At its annual oOh! Outfront ‘25 event, oOh!media has launched a refreshed positioning as “Australia’s #1 out of home company’, as well as announcing a number of new tender wins. 

Speaking at oOh! Outfront ‘25, CEO Cathy O’Connor, said: “Behind every great brand is oOh! – Australia’s #1 out of home company. oOh! is the leading force in Australian out of home across all key metrics and we are on a mission to help brands grow by making it easier to access our unrivalled scale.

“But being #1 goes beyond the metrics, it’s about the confidence advertisers and agencies have in us to get the results they want to achieve. It reflects our commitment to providing the best possible service and outcomes each and every time.”

To celebrate the new positioning, oOh! will launch a major new brand campaign. The “Behind every great brand. Literally.”, by creative agency, The Hallway, will run prominently across oOh! assets and in trade media.

oOh! wins Waverley Council, Northern Beaches expansion and Eastlink

oOh! has further scaled its Street Furniture network across Sydney, winning two new major long-term contracts in premium suburbs across the city.

The first is Waverley Council in Sydney’s eastern suburbs, covering areas including Bondi, Bronte, and Rose Bay. oOh! will implement a 100% digital network through these locations, including over a dozen of oOh!’s sustainable ‘Living Roof Shelters” on top of the bus shelters.

In the Northern Beaches, oOh! has secured the tender to expand its existing presence in the local government area. The contract will cover 293 shelters from Manly to Palm Beach. oOh! will make significant investments in the digital assets to enhance advertisers’ visibility in key destinations such as Manly Corso and Manly Beach.

oOh! will also add a further 13 large format digital sites as part of the Eastlink Motorway contract in Melbourne. Coming online in November, Eastlink is a tolled section of the M3 Freeway connecting a large area through the eastern and south-eastern suburbs of Melbourne.

O’Connor added: “oOh!’s recent success in securing major tender wins and expansion of the oOh!media network across the country further cements our status as Australia’s #1 out of home company. It’s a testament to our relentless focus on innovation, scale, and delivering unparalleled value for brands.”

Cathy O’Connor

Strategic expansion of retail media division ‘the next big wave’

oOh!media is broadening the focus of its retail media division to incorporate sales representation of retailers’ assets across stores, websites, apps, and off-platform channels such as Meta, Google and oOh!media.

Its retail media arm is being rebranded to reo, reflecting the strategic shift from an in-store screens focus, to a full omnichannel digital offering for retailers.

oOh! states the new strategy places reo as a complete end-to-end sales solution, building sales teams to help retailers monetise their media channels including on-site, off-site and in-store, driving incremental revenues for retailers and return on advertising spend for advertisers and brands.

This end-to-end solution includes capabilities to sell to retailers’ trade suppliers and/or complimentary non-endemic advertisers via agencies.

O’Connor said: “We were ahead of the curve in identifying retail media as the next big wave in advertising as brands shift their dollars towards channels that can prove return on investment and building out capabilities to support the needs of retailers.

“Since launch, we’ve seen strong engagement from major retailers wanting to build out their in-store digital screen networks, but their needs extended into sales monetisation of all channels. It’s a natural progression to extend into sales representation for retailers as it leverages a key strength of oOh!media.”

reo will soon be announcing a number of new appointments, particularly bolstering its data and retail capabilities. The business has recently added key hires from retail media businesses including Zitcha, Mixin and Criteo.

Australia’s first dual large format screens with full motion 3D

Finally, oOh!media unveiled the first full-motion large format displays with synchronised 3D capabilities.

Located in Sydney’s Martin Place Retail Precinct, it features two expansive 3 x 5 metre screens that can each leverage a full-motion creative interplay.

oOh!’s creative and innovation hub, POLY, can also help brands adapt site-specific 3DA creative to be deployed at scale across Australia’s largest network of over 4000 full-motion digital screens, including retail centres, rail stations, airports, office towers and universities.

Josh Gurgiel, head of POLY, said: “For the first time in Australia, brands can tell their stories on synchronised large-format screens with full-motion 3D capabilities. By combining the power of reach and innovative technology, we continue to help brands achieve the kind of fame that resonates long after the campaign ends.”

Following the growth in popularity for faux Out of Home (FOOH) campaigns, oOh! has also announced the development of bespoke, interactive digital scans for its classic large format sites.

Australia’s biggest corruption scandal under the spotlight in Secrets We Keep: Baghdad Nights

LiSTNR’s third series of Secrets We Keep is currently up it’s sixth episode and explores Australia’s biggest corruption scandal when a trusted Australian company funnelled hundreds of millions of dollars to dictator Saddam Husseun in the lead-up to the Iraq War. 

Secrets We Keep: Baghdad Nights follows multi-award-winning journalist Richard Baker and his investigation into Australia’s biggest-ever international trade scandal, told by the men on the inside. Listeners can hear personal accounts of how Australia conducts its dirty business in far-flung places and who pays the price when scandal erupts.

The audience is taken into war zones, secret meetings, and the offices of the country’s most powerful people, whilst hearing what it is like to have the nation’s media bearing down.

The scandal, which unfolded in the early 2000s, revealed a complex web of corruption and deceit involving the United Nations’ oil-for-food program in Iraq. At the heart of the scandal was the Australian Wheat Board (AWB), a corporation responsible for selling Australia’s wheat crop to the world.

