Vanessa Boueyres has been appointed as managing partner on the Westpac account at DDB Sydney, replacing Sasha Firth who recently departed, Mediaweek can reveal.

Beginning her career in her native Paris at TBWA, Boueyres has amassed over 20 years’ experience in marketing and agencies, working on brands including Nivea, Danone, and BWS.

“I’m thrilled that Vanessa is joining DDB. She is laser focused on effectiveness, restless in her ambition, deeply passionate about creativity, and fun to be around,” said DDB Group Sydney CEO, Sheryl Marjoram.

Prior to joining DDB, Boueyres was head of marketing at sustainable designer furniture B-Corp company Koskela. She has also served as head of marketing at the Woolworths-owned Macro Wholefoods Market, and head of brand communications at Woolworths Food Co.

On the agency side, she was a managing partner at M&C Saatchi Group, leading Tourism Australia and the global Come and Say G’Day campaign, which was recently awarded an Effie. She has also been general manager and head of account management at Y&R (now part of VML).

“Her experience both client side and ours makes her a real asset. Her impact is already being felt and I can’t wait for what’s next,” Marjoram added.

Boueyres said that “the opportunity to work at DDB with Sheryl and the leadership team and on the premier Westpac account was an opportunity too good to pass up. I’m excited to move back into agencies, where my true passion lies.

“My career across Europe and Australia has been dedicated to leading change for iconic brands and I can’t wait to bring that experience to DDB and Westpac.”

Firth resigned after five years on the Westpac account, which has been with DDB for over a decade. She has moved onto a contract role with creative agency Special.

Prior to DDB, Firth was managing director at Y&R AUNZ – now part of WPP’s VML.

Firth told Mediaweek: “I loved my time at DDB, but it was time to mix things up. I’m excited to be reunited with Lindsey Evans [Special partner and co-founder] and working with some incredible talent across a number of clients and ‘special’ projects.”

Last week, DDB Melbourne promoted creative partner Giles Watson to deputy executive creative director, and group creative director James Cowie to creative partner – head of copy.

Back in Sydney, group creative partner on the McDonald’s account, Cam Hoelter, left in January. Hoelter joined DDB in August 2022; previously, he was executive creative director at CHE Proximity. Hoelter is now working in a freelance capacity as a creative director and illustrator. 

Earlier this year, DDB Sydney launched a revival of the classic Big Mac chant in collaboration with media agency OMD.

The work leverages DDB’s creative legacy with the fast food brand – the original Big Mac chant was created by DDB’s then creative leader, Keith Reinhard, who is still chair emeritus of DDB today.

Last week, McDonald’s and DDB Sydney’s latest work launched: Things just got feisty, in partnership with the Shift 20 initiative.

In April, Mediaweek revealed Fran Clayton was leaving DDB Group after almost 10 years to become AUNZ CSO at Ogilvy. At the start of the year, Tribal DDB MD Davy Rennie moved to Publicis to become CEO at Digitas and Balance.

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Top image: Vanessa Boueyres

Omnicom Media Group is merging Foundation into Hearts & Science, effective 3 June. The Foundation brand will disappear, with the conjoined team coming under the Hearts & Science brand.

As part of the shift, current managing director of Foundation, Liz Wigmore, will become managing director of Hearts & Science, across both Sydney and Melbourne offices.

“The Hearts & Science brand has always appealed to me since it was launched globally back in 2016,” Wigmore said.

“I believe creating emotional brand connection (the Heart) and maximising the potential of data and technology (the Science), is vital for brands in today’s media landscape.

“So, the opportunity to spearhead the growth of the agency in Australia, as well as continue to lead the Foundation team, was an opportunity I wasn’t going to miss.”

She added she is “excited about the road ahead” and bringing the agency’s proposition to more brands in market.

Darren Stein, currently holding the dual roles of CEO at Annalect and managing director at Hearts & Science, will focus on building Annalect in response to market demand across AUNZ, the business said. He will continue to lead the digital and data transformation agenda for Hearts & Science clients across both regions.

Jane Stanley, CEO of Hearts & Science AUNZ, called the opportunity “a dream come true.”

“Liz offers the extensive media leadership experience which is highly regarded by clients, partners and teams alike, and Darren will continue to advance our clients’ data and technology transformation through his best-in-market advisory capabilities and the Annalect services. We feel we have the perfect team in place to offer clients innovative communications solutions in an ever-evolving landscape.”

The agency was established globally as part of Omnicom Media Group in 2016, before launching in Australia in 2019. Late last year, it won the Cleaver’s Organic account.

Antony Catalano‘s View Media Group has made five leadership appointments, including Sian Rowlands as MD, financial services to oversee VMG’s partnership with ANZ and build out the brokerage offering.

Rowlands has been part of the VMG strategy team for the past 12 months. Before joining VMG, she worked at Domain as director, commercial strategy, planning, and growth, and Different, a scale-up technology business in the property management space.

Catalano, the group’s executive chairman, said “Our partnership with ANZ bank is a key differentiator in our business strategy and provides the opportunity for us to play seriously in the financial services space and the changes announced today set the business up to maximise this opportunity and future growth.”

See also: View Media Group receives $50 million investment from ANZ

Damon Pezaro will oversee product strategy and development for the group as the chief product officer.

Pezaro has experience at Domain, where he led product development. Since leaving Domain in 2017, he has worked across multiple businesses in the capacity of chief product officer, and has ongoing roles as a non-executive director to several successful start-ups.

Jordy Catalano will move from the chief product officer role into the role of director of consumer services and markets.

Barrie Bowles has been appointed digital and data director across View Media Group and will lead the digital and data strategy for the business. He moves from his role as digital lead of property media and tech agency The Today Business.

The newly-created role focuses on driving owned asset audience growth and maximisation of digital and data capability and opportunity for VMG businesses, partners, and clients. 

Emily Rayner will head up content for VMG with initial focus on view.com.au’s content strategy as head of content.

Rayner is a digital content professional with over two decades of experience in media production and content management, driving audience engagement and brand growth across multiple platforms.

Her career includes key roles with major broadcasters such as BBC, ITV, Southern Cross Austereo, and Nova. Rayner was also a key player in the growth of Domain’s content strategy and served as the executive editor at Domain Group, overseeing Domain Prestige, Commercial Property, and Domain Weekly Review until 2018.

Rowlands, Pezaro, and Rayner also worked at Domain, Catalano’s former employer.

Earlier this week, Catalano’s ACM proposed that SCA should buy its assets in the latest acquisition proposal circling the radio company.

Mediaweek’s Media Movers is back, charting the biggest people moves in the industry each week.

For this first, relaunched edition, Mediaweek looks back on May’s big moves – and there’s plenty of them.

Initiative’s three senior leaders—CEO Melissa Fein, MD Sam Geer, and chief strategy and product officer Chris Colter—defected to Accenture Song to set up a full service media unit.

Mat Baxter joined the marketing investment analytics company Mutinex as its APAC CEO, following the former Initiative and Huge boss’ return to Australia earlier this year.

