edge upon graduation by offering practical experience, industry connections, and essential skills for their future careers.

Tom Dobson, acting chief marketing officer at NAB, said: “We know that behind any strong brand is strong talent. That’s why developing emerging industry peers is important to us, and why NAB is stepping in to help with practical experience and industry connections through this program. We look forward to learning from students and exploring fresh ideas that can help a brand like NAB.”

This year, participants will address real business challenges posed by NAB, developing innovative and strategic advertising campaigns in response. Finalists will present their ideas to a panel of judges from TBWA\Melbourne and NAB.

The winning team will receive mentorship from the agency and shadow leaders across its different departments.

Sarah Tukua, client partner at TBWA\Melbourne, said: “A career in advertising is incredibly rewarding. We are absolutely delighted at TBWA to be supporting this year’s Capstone Challenge, along with our wonderful client partners at NAB, to build a future generation of industry professionals.” 

The student briefing will begin online on Monday 5 August with shortlisted teams pitching their campaigns to TBWA and NAB in October.

“We’re very excited to be working with both NAB and TBWA for this year’s Capstone Challenge. Truly great brands helping foster the next generation of graduates, the next disruptors,” added Swinburne Lecturer, David Reid.

The move follows the recent launch of NAB Bookkeeper, a new bookkeeping tool developed by NAB and TBWA\Melbourne. The initiative is the next step in the Wrangle Your Money platform, aimed at supporting and empowering NAB customers to make better financial decisions.

See also: Nurturing Future Talent: The Advertising Capstone Challenge

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Top image: Jade Mittermair, David Reid, Tom Dobson, and Sarah Tukua 

Out-of-Home agency, Revolution360, has named Josh Fitzgerald as its new general manager. His promotion from national sales director is effective immediately.

In the newly created role, Fitzgerald will oversee the Sydney and Melbourne sales teams, as well as business operations. 

Speaking of his time leading the agency’s sales team, Fitzgerald said, “We’ve brought our unique outdoor media offering to the mainstream by investing in audience measurement data such as 360Intelligence and joining MOVE while making our inventory easier to buy and sell for our clients.”

He added, “in my new role, I’m excited to evolve our product, expand into new territories and drive efficiencies to keep our product cost effective for our partners.”

Revolution360 has recently been accepted into both the OMA and AANA.

With over 13 years in the OOH industry, Fitzgerald began his time at Revolution360 as Victorian head of sales, driving growth and fostering relationships. Before joining the agency, he held roles at APN Outdoor, SEN Radio, and Channel Nine.

CEO of Venetian Media Group, the parent company of Revolution360, Michael Fishwick said, “Josh has been integral to Revolution360’s success over the past five years, demonstrating strong leadership and strategic vision. His promotion to general manager is a testament to his loyalty, dedication, and expertise in the OOH industry.

“I’m confident that under Josh’s guidance, Revolution360 will continue to innovate and expand, solidifying our position as a respected and leading OOH company. We look forward to seeing the positive impact he will undoubtedly make in this newly created role.”

Venetian Media Group also houses sports management and advisory firm, Aspire Sports Management, marketing consultancy, Yakkazoo, billboard company, Captive Vision Outdoor, media planning and buying agency, Frontier Media and digital agencies, Sillyfish and Digital Native.

See also: Brendon Cook inducted into OMA Hall of Fame for ‘unparalleled contributions’

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Top image: Josh Fitzgerald

TFM Digital has appointed Tim Harper-Russell as its general manager.

He joined the independent agency after six years with Wavemaker, where he was group business director, overseeing a portfolio of key accounts, including Domino’s, Caltex, Tourism Whitsundays, and AutoSports Group.

Harper-Russell will lead the agency’s day-to-day operations as its founder, Taylor Fielding, steps into the newly-created role of CEO.

Zaine Wilson-Hoyle, head of digital, rounds out TFM Digital’s senior leadership team. The senior restructure will free up Fielding’s remit to focus on strengthening the agency’s position as the leader in the franchise and multi-location sector, the business said.