AWB, once a pillar of the Australian agricultural industry, was implicated in a scheme to funnel $300 million to the regime of Saddam Hussein, which Australia and its allies ultimately declared war on.

The key players from AWB implicated in the scandal, are integral voices in the series. The trio, including former AWB Chairman Trevor Flugge, have never spoken about their work in Iraq nor what it was like to go from being trusted government insiders to the poster boys of a national scandal.

Baker told Mediaweek in an interview about the new season that the idea for the podcast has been in the making since 2017.

“I knew back then that I’d like to do it, and it’s just taken me this long to get around to doing it,” he said.

“It was probably when I decided to leave the Nine Newspapers in 2022 that I knew I wanted to get straight into this.”

Baker expressed how hard it is to contextualize historical events discussed in the podcast for a younger audience as well as finding the balance between providing enough background information without being condescending in the script. 

Baker hopes that listners of the new season will take away the complexity of the world around us and hopes the show emphasises the importance of avoiding black-and-white thinking. 

“We have to think carefully about instantly painting people as either good or evil, or black or white. The reality of the way the world really works is there’s a lot of grey and a lot of in-between,” he said.

“This story is about how our nation conducts its business on the world stage. It’s about how it goes about making money, how it goes to make war and when everything blows up, how do we hold people to account? Do we hold the right people to account?”

[Listen here]

TAB teams up with ESPN for new Hoops & Hits podcast

TAB and ESPN have launched a new podcast to serve the booming local interest in American sports.

Hosted by former NRL stars and US sport tragics, Justin Horo and Josh Reynolds, the ESPN Hoops & Hits podcast – presented by TAB, provides a detailed but distinctly local take on all the major US sports for fans and punters.

“We know there’s a rapidly growing Aussie fanbase craving more and more content around the American codes, but in a way that’s relatable to us here in Australia,” TAB’s head of sponsorship, events & sport content, Kate Waugh, said.

“By leveraging TAB’s exclusive wagering partnerships with the NFL and NBA, and ESPN’s renowned local and US sports coverage, we can keep fans tuned into everything happening, from the NFL to College Football, NBA to WNBA, the NHL, Major League Soccer, UFC and anything in between.

“Justin’s a huge Green Bay Packers fan and Josh loves the Philadelphia Eagles. They obviously understand professional sport with their backgrounds, but they’re also a lot of fun and huge fans of all US sports.”

The ESPN Hoops & Hits Podcast – presented by TAB, will launch its debut episode on Wednesday 4 September.

[Listen here]

Travis and Jason Kelce’s New Heights signed to LiSTNR’s exclusive sales representation in Australia

New Heights with Travis and Jason Kelce is now available on LiSTNR off the back of the podcast signing to Amazon’s Wondery, in a deal reportedly worth close to $100m. 

LiSTNR’s Australian ad-sales rights with the New Heights podcast, also includes the show’s back catalogue. With the third season kicking off in time for the new NFL season, the weekly podcast gives fans ‘next-level’ access to life in the league.

The famous football brothers and Super Bowl champions provide insights and share unique perspectives on trending NFL news and sports headlines, plus they drop entertaining stories about their off-field interests and welcome special guests. The podcast has also found an entire new audience segment since Travis began dating Taylor Swift and started sharing news about their life.

“With more than 2 million signed-up listeners, sales and content partnerships with some of the world’s biggest publishers, and our advanced AdTech Hub, LiSTNR provides our clients new innovative and targeted audience capabilities, setting us apart as one of the most experienced, data-led and privacy compliant digital audio companies in Australia,” executive head of LiSTNR podcasts, Grant Tothill, said.

“The best-in-class LiSTNR AdTech Hub has been a genuine game-changer for the Australian digital audio industry, business owners, marketers and media agencies, offering an irresistible audience-focused proposition with proven results,” concluded Tothill.

[Listen here]

Adam Ferrier and Brent Smart return for series 4 of Black T-Shirts

The first guest for the new season is Sir Martin Sorrell, founder of the world’s largest advertising and PR group, WPP.

Sir Martin talks Adam and Brent through what it takes to run a creative business at scale and offers his insights on the health of the industry at large.

All episodes of Black T-Shirts will be available via podcast creators MIK Made. Black T-Shirts podcast episodes are played in their entirety on Disrupt Radio, available on DAB+, and now for the first time as a vodcast on the Black T-Shirts YouTube channel.

[Listen here]

Australia’s only ASX-listed music company, Vinyl Group, is the new proprietor of trade publication Mediaweek.

Per completion deliverables, the company has executed employment agreements with several key Mediaweek employees who will join Vinyl Group immediately to continue in their existing roles.

Recent management is not included in the acquisition. Former proprietor James Manning is continuing with the title.

Vinyl Group is looking to expand the business through its integration efforts and synergies from existing capabilities within the company.

Vinyl Group CEO, Josh Simons, said: “It’s a pleasure to welcome Mediaweek to Vinyl Group as we look to grow our trade media offering alongside The Music Network and Variety Australia.