Mamamia appointed Natalie Harvey as chief executive officer, four months after she joined the independent women’s media group.

Jacqui Abbott joined Qantas Group in a new senior communications role, Mediaweek revealed. The former Foxtel exec will take on the title of executive manager, corporate affairs and internal communications.

Lisa Muxworthy, editor-in-chief at news.com.au, is leaving the business as part of News Corp’s restructure.

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

Mediaweek broke the news of Nick Zonnios joining Icon Agency as director of consumer to lead the agency‘s newly launched consumer practise, after departing from his previous position as head of PR at CHEP Network.

Nick Jacobs was promoted to chief strategy officer of M&C Saatchi Australia and New Zealand three months after Emily Taylor left the post.

Clemenger BBDO nabbed Adrián Flores as chief creative officer. Flores will return to Australia for the role after over a decade in international creative leadership roles. He replaces Jim Curtis, who left in September to become EVP, global executive CD at McCann New York.

PHD appointed Brendan Hewitt as its new Sydney head of strategy, replacing the outgoing Remi Baker.

Ogilvy Network appointed BMF’s Lisa Down and Leila Cranswick as joint creative directors for its Sydney office.

Social Soup promoted Cara Norris to the newly-created role of head of growth and partnerships and recruited Carolyne Gowen as client partnerships director.

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

Enigma added Chris Stobbs as head of performance across Sydney, Newcastle, and Brisbane.

Nine appointed Fiona Dear, the current EP of A Current Affair, as the network’s director of news and current affairs.

CHEP Network promoted Tash Johnson to national head of integrated production.

Integrated marketing and communications agency, Bastion, hired Samantha Hansen as partnerships marketing director. 

G Squared nabbed The Hallway’s former general manager Chris Murphy to lead its dedicated performance media creative division.

Angela Malkin joined Weber Shandwick as head of agency. The business also made key senior appointments to its leadership team across the consumer, technology, corporate, and healthcare practices, including Addie Freyne, Akina Taniguchi and Rachel Vidaic.

DDB Melbourne promoted creative partner Giles Watson to deputy executive creative director, and group creative director James Cowie to creative partner – head of copy.

Seven West Media promoted Adelaide news director Chris Salter to fill the gap created by Shaun Menegola‘s exit, and hired Gemma Williams as EP of Spotlight.

Connecting Plots added Craig Page as strategy partner, as Tim Collier exited the independent creative agency after six years for a role at cummins&partners.

Independent creative communications agency, Cassette, appointed Sam Enshaw as head of strategy. 

Zitcha appointed Josh Forsyth as APAC sales lead amidst the business’ global expansion.

UM hired Matt Evans as managing partner to lead the strategic media approach for the Optus account.

Jaywing added Fran Martin as senior brand strategist, a newly-created role to plan solutions for Jaywing’s performance and creative clients.

Priya Addams Williams joined the Dylan Alcott Foundation as Shift 20 Initiative lead. Previously, she was business director at Special Group, which worked with the Dylan Alcott Foundation (DAF) to launch the Shift 20 Initiative last year.

Creative innovation studio R/GA Australia appointed Marie Conley to the role of executive strategy director. 

Penny Shell joined Zenith Australia in the newly-created role of chief strategy and product officer after a stint consulting with the Publicis Group agency.

DoubleVerify promoted Imran Masood to vice president, country manager AUNZ after four years as country manager of the region.

Enigma appointed Ren Frise as executive director of digital, data, and technology at the independent agency.

After 20 years with the agency, Rob Swinton departed as managing director of OMD Brisbane, succeeded by Alison Costello.

DEPT appointed Brad Stevens to the newly-created role of executive creative director for APAC.

Nova Entertainment has expanded its commercial leadership team, with Rebecca Jeffrey appointed to the role of group business director – digital.

Andrew Murray, UM’s former national head of trading, joined GroupM’s Openmind in the role of transition lead – investment, after Mediaweek revealed earlier this year that the UM veteran had exited amidst redundancies.

GroupM appointed Marc Lomas as managing director to lead and expand its commerce and retail media capability across Australia and New Zealand, supporting essenceMediacom, Mindshare, and Wavemaker’s teams.

Love Media hired Alana Dowling as client director, strengthening the independent agency’s client services team.

PrettyGood, the new agency launched last month to service Australian small and medium businesses, nabbed Jonathan Lyon as co-founder and chief product officer.

JCDecaux promoted Ben White to general manager, transit. He has been working across a portfolio of projects within his role as national director – customer growth and head of nurture.

Houston appointed Alex Creamer as creative director and Michelle Teh as design director, strengthening the brand strategy and design consultancy’s creative offering.

Imagination promoted Alistair Wilson to managing director of Australia, overseeing the Sydney and Melbourne studios. He replaces Antony Gowthorp, who has left the experience design agency after almost 12 years.

QMS appointed Sean Rigby as national trading and partnerships director. He will commence the role in Q4, based in Sydney.

The ABC appointed Emily Copeland head of music in the ABC Audio team. This is a new role at the broadcaster after an executive search that started late in 2023.

TRA made six hires in Sydney and Melbourne to support growth and new business across both markets.

Account lead Nana Kawaura, consultant Sam Stalley, and senior consultant Charlotte Saunders join the Sydney team. Melbourne’s new hires include account lead Alexandra Fulton, qualitative lead Jemimah Gray, and senior qualitative consultant Claire Timmons.

Kim Verbrugghe joined CX Lavender as chief strategy officer. In the role, she will oversee all research, brand, comms, and experience planning across the customer experience agency and join CXL’s leadership team.

Warner Bros Discovery changed its leadership in Australia and New Zealand. Glen Kyne who had a wide regional remit as senior vice president and head of networks, Warner Bros Discovery Australia, New Zealand, and Japan, exited.

Taking over at least some of those roles is Juliet Peterson. The region leadership will continue to be based in Auckland.

Mamamia appointed Danni Wright, Carat’s former chief strategy officer, to lead strategy across the media brand and its content marketing agency, Squad. 

A new ad Twisties ad staring Robert Irwin and musician G-Flip (Georgia Claire Flipo) has launched to mixed reactions online.

The ad takes place on a podium, inviting Australians to vote for their favourit Twisty flavour in “The Great Flavour Debate” between chicken and cheese.

“To all my chookstituants! I say chicken is the people’s Twistie,” says Irwin.

“Cheese has carried chicken on its delicious shoulders for far too long! No more cluckin’ lies,” Flipo retorts.

Irwin shared the post on his socials with the caption: “Repping Team Chicken in Twisties great flavour debate was not on my 2024 bingo card! But when Twisties calls, you answer. So let’s bring it home for Chicken and prove team cheese wrong! Vote for Chicken at www.chickenvscheese.com.au. Go Chookies!”