“It’s a bold move from Tim, who is so uniquely talented and his award-winning background makes for envious reading,” Fielding said of Harper-Russell’s appointment.

“It’s further evidence of the rude health in the indie sector and its attractiveness for talent. And for us at TFM it’s a sign towards expanding into new areas and I can’t wait to see what the next chapter in our journey brings.”

Harper-Russell said he has been “admiring the TFM trajectory from afar.”

“Taylor has been pioneering the franchise space through his work with TFM, as well as his role with IMAA and working closely with FCA,” he said.

“He and the team have built some serious momentum. Those that know me, know I’m all about growth. Growth for my clients, my people and for my agency, and this role is the perfect opportunity to lean into my passion to deliver meaningful outcomes across all of these pillars.”

He continued that joining the indie was a “no-brainer.”

“Taylor’s carved out a unique niche and I know the reduced constraints and extra agility will provide the perfect environment in which to realise bold, growth-driving ideas at pace. I can’t wait to sink my teeth in and see where this next chapter can take us.”

With more than two decades of senior media and advertising roles within agencies like Carat and Wavemaker as well as sales-side experience working at DMG Radio, Fielding added that: “Tim brings the right attitude, a career’s worth of experience from both a leadership and market perspective. We’re lucky to have him.” 

TFM Digital also counts Goodstart Early Learning, Poolwerx, City Cave, and Eureka Furniture among its clients, and has grown 29% in the past 12 months.

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Top image: Tim Harper-Russell

LG Electronics and Sky News Australia have revealed the addition of Sky News Now to LG Channels as a Free Ad-supported Streaming TV (FAST) offering.

Available on Channel 105, Sky News Now brings together select content from channels produced by the network including Sky News, Sky News Weather, Sky News Election Channel, and FOX SPORTS News.

Sky News Now will provide LG Smart TV users with 24/7 live access to breaking news coverage, weather updates, the latest in sports news, thought-leading opinion programs, topical documentaries and more.

Tony Brown, general manager, home entertainment, and content business marketing at LG Electronics Australia said: “The availability of Sky News Now on LG Channels highlights our commitment to providing free, high-quality content.

“As connected TV viewership grows, we’re excited to offer a new, streaming option that seamlessly integrates with our premium products, ensuring our customers can enjoy a wide range of news content on the ideal model for their needs.

“Our vision for connected TVs merges innovative technology with superior content accessibility. LG Channels delivers greater content variety at no extra cost, integrating the latest technological advancements to ensure our customers have access to a wide variety of news and entertainment.

“Our dedication to innovation and excellence in TV technology enhances every viewing experience, making it more enjoyable and engaging for our customers.”

The full suite of Sky News channels continues to be available via Foxtel and Flash. Viewers can stream four dedicated news channels produced by Sky News through the SkyNews.com.au streaming subscription service.

Tim Love, head of digital at Sky News Australia, added: “The Sky News Now streaming channel launched in 2023 and we are pleased to partner with LG to bring this programming to more Australians as we further expand our streaming portfolio.

“With the Paris Games kicking off, plus the upcoming Australian state elections and US Presidential election later this year, Sky News’ unprecedented insight into the biggest events and issues as they unfold will be sought after now more than ever.”

The Pistol has been appointed to manage marketing strategy, media, creative, and web development for start-up NannyGranny as it seeks to boost its profile in the domestic market.

The digital marketing agency has worked with the nationwide online network of caregivers since it launched and has helped families and individuals with household management.

Nanny Grannies are generally female retirees looking to keep busy and earn extra money. They support families with childcare, meal preparation, and school drop-off/pick-up, while also offering help for older people, those living alone, or those in need of a hand with regular domestic tasks.

Through the network, these women can advertise their caregiving capabilities on the site and connect directly with families looking for support.

NannyGranny’s profile has continued to grow, particularly in Victoria, NSW, and Queensland. Due to demand, the network is expanding beyond childcare to offer a range of additional services, including housekeeping, elderly companionship, grocery shopping, and dog walking.