“We have begun the search for a new managing editor to lead Mediaweek’s editorial, but in the meantime I look forward to working with former publisher James Manning who serves as acting managing editor alongside general manager Sarah Chapman and head of commercial Andrew Mulready, and the wider Mediaweek team.

“Now that this deal has completed, I expect to be able to share further updates in the weeks ahead.”

Acting managing editor, James Manning, said: “As Mediaweek starts a new chapter I’m pleased to be continuing my long association with the publication, continuing to work in a sector I know so well.

“It’s always been important to have trusted relationships with all parts of the media sector and Vinyl Group is keen to build on those. I started my career as a music journalist so to now be part of Australia’s only ASX-listed music company, and one that works with so many great entertainment brands, makes perfect sense.”

Mediaweek will soon announce details for the return of the Mediaweek 100.

One of the most anticipated reports into the SVOD world comes from Telsyte at the start of spring every year.

The 2024 edition of the Telsyte Australian Subscription Entertainment Study dropped on Monday. Mediaweek reported on the highlights of the study earlier in the week. Among other insights, the research tracks the growth of around 40 separate SVOD services in Australia.

Today Telsyte’s managing director and principal analyst Foad Fadaghi shares Mediaweek additional insights on the sector.

Streaming and profits

When it comes to the global players, any investment in content and platforms, is made on a global level and the Australian operation will benefit from that. What we see is a global investment cycle.

For the local players, obviously, it gets harder when there is greater competition with new entrants into market, but also new investments and new product offerings. Local players have always found it difficult competing against multinational global media organisations.

Too early to gauge impact of Hubbl

We haven’t also seen a sustained marketing campaign from Hubbl post-launch.

Hubbl has tied itself to a global technology platform, so they could benefit from maybe some of the developments there. That might be games or, interactive videos or, even things like courtside seats.

Is pausing a subscription on the increase?

There is more in and out activity from subscribers pausing the SVOD accounts.

That behaviour has also been rewarded by some of the publishers, given that they offer free periods or continued trials and other things to try and maintain that subscriber.

Where it’s going to get interesting is when it comes to services that attach themselves to an SVOD subscription, like the Amazon Prime delivery service attaches to Prime Video. We could see more of that activity to drive retention behaviour to stop that kind of in-and-out activity perhaps.

Are some platforms reaching a pricing peak?

There’s always an absolute limit. Our research showed that the propensity to pay higher amounts going forward is not really there. So while we did see a big price jump, it’s unlikely we’ll see a further big jump.

What you’re seeing is a focus on profitability coming from likes of Stan and others as well. The headline number of subscribers might not matter as much as revenue going forward for some of these services.

Telsyte’s Foad Fadaghi

How much will people pay?

[In the Report, Telsyte said the average budget people are prepared to pay for SVOD is $36 monthly.]

There is a two-speed economy when it comes to entertainment services.

There always has been because ad-supported or free content on the internet. But what we’re seeing is that you’ve got one part of the population, maybe in their own homes, a bit older, probably empty nesters that have seen wealth effects from their houses going up in value. Some of them have a history of paying $130 a month to Foxtel. So paying $100 to five SVOD services is not really a problem given the amount of content they get.

On the other hand, you’ve got maybe young families, low-income owners, that come from a background of maybe piracy or ad-supported content and they’re finding it tougher. They are looking to cut back on areas to make ends meet. There is a definite appearance of a two-speed consumption market.

Ad-supported tier is a win for consumers and the platforms

The conventional wisdom, particularly coming out of some of the yield figures that we get from Netflix and others, is that advertising is a potentially lucrative space for SVOD players to be in. It represents potentially more marginal revenue than even subscription revenue.

The ad rates for streaming video on demand have made it very attractive. It’s very likely we’ll Disney follow suit and others too when they realise that the behavioural data that’s captured is very valuable when it comes to targeting.

Could SVOD lose its appeal if it’s full of ads?

There needs to be more investment to ensure that the customer experience is maintained. There is some fear that the customer experience might deteriorate on some platforms which could lead to questions about value for money.

The industry is on notice, particularly as there’s not that kind of growth, natural growth ahead to backfill where people are leaving through dissatisfaction.

New players or consolidation?

We might see new players in the market. I don’t see why we wouldn’t see some of the US players that have got the capability and scale to launch cost effectively in Australia.

There could be some consolidation, but how that works is going to be difficult to see. Is it consolidation in catalogues or the back ends…what is it that’s actually consolidating?

There will likely be more reseller partnerships.

See also:
Telsyte SVOD report: Ad-supported tiers grow, Netflix still #1, Total subscriptions up 4% to 25.3m

Seven West Media has revealed the Seven AI Factory, a dedicated Generative AI and machine learning team, “to accelerate the creation of innovative data-driven products across the business.”

Established in partnership with Databricks, Seven states the AI Factory will boost its digital engagement, audience understanding and advertising strategies across 7plus and 7NEWS digital platforms.

A dedicated team from Databricks is now working out of Seven’s Sydney offices, side by side with the company’s data, digital content and programming, digital marketing, product and digital sales teams to create and test AI and GenAI solutions.

Together, they are developing AI-driven insights designed to enhance content relevance, optimise advertising strategies and drive audience engagement.