 

 

 

 

 

 

View this post on Instagram

 

 

 

 

 

 

 

 

 

 

 

 

A post shared by Robert Irwin (@robertirwinphotography)

While some have criticised the ad for its “cringe” and criticised the media personality’s acting chops, most of the negative sentiment appears to be focused on Irwin supporting the chicken flavour despite being an animal advocate.

“I’m honestly surprised that you aren’t vegan, or at least vegetarian @robertirwinphotography someone who loves and cares about animals like you should care about the animals in the meat industry too,” said one user.

“Why are pushing for chicken if you are such an animal lover? No animals have to die for cheese,” added another.

However, there also appears to be significant support for the ads in the comments, with reactions like “ICONIC,” “Sorry Bindi [a quote from the ad] I’m crying???,” and “okay slay marketing team” racking up their fair share of likes.

The ad was created by creative agency VaynerMedia, which manages global food giant PepsiCo’s Smiths Snack Food brands in Australia, including Mountain Dew and Doritos. In February, VaynerMedia had the word ‘Twifties’ written across the sky to celebrate the Australian leg of Taylor Swift’s The Eras Tour, uniting the beloved pop star with the Aussie chip brand.

“Combining two icons together in the sky, Twisties is showing love for a fellow icon as Taylor prepares to launch her highly anticipated Sydney shows across the next four nights,” Vandita Pandey, chief marketing officerANZ at PepsiCo, said at the time.

In January, VanyerMedia brought a Doritos’ outdoor ad campaign, For The Bold, to life at the Melbourne Wedding & Bride Expo. Doritos inserted itself into event by hijacking the catwalk, with a model strutting down in a bridal gown covered in Doritos orange dust.

In November last year, it launched an ad for Mountain Dew, disguised as a movie trailer, an “origin story” of the iconic drink.

See also:
Doritos’ ‘For The Bold’ campaign turned heads at Melbourne Wedding Expo with Dorito-dusted dress
Mountain Dew, VaynerMedia & Golin debut origin story trailer dispelling fan myths
PepsiCo appoints Special PR for Pepsi, Red Rock Deli, and Smith’s

SBS On Demand has joined VOZ Streaming to deliver advertisers full access to Australia’s free-to-air commercial BVOD inventory.

Programmatic trading across 7plus, 9Now, 10play and now SBS On Demand will enable advertisers to aggregate the scale of BVOD services while managing de-duplicated reach and frequency, and frequency capping, OzTAM said, as BVOD now accounts for approximately 10% of Total TV minutes viewed weekly.

SBS On Demand’s addition follows the BVOD success of Alone Australia season two, which wrapped up last night. The SBS show had episodes reaching a Total TV audience of over 1 million viewers; the series is among the most-watched shows on Australian BVOD.

Adam Sadler, SBS director of media sales, said: “Over many years SBS On Demand has built an important position in the premium video market with a deep library focused on building audience and scale through BVOD-led shows like Alone Australia. SBS has always maintained a collaborative position in the market. We are very pleased to bring SBS On Demand into VOZ Streaming giving marketers access to the diverse audiences who regularly come to our platform.”

OzTAM is working with broadcasters, media agencies, third party software suppliers and leading ad tech providers towards the launch of VOZ Streaming, with further updates to be announced.

“Media agencies and advertisers have asked for an easier way to transact BVOD across broadcasters, and SBS On Demand’s inclusion in VOZ Streaming delivers that,” OzTAM CEO, Karen Halligan, said.

“Aggregating the scale of broadcasters’ BVOD inventory is more important than ever as we work towards Total TV trading via VOZ.  BVOD viewing delivers significant reach in all demographics, particularly, younger audiences with 24% of 18 to 24 year-olds’ weekly broadcaster viewing exclusively on BVOD. We welcome SBS On Demand into this important OzTAM innovation for the industry, which enables transacting on BVOD alongside  the broadcasters’ own BVOD trading models.

“As more services are measured with VOZ, OzTAM is looking forward to welcoming and onboarding further streaming services in VOZ Streaming.”
 
Paramount Australia general manager data insights and analytics, Gareth Tomlin, added: “Welcoming SBS On Demand to VOZ Streaming demonstrates how effective the service is for the entire industry. Their decision also reflects OzTAM’s extensive industry consultation and collaboration with our clients and agency partners as they have built this solution to meet their needs.
 
“VOZ Streaming will allow advertisers to control the reach and frequency of their programmatic campaigns across multiple platforms, backed up by the robust and independent VOZ data set.”

The good news – there is a new series of Colin From Accounts (Foxtel/Binge). The bad news – there isn’t much competition from other Aussie comedies because scripted content, including drama, is down 55% since the early 2000s.

Scripted comedies have never been an Aussie specialty, despite all of us being brought up on a steady diet of US and UK fare. There have been some enduring classics though, like (the original) Mother And Son, Frontline, Kath & Kim, Upper Middle Bogan and Fisk.

Patrick Brammall, Harriet Dyer and Zak in Colin From Accounts

Colin From Accounts is a rom-com about a dog who brings together an unlikely couple (played by Patrick Brammall and Harriet Dyer who also write the show). Aussie TV has done good dog sitcoms (Wilfred) and some bad ones (The Bob Morrison Show), but this one has proved to be its own beast and is now enjoyed all over the world. 

For its second series, Colin is becoming less important as the human cast expands. There are new guest stars like Virginia Hey, Celeste Barber, Justin Rosniak, John Howard and Arka Das. They join returning regulars like Michael Logo, Emma Harvie, Helen Thomson, Darren Gilshernan, Annie Maynard and Tony Llewellyn-Jones.

Comedy is really hard to do, especially with today’s armchair critics on social media who can destroy the show on night one. That makes commercial TV very hesitant to even try, hence the complete lack of Aussie sitcoms anywhere except for Foxtel and the ABC.

The benefits for those who try can be enormous. Sitcoms with multiple viewings lead to lots of residuals that can keep flowing for years. There’s also the possibility that the Americans will pay heaps of money to remake it, even though there’s a good chance they will muck it up.

Colin From Accounts doesn’t need to be remade because it’s perfect the way it is. It is distinctly Aussie, without hitting you over the head with it, and it’s great to have it back. 

Check out our TV Gold podcast with Colin From Accounts producers Ian Collie and Rob Gibson which is dropping next week.

TV Gold: New episode of Mediaweek’s weekly TV podcast

Listen now on your favourite podcast platform for 30 minutes of TV reviews and recommendations every week from Mediaweek’s Mercado on TV columnist Andrew Mercado and editor-in-chief James Manning.

We want your comments, feedback and questions – [email protected].

This week on TV Gold, Insomnia, Hacks and Restoration Australia

Jean Smart and Hannah Einbinder in Hacks

A comedy, a lifestyle show and a new drama this week.
Hacks Season 3 (Stan, series) is being labelled by some as the best series yet of the comedy about standup legend Deborah Vance.

Restoration Australia (ABC/iview, series) is a factual series James loves. The first episode of Season 6 is set in the Queensland capital. He and Andrew discuss how great a city Brisbane is.