Warren and Paige Kilburn

“We feel incredibly lucky to have had The Pistol team with us on our start-up journey,” Paige Kilburn, NannyGranny co-founder, said. “From day one, the team embraced the NannyGranny concept, sharing our passion for building a community of women – literally – supporting women.

“The Pistol has remained agile as our start-up needs evolved, and since launching the business in June, the team have flexed to offer dev support, web analytics, comms deployment, and growth planning.

“When we were looking for a marketing partner, we wanted someone whose ethos aligned with our own – and we’ve found that in The Pistol. Their reputation for taking fast-growing businesses to the next level is unmatched, and I look forward to continuing to work with the team as we grow NannyGranny.”

“From the outset, we were impressed by Paige and Warren Kilburn’s entrepreneurial spirit,” Jaime Nosworthy, The Pistol CEO, said.

“Our passion is working with pioneering businesses – people who are pushing the needle in their chosen field – and NannyGranny is a prime example of an innovative disruptor in the tech space.

“Through NannyGranny, Paige and Warren have identified a key gap in the market for a network that matches time-poor families with an increasing number of women over 50, who want to find work for social fulfilment and extra income. We’re proud to be supporting a business that is dedicated to helping women, at all phases of their life, particularly older women who are at higher risk of falling into poor financial circumstances.

“We’re excited to help take the NannyGranny business to the next level – because, let’s face it, we could all do with a NannyGranny in our lives!”

The NannyGranny appointment comes off the back of several new business wins for The Pistol, including fashion retailer Brandbank Group, beverage brand Vitasoy, Australian travel company Riparide, and Australian fashion brand DECJUBA.

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Top image: Jaime Nosworthy

Time Out has named the winners of its inaugural Australian Time Out Arts and Culture Awards.

With two ceremonies held in Sydney and Melbourne on Monday night, Time Out’s arts and culture editors in the cities – Alannah Le Cross and Ashleigh Hastings – recognised organisations, spaces, performances, and talents contributing to the cities’ arts and culture scenes.

Winners were awarded across seven categories as well as six people’s choice categories, with the events held at the Australian Chamber Orchestra in Sydney’s Walsh Bay, and at Aunty Kim’s in Melbourne’s Collingwood.

The awards were sponsored by The Pinnacle Foundation, an organisation that works to empower LGBTQIA+ youth through educational scholarships, mentorship programs, and support networks. 

Le Cross, arts and culture editor at Time Out Sydney said: “I believe that the incredible art that surrounds us is the best reason to live in a city like Sydney, and I’m so proud of the quality of work we have the privilege of recognising in the Time Out Arts & Culture Awards, and the writers who have helped this come to life.

“This is just the beginning. We have noticed a real hunger for new awards platforms in this country, as well as opportunities to spotlight great work and unite people from across the creative industries. So we’re keen to grow the Time Out Arts and Culture Awards year on year.”

Hastings, the arts and culture editor at Time Out Melbourne, added: “The Time Out Arts & Culture Awards are an opportunity to shine a light on Melbourne’s incredibly rich arts landscape and the talented theatremakers, artists and curators who bring magic to our cultural institutions.

“I’m so proud of our city’s creative scene and also of our team of reviewers who made our inaugural Time Out Arts and Culture Awards all possible.”

The full list of winners of the Arts and Culture Awards are:

See also: Time Out appoints one green bean

Are Media is set to launch the inaugural Australian Women’s Weekly Health Summit, the first in a series of events and associated content. 

The Australian Women’s Weekly created the summit in response to The Weekly’s 2023 Voice of Australian Women Survey.

The survey of more than 5,000 women found that women are more focused on mental and physical health than ever before. In addition, many are experiencing menopause symptoms and feel both unprepared for and uninformed about handling this change.

To be held at the Museum of Contemporary Art Australia in Sydney on Saturday 31 August, the Women’s Weekly Health Summit will focus on health topics including menopause, wellness and mental health, physical health, financial health, and healthy eating. The event will include a series of panel discussions, cooking demonstrations, and participatory sessions with experts, special guests, and The Weekly team.

The Australian Women’s Weekly Health Summit is sponsored by Priceline, with Jean Hailes and McKenzie’s Foods named as supporting sponsors.