The Seven AI Factory is home to data science, solution architects, machine learning engineers and data engineers, who will work to rapidly develop AI-based pilots, but also upskill teams from across Seven as the business accelerates the push to put GenAI at its core.

Gereurd Roberts, managing director of Seven Digital, said: “As we place data, insights and AI at the heart of our operations, our collaboration with Databricks in the AI Factory marks a significant milestone in the digital transformation of our business.

“By leveraging GenAI and machine learning, we are not only enhancing our ability to predict and understand audience behaviours, we are revolutionising the way we acquire, personalise and deliver content and engaging advertising campaigns to our viewers.

“Through the launch of the AI Factory we will upskill and build out our own teams, ensuring these capabilities and products are in-house and at the forefront of Seven’s future, and also our partners’ future. We’re excited to engage with our clients and agencies to co-create products that drive the most effective outcomes for their businesses and brands,” he said.

Seven’s director of data and growth, Andrew Brain, said: “Our commitment to innovation is further exemplified by the development of a natural language-powered query engine.

“This groundbreaking tool will empower all business units and non-technical users to query Seven’s extensive data repository, providing real-time insights to drive strategic decision-making and operational excellence. Simply put, we’re democratising data to create new insights across the Seven business.

“The company-wide GenAI solution now in progress is designed to bring back known users to 7plus, to know what VOD show will be the most viewed by time of day, and to have greater guidance on revenue forecasting with direct and programmatic business. The goal is to create the best user ad experience based on the user’s recency, frequency and engagement. Why, for example, should all users receive the same ad experiences when it comes to ad breaks and ad pods; engagement and loyalty should be rewarded.

“These initiatives are a testament to our unwavering commitment to being data-driven and leveraging cutting-edge technologies to stay ahead in the digital landscape and with that, we will be releasing a new predictive version of 7REDiQ audiences mapped against data partners,” he said.

–

Top image: Andrew Brain & Gereurd Roberts

Canva has launched its Love Your Work brand campaign to reflect the company’s increasing focus on the workplace and spark a dialogue around workplace culture, along with a brand new strategic platform.

The campaign, which will run in the U.S. from September 3 to October 31, shows how Canva empowers people to feel pride in their work at a time when just 23% of employees globally feel engaged in their jobs, according to Gallup.

“Our goal with the Love Your Work campaign is to inspire people to find joy and fulfilment in their daily work,” said Cat van der Werff, executive creative director at Canva.

“We spend so much of our lives working, but many of us aren’t enjoying it as much as we could. We believe Canva can help bring a little joy to work through creativity. Making design work easier, faster, and more fun is what we’re all about. This campaign is our invitation to teams everywhere to reimagine how creativity can help them fall in love with their work.”

Brand New Wrapper

The Love Your Work campaign comes after the long-standing, consumer-rooted ‘What Will You Design Today?’ brand campaign, which ran in five different flights during the course of three years.
 
While Canva’s message in the first decade was about revolutionising design for millions of individuals, the Love Your Work campaign highlights Canva’s mission to define the next 10 years: to infuse the delight of easy-to-use design tools into work so people can shine.

Community-First

Canva turned to its community of devoted users to develop and produce Love Your Work. Real Canva fans are featured in the campaign sharing their authentic experiences in the campaign spots.
 
Through unscripted voiceovers, each user highlights how Canva empowers them to deliver work they’re always proud of. 

Workplace Products Front and Center

In September 2022, Canva introduced its enterprise-focused Visual Suite, a comprehensive portfolio of workplace collaboration tools including Canva Docs, Presentations, Whiteboards, Websites, and more. In October 2023, Canva expanded its enterprise reach with Magic Studio, integrating AI features to supercharge these workplace tools. Canva has seen remarkable enterprise adoption since these launches, with 95% of Fortune 500 companies now using the platform.

Canva’s workplace products take center stage in Love Your Work with relatable and refreshing examples of Canva empowering people at work. 

• Individual product spotlights: Canva Docs, Presentations, Video and Whiteboards are each featured in standalone creative spots showcasing their value in everyday workplace tasks like creating sales presentations, making text-heavy documents more visual, and organizing ideas more intuitively. 

• Two hero TVCs: The :30 TV spots compile a reel of six characters using Canva at work to achieve specific goals. The ads follow each of their journeys, bringing in co-workers for inspiring moments of collaboration, and closing in excited scenes celebrating their achievements. 

Tailored Media Plan

The campaign showcases Canva’s workplace offerings within credible, high-quality media environments relevant to the workplace. The channel strategy includes:

• Streaming TV with :30 brand ads targeted to professionals across their favourite streaming platforms
• Live sports streaming: Bespoke sports-focused product creatives across a variety of platforms airing live during NFL, NBA, MLB, and NHL games and highlights
• OOH: Targeting knowledge workers on their work commutes and within office building lobbies and elevators
• Digital display & video: Product-specific creatives running within digital content contextually aligned to the workplace
• Streaming audio & podcasts: Live reads from influential hosts of podcasts contextually relevant to the workplace
• Social: Extensions on YouTube, Meta, TikTok, LinkedIn and Reddit to educate audiences about what they can achieve with Canva

Homegrown

The campaign was conceptualised by Canva’s in-house creative team of 29 designers, producers, program managers, art directors, copywriters, and motion designers. All motion, 15″ ads and 360 channel creative were developed in-house.