Insomnia (Stan, series) is the premium drama reviewed this week. It stars TV Gold favourite Vicky McClure and just might be a trigger for you if you can’t sleep!

Listen online here, or on your favourite podcast platform.

The Monkeys, part of Accenture Song, has nabbed Goodby, Silverstein & Partners’ Lennie Galloway and Thomas Gledhill as associate creative directors.

The duo return to Australia after a four-year stint at the San Fransisco full-service agency, where they created work for clients including Cheetos, Autodesk, and Liberty Mutual. 

“We’ve had our eye on The Monkeys for years, so we’re feeling pretty lucky to now work here,” said Galloway.

“There’s something about their creativity, and the work in the southern hemisphere in general, that always impresses on a global stage, and we’re excited to be a part of it again. We’re also excited for people to understand our accents again.”

Galloway and Gledhill have been working together for almost a decade, beginning their career at FCB New Zealand where they won Cannes Young Lions as interns. They have since gone onto score at most major awards shows including Creative Team of the Year at AWARD. 

“It was a hard decision to leave the US, but the opportunity to join The Monkeys made it an absolute no brainer,” added Gledhill.

“They’ve launched some of the most ambitious, well-crafted work in the world and we can’t wait to be a part of the team. There’s something in the water down here, besides sharks.”

The Monkeys’ chief creative officer, Tara Ford, said the creative agency was “thrilled to welcome Lennie and Thomas fresh from The States and to have them join the team. Great people. Great talents. We cannot wait to see the brilliant things they will do.”

Accenture Song, the creative consultancy arm of professional services giant Accenture and owner of The Monkeys, has sparked a stir by nabbing Initiative’s three most senior leaders, CEO Melissa Fein, MD Sam Geer, and chief strategy and product officer Chris Colter. The trio will set up a full service media unit within Accenture Song.

Accenture Song ANZ President Mark Green said of the hires: “There is no doubt that media is a business growth driver and strategic differentiator for our clients.”

See also: Accenture Song on nabbing Fein, Geer, and Colter: ‘Reflects our global strategy to deliver integrated solutions’

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Top image: Lennie Galloway and Thomas Gledhill

Enthral has appointed Mark Tompkins as its new creative director.

Tompkins brings more than 20 years of experience to the agency, having worked in Australia and London with TBWA, DDB, Clemenger, and Ogilvy.

Cameron Smith, Enthral’s managing director, said the decision to hire a dedicated creative resource for the first time was driven by broadening client briefs, which went beyond traditional PR and content. 

“Mark has worked with some of the biggest brands across Australia and the UK on award-winning campaigns, and we’re excited to have him join the team,” he said.

“We’ve been looking to introduce this role into the agency for a while, however our earned-led lens approach to creative, regardless of what channel our work plays out in, remains the heart and soul of the business; we knew a traditional creative wouldn’t be right for us until we met Mark.

“Mark gets what makes news and can think beyond TV ads, so we know he’s the one.”

Tompkins said of his new role: “I started freelancing with Enthral and quickly realised I wanted to make the agency my next permanent move in my career. Beyond Enthral’s impressive client list, they produce quality work that I know I will be proud to be a part of.”

In addition to Tompkins’ appointment, Enthral has expanded its team in Melbourne and Sydney this year, with four additional PR roles.

This growth has also prompted a move into a new, bigger office in McMahons Point in Sydney.

Enthral’s current client roster includes IGA, Crown Resorts, Virgin Australia, Michael Hill, Pepsico, AGL, DrinkWise, RACV, Moose Toys, Vzug and the Yothu Yindi Foundation, among others.

The agency, founded in 2013, specialises in earned and owned content that is purposeful, based on strategy and insights, experience and outstanding creative.

By Peter Mountford, freelance senior copywriter at AFFINITY Agency Group

As a freelance copywriter, you get to see how lots of agencies work. They all have their quirks. Some are run with German precision; others are run with seemingly no processes at all – a blur of frantic energy and creativity. Some have beer fridges that would put your local to shame; others start Mondays with a group yoga session.

One thing most have in common is that they struggle to consistently nail great propositions on their briefs. There’s no doubt a lot of valid reasons for that, but here’s what I’d love to see if I had three wishes:

1. Keep it simple

Oh so obvious, I hear you say. But why then is it so difficult to achieve in real-world briefs? Creatives are taught the power of a simple and single-minded brief right from the start of their careers. At Award School, we were given a series of mock briefs, usually with blissfully simple propositions, like:  

• Windex Glass cleaner – For the cleanest glass
• Vanish Napisan – Effective against all stains
• Banana Boat – Spend more time in the sun

Then, when we start working in agencies ‘for real’, things become complicated. Propositions are rarely single-minded and are more often a shopping list of generic product features. The Vanish Napisan example from above becomes something like, ‘Brightens colours, removes stains, works in cold wash, is good for the environment and is great value.’

Ummm, where to start?

There’s every chance a creative will prioritise brightening colours over removing stains and the client might want the opposite. Instead, the creative work is used to figure out what the brief really is, and it’s back to the drawing board. The inefficiency and wasted creative thinking is bad for creative departments, bad for agency reputations and bad for effectiveness, which is all the client is ultimately interested in.

Looking at some of the most successful campaigns of all time, we can see how effective a simple strategy can be. The examples below are the actual strategy lines that were used for these campaigns: 

• Canal+ The Bear – Convey a passion for cinema
• Dove Real Beauty – Let’s make real women feel more beautiful
• California Milk Processor Board Got milk? – People don’t care about milk until they don’t have it
• Sony Bravia Balls – Brings colour into your life

2. Stick to the truth

An insightful truth can be a springboard for a great campaign. The strategists behind the Dove campaign found that only 2% of women would call themselves beautiful. For Got Milk?, it was that interview subjects really struggled when they were told not to drink milk for a few days before meeting with the agency.  

These truths can be about the product itself, like Snickers’ You’re not you when you’re hungry. What they can’t be is fabricated. Nobody quite believes that big mining is leading the charge towards green energy, that banking is about more than money, or that the big supermarkets want to help us spend less.

The reality is, unless you’re prepared to challenge a client (and the brief) on their inherent biases, you’ll never get to work that punters will believe in.

3. Use plain English

This one is a personal gripe. The problem here is when briefs and propositions are written like taglines. So, instead of being asked to sell the ‘cleanest glass’ we are asked to sell ‘glass so clean, it’s like a dream’.

Unfortunately, this limits creativity, rather than unlocking it. True creative freedom lies in tightly defined and plainly written creative briefs and creative tyranny is in the opposite. So less purple prose and more inspirational platforms please.

And what if you don’t have three wishes? 

In the extremely unlikely event that a genie doesn’t grant you three wishes, your best bet is for creatives and strategists to work as closely together as possible. In the same way strategists can improve creative work, creatives can often help get to a fruitful proposition. After all, most strategists are creative, and most creatives, strategic.

Which neatly brings me round to where I’m working right now (and yes, I guess you could say they’re paying me to write this). But it has been a pleasant surprise to work in an agency that reduces the number of layers between the creatives and the client.