Along with MC Jessica Rowe, speakers include celebrity cook Julie Goodwin, fitness trainer Michelle Bridges, actress Jodi Gordon, radio and television personality Myf Warhurst, former model and podcaster Alison Daddo, TV GP Dr Ginni Mansberg, financial expert Effie Zahos, First Nations social and emotional wellbeing counsellor Dr Liz Dale, and CEO of Jean Hailes, Dr Sarah White.

The Australian Women’s Weekly editor, Sophie Tedmanson, said “We could not be prouder to lead the national conversation around women’s health with our inaugural Health Summit.

“The conversation around ageing, menopause and mental health has progressed but it’s clear we still have more work to do.

“We are committed to breaking stigmas around the needs of women and healthcare and, in doing so, encouraging women to advocate for themselves,” she said.

See also: Are Media launches two marketplaces inspired by its brands

TOP 5

1. Deadpool & Wolverine – $17,599,465 (debut)

Walt Disney’s Deadpool & Wolverine has blown all the competition out of the water with the biggest opening at the Australian Box Office this year. 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 8th biggest opening weekend of all time globally. Coming in first place this week, Deadpool & Wolverine took $17,599,465 in its first week, averaging $17,460 over 1008 screens.

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. Twisters – $1,308,986 (2)

Warner Bros. Twisters is a spiritual successor to the 1996 film, Twister and is directed by Lee Isaac Chung. Starring Daisy Edgar-Jones and Glen Powell in the leading roles, the film currently holds a favourable 80% on Rotten Tomatoes. Coming in second place this week, Twisters took $1,308,986 in its third week, averaging $4,103 over 319 screens.

Total Australian Box Office gross to date: $9,665,084

Synopsis: Haunted by a devastating encounter with a tornado, Kate Cooper gets lured back to the open plains by her friend, Javi, to test a groundbreaking new tracking system. She soon crosses paths with Tyler Owens, a charming but reckless social-media superstar who thrives on posting his storm-chasing adventures. As storm season intensifies, Kate, Tyler and their competing teams find themselves in a fight for their lives as multiple systems converge over central Oklahoma.

3. Inside Out 2 – $1,102,462 (3)

In June, Inside Out 2 became the first film since Barbie in 2023 to hit a worldwide gross of $1 billion. The film introduces a new array of emotions for a now-teenage Riley, including Anxiety voiced by Maya Hawke and Envy voiced by Ayo Edebiri.

Inside Out 2 is now the 2nd highest-grossing animated film of all time, passing Shrek 2 and sitting slightly behind The Super Mario Bros Movie.

Coming in third place this week, Inside Out 2 took $1,102,462 in its seventh week, averaging $3,522 over 313 screens.

Total Australian Box Office gross to date: $52,326,299

Synopsis: Joy, Sadness, Anger, Fear, and Disgust have been running a successful operation by all accounts. However, when Anxiety shows up, they aren’t sure how to feel.

4. Despicable Me 4 – $1,067,652 (1)

Despicable Me 4 now sits as the highest-grossing film in the Despicable Me franchise and 2nd highest-grossing in the overall Minions/DM franchise, trailing only 2022’s Minions: Rise of Gru. Steve Carell returns to voice Gru and this time is joined by fellow funnyman Will Ferrell who plays the villain Maxime Le Mal. Coming in fourth place this week, Despicable Me 4 took $1,067,652 in its sixth week, averaging $3,547 over 301 screens.

Total Australian Box Office gross to date: $40,039,573

Synopsis: Gru welcomes a new member to the family, Gru Jr., who’s intent on tormenting his dad. However, their peaceful existence soon comes crashing down when criminal mastermind Maxime Le Mal escapes from prison and vows revenge against Gru.

5. Longlegs – $915,129 (4)

Rialto’s Longlegs has been the subject of 2024’s most mysterious marketing campaign. With vague posters, billboards and even a phone number you can ring to hear the serial killer yourself, Longlegs has been a hit with the horror audience before even releasing. Nicholas Cage stars as Longlegs while Maika Monroe stars as an FBI agent tasked with hunting him down. Coming in fifth place this week, Longlegs took $915,129 in its second week, averaging $4,014 over 228 screens.