“Our internal team had a clear creative vision for this campaign and a unique Canva manifesto,” added van der Werff. “Relying heavily on our in-house creative team for campaign development was a strategic choice. Our unique culture and values are deeply ingrained, and this campaign genuinely reflects the heart and soul of our brand.”

Canva also worked with the following partners and agencies:

• OMD (Media Strategy and Buying)
• Rabbit & Curfew (Production)
• Madeline Clayton (Director)
• Otis Studios (Music + Audio Production)
• Projectworks (Programmatic + OOH) 
• ARC Edit (Post Production for TVC Live Action)
• Smartly (Programmatic)

Who’s to Blame? is a new seven-part podcast series delving into the youth crime crisis in Queensland and across Australia.

The series is published by Podshape, the Brisbane-based creator of many true-crime podcasts. The podcast business was launched four years ago by former Nova Entertainment employees Jay Walkerden and Katie Mattin.

As communities ask who’s to blame?, the podcast offers a multifaceted exploration of the issue, from the perspectives of victims, perpetrators, and experts.

The series covers the harrowing true story of Lee and Emma Lovell, victims of a home invasion that shocked the nation in 2022. Lee Lovell shares the emotional aftermath of losing his wife, Emma, in such a senseless act of violence.

The series also features Aaron Anderson, who recounts his own experience of being stabbed in a separate attack 15 months before Emma was killed, by one of the youths who later went on to break into Lee and Emma’s home.

“These conversations are deeply personal and incredibly powerful,” said Jay Walkerden, co-founder of Podshape. “Lee and Aaron’s stories are at the heart of this series, providing raw and unfiltered insights into the human toll of youth crime.

“You may have seen short news grabs about these attacks, but this podcast digs deep into the human stories behind those headlines.”

The podcast also shines a light on programs like Rekindle, which aim to break the cycle of youth crime by teaching young offenders the skills they need to live crime-free lives.

In addition to local solutions, Who’s to Blame explores successful youth reform programs from other regions, such as Tasmania’s JCP Youth Program. The JCP Youth Program’s BEAST Program has set a high standard for youth reform by offering intensive mentorship, leadership training, and personal development opportunities for at-risk and vulnerable young people.

To better understand the roots of youth crime, the podcast also features candid conversations with reformed youth offenders. These first-hand accounts provide insights into the factors that drive young people to commit crimes, shedding light on the social, economic, and psychological triggers that contribute to their actions.

The intimate discussions on Who’s to Blame? with offenders, psychologists, program leaders, and law enforcement, paints a vivid picture of the current crisis, digging deep into the societal, psychological, and systemic factors contributing to youth crime.

“We wanted to create a podcast that doesn’t just sensationalise crime but instead provides a platform for understanding the complex web of causes and consequences,” added Podshape’s Walkerden. “This series is about more than just telling a story; it’s about sparking a conversation and seeking solutions.”

Listen to Who’s to Blame?

Read Podcast Week every Thursday in Mediaweek

Amazon has awarded its media account to WPP and OMG after an extensive global review.

The global e-commerce and tech giant split the account by geography, appointing WPP to manage APAC and EMEA regions and OMG to run the US market.

“We investigated each agency’s marketplace expertise, media planning experience at all levels, media pricing, measurement abilities, and account management in all geographic regions,” Margaret Callahan, Amazon spokesperson, said in a statement to ADWEEK.

Amazon reported an annual advertising spend of USD$20.6b in 2022, up from 2021’s USD$16.9b in 2021.

The e-commerce and tech giant last reviewed its global media account in 2017. Local pitch meetings for the global company’s media began in early April.

WPP, Mediabrands, and Omnicom Media Group were among the agencies on the global pitch shortlist, held globally at a holding company level.

At the time, Mediaweek reported that OMG offered a bespoke team. WPP also proposed a bespoke solution comprising teams across the holding company.

In April, WPP and GroupM’s bespoke solution OpenMind won them the Australian media account for Nestlé.

Incumbent, Mediabrands’ bespoke Amazon agency Rufus first won the account in 2013 and retained it in the 2017 pitch. The agency will still service the global company’s Web Services, Business and Ads.

Mediaweek has reached out to WPP, OMG and Amazon for comment.

See also: Nestlé hands local media account to WPP bespoke solution, OpenMind

Foxtel Group has revealed the 2024 Toyota AFL Premiership Season is the most watched of all time across its platforms – Foxtel, Foxtel Now, Foxtel Go and Kayo Sports. It is the third consecutive year of viewership growth.

The audience growth has been led by huge jumps in streaming audiences, particularly on Kayo Sports which saw 6.1 billion minutes streamed this season, up 39 per cent year-on-year. More than half of the total Foxtel Group audiences watched the season on Kayo Sports.

General manager of Fox Footy Michael Neill said: “Anchoring our coverage is our philosophy and commitment to unrivalled access, world-class vision and expert commentary and analysis that keeps bringing audiences back for more. It’s been an exceptional year for the AFL on Fox Footy and we have enjoyed bringing every minute of the action to audiences on Kayo Sports and Foxtel. Bring on the Finals.”