And what works well here at AFFINITY, is that strategists own the relationship with the client – there’s no account service. Which means briefs are more insightful and single minded from the get-go. It also means we’re focused on solving the right problem and creating work that delivers measurable results. Which is good for business and good for us as well.

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Top image: Peter Mountford

Nine will explore the rivalry between Australia and the United States in the upcoming documentary Boiling Point: Swimming’s Greatest Rivalry, premiering Sunday 9 June at 7pm on Nine and 9Now.

The series is the first of five documentaries in the Beyond The Dream series, which will begin in the lead-up to the Olympic Games and Paralympic Games in Paris. The series will continue throughout Nine’s eight-year journey through to Brisbane 2032. 

It features never-before-seen footage and exclusive one-on-one interviews with swimmers, offering a look into Olympic history and the stories of the two nations.

The documentary includes first-hand accounts with the names behind the races, including five-time Olympic gold medalist and Australian swimming legend Ian Thorpe OAM, the most successful Olympian of all time Michael Phelps, reigning Olympic champion Ariarne Titmus, as well as Olympic two-time gold medalist Michael Klim OAM, Olympic gold medalist Duncan Armstrong and his coach and Australian swimming legend Laurie Lawrence.

Boiling Point celebrates the rivalry, races, and swimmers who have made the battle between Australia and the USA in the pool one of the highlights of every Olympics.
 
Hamish Turner, director of 9Now and programming, said: “Swimming is ingrained in Australia’s sporting culture, every four years new Olympic and Paralympic heroes are crowned continuing a rich tradition.

“This in-depth documentary series is the first to be produced by an Australian broadcaster. Nine extends its gratitude and appreciation to the incredible Olympians and Paralympians past and present who have offered their time to tell their stories.”

Beyond The Dream: Boiling Point – Swimming’s Greatest Rivalry is produced by Wide World Of Sports, in association with Dreamchaser, for the 9Network. 

The Beyond The Dream documentary series were announced last month, as Nine unveiled its 100 day countdown plan, including a new look and interface upgrade to  9Now. Turner called the network’s impending coverage the “biggest undertaking in the history of Nine” to create the “greatest Games of all time.”

See also: ‘Biggest undertaking in the history of Nine’: Nine’s Paris Olympics plans, 100 days out

Digital artwork by Gumatj artist and filmmaker, Gutiŋarra Yunupiŋu – part of the The Mulka Project Indigenous media unit – will feature on oOh!media’s Bourke Street 3D anamorphic (3DA) billboard for one week in a partnership between the outdoor media provider and the National Gallery.

This marks the first time a 3DA site has been activated with a work by a First Nations artist in Australia.

The six-storey high Bourke Street billboard is one of oOh!media’s full motion 3DA sites, and the largest outdoor animated site in Australia.

Yunupiŋu’s two minute artwork, Bäru Gurtha, which transports the artist from North East Arnhem Land to Naarm (Melbourne’s CBD), will premiere at 5:30pm on Monday 3 June for a 25 minute showing. It will then feature on the billboard once every hour from 3 to 9 June, expected to reach an average estimated 100,000 pedestrians who pass the site each day.

 “We are passionate about taking art beyond the walls of the Gallery and our partnership with oOh!media is a great example of finding new platforms to share art with the public,” said National Gallery director, Dr. Nick Mitzevich.

Yunupiŋu, who was born deaf, collaborated with his team at The Mulka Project to create the 3D digital artwork, incorporating his clan’s designs, totems and his cultural Yolŋu sign language to communicate their connection. 

As a member of the Gumatj clan, Yunupiŋu holds deep reverence for the Ancestral Crocodile, Bäru, and bearer of the Ancestral Fire, Gurtha. His artwork depicts the pivotal ancestral narrative of the moment Bäru first carried Gurtha from Maḏarrpa clan land to his Gumatj homeland of Birany’birany.

Head of creative at oOh!media, Josh Gurgiel, said it was “an honour for our teams to work together to bring Gutiŋarra Yunupiŋu’s powerful artwork out of the gallery and into such a prominent public space on our premium ‘The Bourke’ site.

“This collaboration highlights the innovative possibilities of digital art and 3D Anamorphic technology. We’re thrilled to provide a platform that connects cultural heritage and storytelling of Australia’s First peoples with modern technology, engaging audiences in a truly unique way.”

The Mulka Project is a collective of Yolŋu digital artists based out of the Buku-Larrŋggay Mulka Art Centre in Yirrkala, Yolŋu Country in North-Eastern Arnhem Land. The Project is dedicated to sustaining and protecting Yolŋu cultural knowledge under the leadership of its community elders. A production house and digital library, it creates and disseminates audio-visual cultural resources throughout the Yolŋu community.

“The Mulka Project is a dynamic collective of artists who work with cutting-edge digital technologies and Gutiŋarra Yunupiŋu has created an exciting new work about his culture that takes full advantage of the 3DA full motion site,” said Mitzevich.

In February 2020, oOh!media partnered with the National Gallery to activate its gender equity initiative with the Know My Name Outdoor Art Event. Works by 45 Australian female artists from the national collection featured on close to 3,000 classic and digital billboards around Australia, reaching over 12 million people. 

Josh Gurgiel, head of oOh!media’s creative and innovation hub POLY, recently spoke to Mediaweek following the OOH business’ recent burst of outdoor advertising creativity.

“I like to think that out-of-home advertising is just public space art that happens to be sponsored by your brand,” said Gurgiel. 

See also: oOh!media & Google partner with gallery to showcase future of out-of-home

Whether it’s a childhood jingle that you can still sing word for word, or a campaign that influences the way you work today, everyone has an ad that has really stuck with them.

Mediaweek has been asking the industry to take a trip down memory lane, to find out all about the ads that made us.

Hannah Coombs – Head of Production, Melbourne Social Co

Carlton Draft: It’s a BIG ad 

This really was a BIG ad and I have always remembered it this way. When I was young I was so fascinated by how they were able to create the shape of a person drinking beer with actual people. The song was dramatic and something that always stuck in my head. At the time the ad was airing on TV, there was a lot of general chatter about it in conversation, which is always an indication of an iconic ad.

Georgie Nichols – National Sales Director, Seven Network

P&G Always #Likeagirl June 2014

Early in my career, I lived in London and was lucky enough to work as a strategist on the Always product line for P&G across EMEA (Europe, Middle East and Africa). It was an incredible opportunity to experience how a global brand promoted a product across countries with significant cultural diversity with sensitivity, brand consistency and in an incredibly impactful way.

Fast forward to 2014 when I am mum to two young girls and Always launched the brilliant #likeagirl campaign, which struck a massive emotional chord with me as a mother, a woman and as a female leader in our industry. This campaign was based on the core insight that 72% of girls felt society limited them and 50% of girls felt paralysed by the fear of failure through puberty. The campaign challenged societal biases and the perception that girls can’t be brave, strong or smart and tackled the then derogatory term #likeagirl head on.