Total Australian Box Office gross to date: $3,263,779

Synopsis: FBI Agent Lee Harker is assigned to an unsolved serial killer case that takes an unexpected turn, revealing evidence of the occult. Harker discovers a personal connection to the killer and must stop him before he strikes again.

Top 6 – 10

6. A Quiet Place: Day One
7. Fly Me to the Moon
8. Raayan
9. How to Make Millions before Grandma Dies
10. The Teacher Who Promised The Sea

Sunday 28 July 2024: VOZ Total TV Ratings Overnight Top 30 – Programs ranked on reach

Total People TV Ratings

Nine’s Olympics 2024 Day 2 – Night recorded a total TV national reach of 5,740,000, a total TV national audience of 2,512,000, and a BVOD audience of 331,000.

Nine’s NRL – Titans v Dolphins recorded a total TV national reach of 1,747,000, a total TV national audience of 535,000, and a BVOD audience of 64,000.

The Titans v Dolphins game saw the Titans stun the Dolphins in a huge comeback, winning the game 21-14 at Suncorp Stadium in Brisbane.

Seven’s Dancing with the Stars recorded a total TV national reach of 1,802,000, a total TV national audience of 743,000, and a BVOD audience of 34,000.

On Dancing With The Stars, the second batch of celebs returned to the floor, with Hayden Quinn exiting after losing a dance-off to comedian Nikki Osborne.

The final leaderboard for the night:

• Nikki Osborne and Aric Yegudkin: 26
• Hayden Quinn and Lily Cornish: 27
• Samantha Jade and Gustavo Viglio: 34
• Shane Crawford and Ash-Leigh Hunter: 26
• Nova Peris and Craig Monley: 19
• Adam Dovile and Jess Raffa: 28

Also on Seven, Seven News recorded a total TV national reach of 2,043,000, a total TV national audience of 1,215,000, and a BVOD audience of 47,000.

10’s airing of Jack Reacher: Never Go Back recorded a total TV national reach of 794,000, a total TV national audience of 196,000, and a BVOD audience of 5,000.

People 25-54

Nine’s Olympics 2024 Day 2 – Night:
• Total TV nation reach: 2,286,000
• National Audience: 967,000
• BVOD Audience: 192,000

Nine’s NRL – Dolphins v Titans:
• Total TV nation reach: 618,000
• National Audience: 180,000
• BVOD Audience: 37,000

10’s The Project:
• Total TV nation reach: 192,000
• National Audience: 80,000 
• BVOD Audience: 6,000

Seven’s Dancing with the Stars:
• Total TV nation reach: 445,000
• National Audience: 149,000
• BVOD Audience: 15,000

People 16-39

Nine’s Olympics 2024 Day 2 – Night:
• Total TV nation reach: 1,230,000
• National Audience: 496,000
• BVOD Audience: 112,000

Nine’s NRL – Dolphins v Titans:
• Total TV nation reach: 301,000
• National Audience: 77,000
• BVOD Audience: 22,000

10’s The Project:
• Total TV nation reach: 59,000
• National Audience: 25,000 
• BVOD Audience: 3,000

Seven’s Dancing with the Stars:
• Total TV nation reach: 164,000
• National Audience: 48,000
• BVOD Audience: 7,000

Grocery Shoppers 18+

Nine’s Olympics 2024 Day 2 – Night:
• Total TV nation reach: 4,234,000
• National Audience: 1,894,000
• BVOD Audience: 259,000

Nine’s NRL – Dolphins v Titans:
• Total TV nation reach: 1,291,000
• National Audience: 400,000
• BVOD Audience: 50,000

10’s Jack Reacher: Never Go Back:
• Total TV nation reach: 619,000
• National Audience: 156,000 
• BVOD Audience: 4,000

Seven’s Dancing with the Stars:
• Total TV nation reach: 1,423,000
• National Audience: 606,000
• BVOD Audience: 28,000

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.