Fremantle v Port Adelaide and Carlton v St Kilda in round 24 were the most watched regular season games in 2024 and of all time across Foxtel Group. Round 24 was also the most streamed round of the season on Kayo Sports while Collingwood, Carlton and Essendon were the most-watched teams across Foxtel Group platforms.

Collectively, the 2024 season recorded nine of the top 10 most-watched regular season rounds of all time across the Foxtel Group.

Every game of the AFL Finals (excluding the Grand Final) will be broadcast live with no ads during live play on Kayo Sports and Foxtel.

Executive director of commercial sport at the Fox Foxtel Group Rebecca McCloy said: “We have enjoyed showcasing every side of the game with audiences in a way that grows fandom in the sport, working closely with the AFL on game-changing initiatives and innovation. Congratulations to the AFL on an exceptional season.”

In 2025, Foxtel and Kayo Sports will broadcast a ‘Super Saturday’ of games exclusively live across the nation in the first eight rounds of the season.

Neill continued: “With the continued goal to bring fans closer than ever to the game they love, there is so much more AFL to come in the coming months including the NAB AFLW season and the AFL Draft. In 2025, we cannot wait to take our coverage to new heights. Watch this space.”

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

Enthral and DrinkWise have teamed up to bring footy stars from AFL, AFLW, NRL and NRLW to launch the new campaign, always respect, always DrinkWise.

The campaign aims to remind fans about the importance of moderating alcohol consumption and always being respectful towards others during the upcoming finals series. 

The collaboration brings together players from Australia’s two biggest sporting codes, including AFL legend Patrick Dangerfield, AFLW star Emma Kearney, NRL great Daly Cherry-Evans and NRLW champion Sam Bremner, as well as the New South Wales Government, New South Wales Police, South Australian Government and South Australia Police, Queensland Government, the NRL, 1800RESPECT, Men’s Referral Service and 13 YARN.

Daly Cherry-Evans and Sam Bremner

The new campaign film and assets will be promoted via social and digital channels, advertising signage, broadcast radio and supported by the AFL/AFLW and NRL/NRLW players. It will also be seen in liquor retail outlets and hotel venues around the country. 

“The AFL, NRL and NRLW finals provide some of the biggest highlights on the Australian sporting calendar, capturing the attention of sports lovers around the country,” Simon Strahan, chief executive officer of DrinkWise, said.

“As fans start to get excited for the action, we’ve joined forces with some of the games’ leading players across two sporting codes to remind everyone to be mindful of their alcohol consumption. When someone drinks too much, they not only risk ruining their own time but others around them.”

“Whichever code you’re supporting, wherever you’re watching the game – the message remains the same – if you’re going to have a drink, make sure it’s in moderation and be respectful to those you live with and everyone around you so everyone can have a safe and enjoyable experience.”

Emma Kearney and Patrick Dangerfield

Cameron Smith, Enthral’s founder and managing director, said: “For more than seven years we’ve been supporting DrinkWise to promote important messages around moderating alcohol consumption.

“As we head into footy finals season, this campaign is particularly exciting as we’ve united two sporting codes for the first time, bringing together incredible sporting legends to build further awareness of the Always respect, always DrinkWise campaign across Australia.”

Campaign credits:
Simon Strahan, DrinkWise CEO 
Nathan Kent, DrinkWise Marketing Director
Carla Tatulaschwili, DrinkWise Corporate Affairs Director
PR & Content Production: ENTHRAL

–

Top image: Patrick Dangerfield, Emma Kearney, Sam Bremner and Daly Cherry-Evans

The Independent Media Agencies of Australia (IMAA), has launched its second Female Leaders of Tomorrow programme.

The 2024-2025 programme will see a new group of up-and-coming women in the independent media agency industry matched with senior media experts for mentoring, leadership training and advice.

Applications are open from today to women who are IMAA members, with a minimum five years’ experience in any independent media agency discipline.

The selected mentees will participate in a six-month structured mentoring programme, including online and face-to-face sessions, along with training and meet-ups, designed to create a support network between senior staff and their mentees.

This year’s programme will run nationally, with mentoring opportunities available for participants in New South Wales, Queensland, Victoria and Western Australia.

More than 20 mentors will be announced in the coming weeks who will join the following industry leaders that have already signed onto the programme: Natalie Harvey, CEO, Mamamia, Antonell Doyle, commercial director at NOVA Entertainment Perth and Brisbane, Belinda Gruebner, chief marketing officer Moose Toys and Kirrily Hirst, director of sales – agency & direct at GoTransit Media Group.

IMAA chair, Jacquie Alley, said: “The Female Leaders of Tomorrow programme is one of the IMAA’s key initiatives to future-proof the Australian independent media industry. We have a wealth of emerging female talent across the indie sector, who are already making their mark on the industry, and we want to nurture this next generation.

“Last year’s programme was a huge success and we’ve seen the tangible flow-on effect, with many participants rising through the ranks and feeling more confident to take on bigger roles and challenges.

“The second intake of our programme is the next step in driving real industry change, bridging the gap in the representation of women, particularly in senior roles, and the substantial gender pay gap. We can’t wait to see the value this initiative offers to the next round of participants.”

Applications will be open until 27 September, with this year’s programme set to kick off with networking events in Sydney, Melbourne, Brisbane and Perth during October and November.