I love this campaign for so many reasons, but my top three reasons are:

1. Three times more girls had a positive association with the phrase #likeagirl post campaign.
2. It demonstrated the power of advertising (and our amazing media industry) to create positive behavioural change.
3. #likeagirl is a phrase I have talked to my girls about for 10 years now and it has helped empower them to not accept gender biases and push themselves forward with confidence in so many areas including previously male dominated sports such as AFL and surfing.

Ten years on, there is still a lot more to do to overcome gender bias but I am proud to work in an industry that champions women and delivers campaigns that ARE driving change (Dove Real Beauty another great example from Unilever). We have come a long way since the #likeagirl campaign launched in 2014 and no greater example of this when you look at how many women we have in leadership roles across our industry: 47% of management roles are now held by women vs 40% in 2014 (MFA 2024 and 2014). So many amazing female leaders delivering change #likeagirl

Jack Cleaver – Senior Digital Strategist, Bench Media

Weet-Bix: How Many Do You Do?

As a kid growing up in Australia, you idolised professional sportspeople, and the Weet-Bix ads promised to help you achieve greatness. The ‘Aussie Kids are Weet-Bix Kids’ jingle was catchy (still being used to this day), and the ads featured Aussie sporting legends like Brett Lee.

The ad that really stuck with me was the ‘How Many Do You Do’ ad with the world cup winning Wallabies team. With aspirations of becoming like them, the concept of eating as many Weet-Bix as humanly possible became a daily routine in our household.

See Also: The Ads That Made Us: Cadbury Gorilla, Cottee’s Cordial, Banana Boat

–

Top Image: Hannah Coombs, Georgie Nichols, Jack Cleaver

Avid Collective and Mindshare have unveiled a pro-bono campaign for environmental charity Citizens of the Reef to promote its efforts to conserve Australia’s iconic Great Barrier Reef.

The campaign, launching this week, supports the organisation’s annual Great Reef Census with Avid. Its publisher partners are providing free native content across digital assets for brands and platforms including Thrive Planet, Student Edge, Signature Luxury Travel & Style, and Cosmos Magazine.

The latest campaign is Avid Collective and Mindshare’s second pro-bono offering for Citizens of the Reef, aiming to promote the organisation’s conversation efforts.

The annual Great Reef Census is a citizen science project to survey the Great Barrier Reef. Environmental enthusiasts worldwide are invited to analyse images from hundreds of reefs across the Great Barrier Reef, helping to identify types and amounts of coral.

The census is one part of Citizens of the Reef’s large-scale conservation efforts to protect reefs globally. The not-for-profit organisation is renowned for fusing people power, AI, and science, to deliver practical conservation programs, which are now scaling to communities worldwide.

“Any time we’re able to work with our media partners on campaigns that align to our values and have impact for a great cause is a win-win,” Linda Tyson, managing partner at Mindshare, said.

“Last year’s campaign resulted in over 164,000 reef images being analysed by everyday citizens – smashing our goal of 15,000. This was only possible with the help of our amazing media partnerships.”

Last year, the census reached more than 20 million people globally, with more than 6,000 citizen scientists analysing the reef images. The census and its platform also notched up more than 50,000 users.

Luke Spano, managing director at Avid Collective, added: “The Great Reef Census is an excellent example of scalable conservation (and content) in action. By taking part, people are engaging in a massive citizen science project that is providing critical data to scientists and marine park managers. It’s a way for people to feel engaged in reef conversation, enabling them to take direct action in real time.

“At Avid, the census campaign has become a much-loved part of our annual deliverables, for both our team and our clients, who are passionate about environmental conservation and using their skills to contribute to a greener future. We are proud to play a part in helping to conserve one of the world’s great natural wonders and thank our publisher partners for contributing to this important campaign.”

ABC Radio Perth will celebrate 100 years of radio in Western Australia on Tuesday 4 June, with special broadcasts set to roll out across the week.

Radio 6WF, still the call sign of 720 ABC Radio Perth today, made its first transmission on the evening of 4 June 1924, with a speech from Premier Philip Collier plus a program of light music and live entertainment.

Established by Westralian Farmers’ Co-operative Ltd (Wesfarmers), it was the first high powered radio station in Western Australia, broadcasting agricultural information to farmers and to provide a connection with the wider world.

“When you think of the isolation of so many people in WA – especially 100 years ago – music, news and information from ‘the wireless’ would have been invaluable,” said ABC Radio Perth manager, Danielle Benda.

“Over the years 6WF won a place in our hearts and homes as company and reassurance in times of deep difficulty and uncertainty as well as in joy and celebration.

“ABC Radio is proud to continue to broadcast in that great tradition providing great company, excellent news services, good music and comprehensive sports coverage to audiences in Perth and throughout WA.”

Throughout the birthday week, ABC Radio Perth will feature some of Western Australia’s most familiar and beloved radio voices.

Centenarian celebrations kick off in Breakfast with Mark Gibson featuring interviews with Perth radio star Earl Reeve and media personality Susannah Carr.

The morning program, hosted by Nadia Mitsopoulos, will do a special live broadcast at the State Library of Western Australia, which is launching a display on the history of 6WF Radio. The program will feature music selected from the first broadcast in 1924 performed live by the Perth Symphony Orchestra, and will further detail the history of radio in Western Australia.

ABC Perth will also be opening its doors to the public on Saturday 8 June, from 9am to 2:30pm for an Open House.

Earlier this year, ABC Radio underwent a shake-up with new content bosses arriving from commercial radio, bringing with them a refresh of the metro stations.

According to the last ABC Radio Ratings Survey 2, ABC Radio Perth’s share of 5.7% sees it just above its long-time commercial rival 6PR Perth on 5.5%.

See also: ABC Radio Ratings Survey 2, 2024: The quiet achiever who is ABC’s #1 in Sydney

The Brag Media has revealed the Rolling Stone AU/NZ June-August issue, with Crowded House gracing the cover. The issue hits news stands in Australia and New Zealand from 3 June.

The cover story looks into the band’s various iterations, and why, all these years later, Neil Finn, Nick Seymour, Mitchell Froom, Liam Finn and Elroy Finn still pursue artistry and authenticity.

“Everyone in Crowded House shares the history, and that’s the great thing about this lineup. It’s different to what it was, but it’s got as much soul to my mind as any lineup we’ve had. And potentially it might be our greatest lineup, by whatever measure you use. It feels like we’ve got massive trust now,” Neil Finn told Rolling Stone. 

The multi-generational story includes insights from Neil Finn’s son, Liam, who joined the band in 2020.

“Dad is always going to be working on songs, pushing himself to the edge of madness,” he said of Neil. “He’s the hardest working person I know in the world. And for better or for worse, it just won’t stop.”

The creative collaboration on the cover of the June-August issue of Rolling Stone AU/NZ comes off the back of the band being recognised with the Rolling Stone Icon Award at the recent Rolling Stone AU/NZ Awards.

See also: Rolling Stone editors crown Crowded House an ‘Icon’ at awards show

“Rolling Stone has long been the kind of purveyor of culture that sits at the epicentre of music’s big moments,” Rolling Stone AU/NZ editor-in-chief, Poppy Reid, said.

“The excitement and undoubted cultural shift that comes with a new Crowded House album was always going to be something we wanted to be part of.

“For most of us, Crowded House has existed in the patchwork of our love for music since the very beginning. For some, it was the very first stitch. So to be part of a new Crowded House era, and to be invited into their private universe (pun intended), was a privilege.”

Rolling Stone Australia reached 225,000 on average for each issue, for the 12 months to March 2024, according to the latest Roy Morgan Australian Magazine Readership Report. 

The Brag Media’s network of brands now surpasses 40 million monthly page views and reaches 9.1 million unique Australian users per month across its top 50 sites, plus more through the Playwire network.

LiSTNR has partnered with DataCo Technologies to further accelerate its data cleanroom strategy, allowing advertisers to integrate their own databases with the platform’s 1.95 million first-party database.

The partnership with the Australian cleanroom solution aims to ensure campaign effectiveness, local safety, and privacy compliance. It also provides access to merchant data from Australia’s leading banks and global financial data providers.

DataCo Technologies was developed by Business Creation Lab of 1835i, the innovation partner to ANZ Bank. The business said its cleanroom solution offers bank-grade security and privacy protection without the technical complexity found in many other solutions in the market.

LiSTNR is the only digital audio platform to partner with DataCo, and the cleanroom solution is a managed service rather than self-serve.

Olly Newton, SCA executive head – LiSTNR Commercial, said: “We are incredibly excited to announce our partnership with DataCo with another cleanroom solution on LiSTNR. Being able to data match is the highest value property that you can buy in digital audio because it enables ad dollars to work harder.
 
“The combination of first party data from LiSTNR, now enhanced with financial data from DataCo and an advertiser’s own data, means brands benefit from enhanced planning insights, greater campaign performance and optimisation capabilities unrivalled by other Australian audio platforms.
 
“LiSTNR is the fastest growing player in the fastest growing media sector of digital audio. The delivery of attributable, effective and engaging campaigns without friction makes LiSTNR a must have component of a media mix.”

Under the partnership, LiSTNR’s first party data can be dissected at a segment or spending level, such as which content is listened to by people who spend money on grocery products, or if consumers are listening to a particular podcast, and what categories of spend they index highest in.

“We’re excited to partner with SCA, Australia’s leading digital audio platform, to drive improved marketing outcomes for several local and global brands,” DataCo CEO, Rami Mukhtar, said.

“This collaboration underscores our commitment to simple, privacy preserving and secure data solutions which deliver measurable results for our clients.”

LiSTNR said the partnership will allow it to better cross promote content, make in app recommendations to users, and recommend content that brands should include in their media plans to generate the greatest return on investment.
 
Beth Pondo, Uber ANZ director local operations, said: “We offer millions of Australians a highly curated experience on our platform, helping them go anywhere and get anything in the very moment they need. Naturally we’re excited to be working with the LiSTNR Cleanroom in the same way – to use technology to provide listeners with more personally relevant offers.”

The partnership with DataCo follows the April launch of LiSTNR’s AdTech Hub, an exclusive advertising technology suite of innovations and services. The hub enables increased personalisation and targeting, extensive dynamic creative optimisation, an Australian based customer data platform, ad server and a range of first party data cleanroom solutions and services.

The AdTech Hub has driven more than 150 new advertisers to the platform in just the first four weeks of its launch, and across all advertising categories, demonstrating the strong interest in digital audio and LiSTNR in particular.

Advertisers can maximise reach and efficiencies by allocating 30% of their Total TV budget to ad-funded streaming, according to a new study by Samsung Ads and Nielsen.

‘Behind the Screens’ examined how advertisers can deliver greater impact among key demographics through a 70/30 combination of linear and streaming ads without increasing budgets. 

Linear and streaming TV delivers greater reach with ‘The Rule of 30’

The creation of the ‘Rule of 30’ provides a general rule of thumb for advertisers who are uncertain how much of their Total TV budget should be allocated to ad-supported streaming on Connected TV. Over 8.6 million Australians watch video via CTV daily, according to the IAB.

The study modelled the effects of different TV advertising budget allocations across linear and streaming. Using a broad 18 to 54-year-old demographic and maximum campaign spend of two million dollars, the study demonstrated the impact achieved by applying the Rule of 30.

It found that campaigns produced a higher net reach when 30% of the budget was allocated to ad-funded streaming and 70% to linear TV ads. Samsung Ads and Nielsen said advertisers can maximise reach and minimise over-exposure through this approach, without increasing budgets. Both noted that the optimal allocation will vary across industries, audience preferences, campaign objectives and budgets.

Ad-funded streaming reaches young people faster and more efficiently 

The report found that brands wanting to reach audiences under 40 years old can achieve greater 3+ reach with ad-funded streaming compared to linear TV ads, with any budget of $1.3 million or less. Advertisers on smaller budgets – $800K or less – looking for maximum impact can also build reach faster amongst younger audiences by placing over half their budget (55%) on streaming. 

A recent Samsung Ads study also found streaming services draw in younger audiences, who perceive streaming ads to be eight times more modern versus non-streaming environments. 

Low budget campaigns aimed at 25-54 year olds benefit from streaming as part of media mix

Historically 25-54-year-olds have played a pivotal role in linear TV buying. The study shows ad-funded streaming can now provide the same reach as linear TV ads in this age range for campaigns with lower budgets. For budgets over $350,000, linear TV ads alone still provide a higher reach compared to ad-funded streaming. 

However, when the Rule of 30 is applied across this demographic on campaigns up to $2 million, a combination of linear TV ads and ad-funded streaming still delivers a higher maximum reach across all spend levels, according to the report.

TV spend lags behind consumer viewing behaviour 

Over two-thirds of all time spent on Samsung Smart TVs is within streaming environments, and the report noted that as more ad-funded tiers are introduced and new free ad-supported streaming TV (FAST) services become available, advertisers have more ways to reach these audiences.

Despite the shift to streaming, advertising dollars have been slow to catch up. According to the study, a single-digit percentage of the $3.4b invested in Australian TV advertising last year made its way to streaming. When you compare this to more mature markets like the US or UK, CTV ad spends are 29% and 21%, respectively.

Alex Spurzem

Alex Spurzem, Samsung Ads managing director, ANZ & SEA, said, “To achieve success in today’s TV landscape you have to reach audiences where they choose to watch – TV spend is playing a game of catch up. What the study shows is that by rebalancing budget allocation, advertisers can optimise their reach, without needing so much as one additional dollar.”  

Kirsten Riolo, head of publishers and platforms at Nielsen, added “Engaging specific audiences while striking the balance of reach and frequency is a challenge facing every marketer. But what’s evident in this study is that combining linear and streaming ads in a TV campaign can be key in reaching main demographics across all categories. The Rule of 30 isn’t designed to be a one-size-fits-all: rather a supporting guide for those in search of even bigger impact.”