UK creative experience agency Bearded Kitten has opened its doors in Sydney

The agency began in festival fields, where it drew beards and whiskers on festival-goers, hosted wild mud wrestling matches, and even orchestrated games of naked cricket.

Since then, it has grown and developed its offering to deliver standout experiences for global brands like Amazon Ads, Twitch, Red Bull, LEGO, and L’Oréal.

Launching its Sydney office, in addition to established offices in London and Lisbon, is the latest of its ventures. This expansion marks a new chapter in Bearded Kitten’s journey into the Australian market.

Bearded Kitten’s offerings include an in-house strategy team that blends industry smarts with creative flair and turns ideas into tangible realities that resonate with audiences worldwide. The agency offers end-to-end delivery of production – from large-scale brand experiences, cultural events, and immersive worlds to conferences and employee engagement initiatives

The agency also diverse roster of talent and collaborates with a wide range of individuals, from thought leaders, content creators and influencers, to artists in the music and entertainment industry. With experience in crafting creative strategies around relevant communities, talent management and programming, the agency takes pride in connecting authentic talent with the right brand opportunities.

Bearded Kitten aims to create experiences that are fun, memorable, and measurable. The experience agency has made an impact on Australian shores with TwoPointOne’s vertical fashion show and Intuit Mailchimp’s innovative “From: Here, To: There” conference in Sydney.

“We’re absolutely stoked to bring Bearded Kitten’s unique blend of creativity and fun to the energetic Australian market! Barney Sutton, founder and director of Bearded Kitten.

“This isn’t just a new chapter; it’s a next-level adventure in a land bursting with potential and excitement. Australia’s got some of the most innovative brands, and we can’t wait to team up and create experiences that are nothing short of legendary.”

Howatson+Company, Saatchi & Saatchi and Bang Bang Studios were among the Australian agencies that won at the 2024 Gerety Awards.

The campaign I’m Dying Inside for Modibodi by Howatson+Company wins SILVER both in the Media Cut and the Craft Cut.

Saatchi & Saatchi a BRONZE in the Humour Cut for the Toyota HiLux ‘In The Middle’ spot; Bang Bang Studios gets a BRONZE in the Craft Cut for its Porsche Pong campaign.

Toyota HiLux ‘In The Middle’

The other award for the region goes to VML New Zealand that wins BRONZE in the Experience Cut with Blokequet for Yeastie Boys. 

More than 200 judges from 47 countries participated in this year’s awards, which saw Seven Grand Prix, 24 Gold, 94 Silver, and 71 Bronze awarded. With 198 entries remaining on the shortlist, judges were celebrated this year in 15 different locations around the globe.

Blokequet for Yeastie Boys

The 2024 Gerety Award Grand Prix winners include:

• Runner 321 for adidas by FCB Canada in the Work for Good CUT (Alternative)
• We Are Ayenda for WhatsApp, by CreativeX, Meta US in the Entertainment CUT (TV/Cinema)
• The Square Meter for HORNBACH by HeimatTBWA\ Germany Berlin in the Craft CUT (Production Design)
• The 100th edition for Frankfurter Allgemeine Zeitung by Scholz & Friends Berlin wins 2 GPS in the Craft CUT (Photography) and Communication CUT (Print)
• My Japan Railway for JR GROUP by Dentsu Inc. Japan in the Craft CUT (Art Direction)
• WoMen’s football for Orange by Marcel Paris in the Communication CUT (Online Video)

The most awarded countries in this edition were Germany, USA, UK and France. Jung von Matt Germany won the Global Agency of the Year with powerful campaigns such as The first trademark that stops trading Nazi merch for Laut gegen Nazis, Merry Easter for Edeka, The Bigger Draw for Hamburg Marketing, Tramway to Love for BVG, Father & Son Film for BMW and Goals everywhere for adidas, among others.

Rights against the Right – The first trademark that stops trading Nazi merch was also the most awarded campaign overall, followed by The Square Meter for HORNBACH and A Holiday to Remember from Chevrolet. Other top awarded brands include WWF, Tennessee Department of Tourist Development, Mc Donald’s, Frankfurter Allgemeine Zeitung and Wisp x Abortion Freedom Fund.

Orange Line has been appointed as Fantastic Furniture’s digital media and analytics agency.

“We are thrilled to have been chosen by Fantastic Furniture to elevate the brand’s digital marketing strategy,” Aishling Farrell, general manager of Orange Line, said.

“By leveraging our deep expertise and strategic insight, we aim to enhance their online presence and drive meaningful engagement that translates into increased sales and brand loyalty.”

Mark Perrett, Fantastic Furniture’s acting chief marketing officer, said: “We chose Orange Line because of their proven track record and strategic insight in the digital space. Their ability to understand our brand’s unique needs and translate them into actionable strategies is exactly what we were looking for.

“We’re excited to partner with Orange Line and together push the boundaries of our brand’s digital presence and drive meaningful growth that will set us apart in the competitive retail market.”

Since commencing work, the independent digital marketing agency has delivered growth, leading to an expanded remit that now includes Fantastic Furniture’s SEO.

The new win adds to Orange Line’s growing portfolio of clients, including recent partnerships with Employsure and Fast Cover.

Orange Line also continues strengthening its global presence, recently adding U.S. ski destination Jackson Hole to its client roster.

“Our success is built on a solid commercial focus, delivering fast-paced results, and a deep commitment to client revenue growth,” Orange Line co-founder David Klein added. “We look forward to working closely with all our new clients to achieve outstanding results together.”

The win comes after Klein recently made the case for independent agencies in the debate against holding companies in a thought leadership piece for Mediaweek. In the piece, he shared his thoughts on the four ways indie agencies outshine holding companies.

See also: David Klein: Four ways indie agencies outshine holdcos – ‘Where agility meets ambition’ 

Anna Paine and Owen Bryson return to DDB Sydney as creative directors after a three-year stint with Dig.

During their time with the indie agency, Paine and Bryson launched the “Good value booze, for good value people” platform for The Bottle-O and led new business wins, including Australian Pork and Mitre 10.

The creative duo first joined DDB Sydney in 2014 and spent seven years working across all major clients and were responsible for the McDonald’s Mother’s Day campaign “Cravings” as well as the Macca’s “A little goes a long way” value platform, which won a Gold Effie in 2019.

As creative directors, Paine and Bryson will be responsible for continuing the agency’s heritage, creating emotionally charged creativity for brands including McDonald’s, Volkswagen, Westpac, and Lipton Iced Tea.

Chief creative officer Matt Chandler welcomed their return and said: “As a creative leader, you sometimes have to make very difficult decisions; this was not one of them.

“Anna and Owen were one of the best hires we ever made and, as I told them when they left, one day we’d be hiring them again. I’ve been very impressed, and very proud to see the work they’ve done with Dig – I know we’re very fortunate to have them return to DDB.”

Paine and Bryson said of their new role: “We basically grew up at DDB, so to say we’re happy to be home is a massive understatement. It’s a world-class agency, with world-class people, and with Matt at the creative helm – who wouldn’t want to be a part of that?”

This comes after DDB Sydney appointed Jack Nunn as creative partner to lead the McDonald’s account in July.

Nunn rejoins DDB Sydney after two years in London at Special and Ogilvy. During his previous tenure at DDB, he helped create campaigns for the fast food giant, including Middle Child, The Sting Re-Mix, and the launch of McCafe’s Coffee Fit For An Aussie platform.

See also: DDB Sydney appoints Jack Nunn to lead McDonald’s account

–

Top image: Anna Paige and Owen Bryson

Tuesday 3 September 2024: VOZ Total TV Ratings Overnight Top 30 – Programs ranked on reach

Total People TV Ratings

Nine’s The Block recorded a total TV national reach of 1,947,000, a total TV national audience of 1,056,000, and a BVOD audience of 156,000.

Nine’s 9News recorded a total TV national reach of 2,016,000, a total TV national audience of 1,227,000, and a BVOD audience of 98,000.

Nine’s Paralympics 2024 D6 – Night Session 2 recorded a total TV national reach of 1,280,000, a total TV national audience of 464,000, and a BVOD audience of 33,000.

Seven’s Seven News recorded a total TV national reach of 2,144,000, a total TV national audience of 1,311,000, and a BVOD audience of 69,000.

Also on Seven, The Voice recorded a total TV national reach of 1,790,000, a total TV national audience of 965,000, and a BVOD audience of 81,000.

10’s airing of The Cheap Seats recorded a total TV national reach of 798,000, a total TV national audience of 399,000, and a BVOD audience of 14,000.

People 25-54

Nine’s The Block:
• Total TV nation reach: 750,000
• National Audience: 460,000
• BVOD Audience: 96,000

Nine’s Paralympics 2024 D6 – Night:
• Total TV nation reach: 509,000
• National Audience: 228,000 
• BVOD Audience: 35,000

Seven’s The Voice:
• Total TV nation reach: 546,000
• National Audience: 275,000
• BVOD Audience: 43,000

10’s The Cheap Seats:
• Total TV nation reach: 332,000
• National Audience: 168,000 
• BVOD Audience: 8,000

People 16-39

Nine’s The Block:
• Total TV nation reach: 344,000
• National Audience: 217,000
• BVOD Audience: 57,000

Nine’s Paralympics 2024 D6 – Night:
• Total TV nation reach: 233,000
• National Audience: 96,000 
• BVOD Audience: 20,000

Seven’s The Voice:
• Total TV nation reach: 227,000
• National Audience: 110,000
• BVOD Audience: 23,000

10’s The Cheap Seats:
• Total TV nation reach: 107,000
• National Audience: 63,000 
• BVOD Audience: 4,000

Grocery Shoppers 18+ TV Ratings

Nine’s The Block:
• Total TV nation reach: 1,482,000
• National Audience: 805,000
• BVOD Audience: 125,000

Nine’s Paralympics 2024 D6 – Night:
• Total TV nation reach: 934,000
• National Audience: 427,000 
• BVOD Audience: 45,000

Seven’s The Voice:
• Total TV nation reach: 1,400,000
• National Audience: 776,000
• BVOD Audience: 65,000

10’s The Cheap Seats:
• Total TV nation reach: 617,000
• National Audience: 304,000 
• BVOD Audience: 11,000

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.