Kirsten Riolo

Australians are increasingly prioritising the security of their personal data as a result of recent data security breaches, meaning brands must actively invest in data privacy to maintain consumer trust.

Market specialist research agency Honeycomb Strategy has released a report, Brands Beyond Breaches 2024 – A Brand Playbook for Privacy Protection, which found that 90% of Australians demand transparency in how their personal data is handled.

Meanwhile, 75% say they would prefer data privacy over a personalised experience.

The report noted that consumers are more critical of how their data is being used, with 72% saying they felt a company using their data for an undisclosed purpose was a ‘clear misuse’ of their information, while another 34% said they felt using their data to send them personalised offers was ‘improper’.

Honeycomb Strategy’s survey also noted that data security on social media continues to provide uncertainty for users. It found that brands on social media (72%) and social media companies (70%) were the least trusted with their personal data.

The report also highlighted that the fallout of a data security breach is now more far-reaching than ever, with customers turning their backs on companies that have experienced data breaches, such as Optus and Medibank.

It found 36% of customers switched after the recent Optus and Medibank breaches, and another 30% of Optus customers and 23% of Medibank customers said they still plan on ditching the providers.

Honeycomb Strategy’s survey also reported 7 million Australians said they would never trust Optus again, and a further 5 million said they would never trust Medibank again, following the data breaches.

This was reflective of the overall decline facing businesses that undergo a cyber-attack – more than half of customers (54%) are likely to leave the company, even if their data has not been compromised, according to Honeycomb.

John Bevitt, managing director of Honeycomb Strategy, said brands need to be transparent, proactive, and offer extensive support to maintain consumer trust.

“In today’s world, a privacy breach isn’t just a tech issue – it’s a trust issue. And to successfully navigate data privacy, brands need to be proactive, transparent and prepared.

“Consumers are looking to partner with brands who prioritise their data privacy, are forward-thinking in how they use and handle information, and are customer-centric with their approach.

“Consumers immediately distrust brands who are misleading or not completely transparent with how they plan to use their data. Sticking to the status quo is not enough.

“To pull ahead, brands need to do better, by being aware of customer data needs. The world of data is full of unknowns; by helping guide customers through it, brand trust associations will naturally strengthen.”

TV Report 30 May 2024:

Nine TV Report

A Current Affair

Nine‘s A Current Affair spoke to the son of a woman who was killed by a woman with a mental illness who drove a car into her home at 110 kilometres an hour.

NRL: Eels v Sharks

Parramatta had the home ground advantage on Thursday, winning over Cronulla 34-22 to celebrate Mitchell Moses‘ return from injury.

Seven TV Report

Home and Away

Remi opened up to Bree, whilst Dana’s nerves hit boiling point ahead of Tane’s trial.

Dogs Behaving (Very) Badly

Doberman Arnie’ has been muscling on one couple’s personal space and there’s no escape – because Arnie can open every door in the house.

10 TV Report

The Project

10‘s The Project spoke with Candace Bushnell, the creator of Sex & The City, about  how she based it on her own life and those of her friends.

Taskmaster Australia

The first team task took place, where life (a.k.a Tom Cashman) gave the contestants lemons. Anne Edmonds wrote a sweet potato ballad, and Lloyd Langford painted a home with a gnome.

ABC

Restoration Australia

Host Anthony Burke met a King Islander returning home to one of Australia’s most remote and weather beaten outposts to restore a derelict farmhouse.

Grand Designs

Danny wanted to build a sustainable but affordable house with bedroom pods on stilts up in the trees, but has no self-build experience and costs running out of control.

SBS

DNA Family Secrets

Mel only found out as a teenager that she was conceived using a sperm donor. Now she wants to see if she can find her biological father’s identity. Fi always knew she was adopted. What she didn’t know until later in life was that her father murdered her birth mother.

Our Law

The cells have reached capacity in Kalgoorlie, giving lockup-keeper Ace both a lot to do and a lot to think about.

Wednesday 29 May 2024: VOZ Total TV Ratings Overnight Top 30 – Programs ranked on reach

Total People TV Ratings

Seven’s The 1% Club UK recorded a total TV national reach of 1,510,000, a total TV national audience of 853,000 and a BVOD audience of 40,000.

Nine’s The Summit recorded a total TV national reach of 1,456,000, a total TV national audience of 558,000, and a BVOD audience of 63,000.

Seven’s Home and Away recorded a total TV national reach of 1,290,000, a total TV national audience of 838,000 and a BVOD audience of 115,000.

The Front Bar, also on Seven, recorded a total TV national reach of 1,209,000, a total TV national audience of 584,000, and a BVOD audience of 27,000.

MasterChef Australia, on 10, recorded a total TV national reach of 1,116,000, a total TV national audience of 596,000, and a BVOD audience of 55,000.

People 25-54

Seven’s The 1% Club UK:
• Total TV National Reach: 439,000
• National Audience: 227,000
• BVOD Audience: 21,000

Nine’s The Summit:
• Total TV National Reach: 501,000
• National Audience: 215,000
• BVOD Audience: 35,000

Seven’s Home and Away:
• Total TV National Reach: 418,000
• National Audience: 267,000
• BVOD Audience: 64,000

Seven’s The Front Bar:
• Total TV National Reach: 386,000
• National Audience: 187,000
• BVOD Audience: 15,000

10’s MasterChef Australia:
• Total TV National Reach: 383,000
• National Audience: 214,000
• BVOD Audience: 31,000

People 16-39

Seven’s The 1% Club UK:
• Total TV National Reach: 183,000
• National Audience: 100,000
• BVOD Audience: 12,000

Nine’s The Summit:
• Total TV National Reach: 158,000
• National Audience: 65,000
• BVOD Audience: 17,000

Seven’s Home and Away:
• Total TV National Reach: 187,000
• National Audience: 119,000
• BVOD Audience: 38,000

Seven’s The Front Bar:
• Total TV National Reach: 152,000
• National Audience: 69,000
• BVOD Audience: 8,000

10’s MasterChef Australia:
• Total TV National Reach: 159,000
• National Audience: 82,000
• BVOD Audience: 17,000

Grocery Shoppers 18+

Seven’s The 1% Club UK:
• Total TV National Reach: 1,180,000
• National Audience: 670,000
• BVOD Audience: 32,000

Nine’s The Summit:
• Total TV National Reach: 1,129,000
• National Audience: 427,000
• BVOD Audience: 51,000

Seven’s Home and Away:
• Total TV National Reach: 1,015,000
• National Audience: 673,000
• BVOD Audience: 92,000

Seven’s The Front Bar:
• Total TV National Reach: 944,000
• National Audience: 465,000
• BVOD Audience: 21,000

10’s MasterChef Australia:
• Total TV National Reach: 864,000
• National Audience: 465,000
• BVOD Audience: 44,000

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.