BMF’s chief creative officer Alex Derwin is leaving to set up his own shop, Mediaweek can reveal, after almost nine years with the Enero agency.

CEO Steve McArdle told Mediaweek that the agency will announce a new creative boss over the next couple of months, having already “started conversations with some of the best creative leaders in the business.”

“It’s bittersweet to say farewell to Alex. He’s been a big factor in the success BMF’s been fortunate enough to enjoy over his nine years at the agency – seven of those as our creative leader,” McArdle said.

“But he’s got an itch he needs to scratch, and we respect the bravery and belief that takes, so we’re excited for him as he embarks on that next adventure.”

McArdle noted that BMF has a strong creative bench and will continue “building on our current momentum.”

“Fortunately for us, a big part of Alex’s legacy is a creative department jam-packed full of extraordinary talent at every level, so I’m equally excited about what’s ahead for BMF.”

Derwin joined BMF in 2015 as a creative director, working his way up to executive creative director, then chief creative officer. In his time at the business, he’s worked on clients such as ALDI, Tourism Tasmania, and Tennis Australia.

“The last nine years at BMF have been the most creatively rewarding of my career,” Derwin said.

“It’s a place with a big heart, where you can balance the highest creative standards with a kindness that’s all too uncommon. There are heaps of people I need to thank personally, but more than anything I need to give Steve [McArdle] and Christina [Aventi, chief strategy officer] a big hug for giving me the chance to join them in leading this merry ship.

“I’m off for a little lie down before I launch into something new and exciting.”

Derwin will reveal more about his next venture in due course. 

Recently, the agency hired Eileen Cosgrove-Moloney from Special as joint GM, and Simone Takasaki as head of creative services and integrated production. Yesterday, it unveiled its biggest ever iteration of Tourism Tasmania’s Off Season campaign, pushing into TV for the first time and experimenting with UV billboard printing.

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Top image: Alex Derwin

Just days after the Seven current affairs show Spotlight dominated the news cycle, the network is back on page 1 of a newsbrand owned by its main competitor Nine Entertainment.

A front-page story in The Sydney Morning Herald is headlined “New Seven expenses affair rocks Sunrise, top network executives”.

The byline features two investigative reporters – Nick McKenzie and Kate McClymont – plus Nine’s Publishing’s media writer Calum Jaspan.

Page 1 of The Sydney Morning Herald today. The newspaper notes the Sunrise former hosts pictured with Michael Pell are not involved in any investigation. Top photo: Michael Pell and Bruce McWilliam

The story centres around a feature being researched by the newspaper in October 2022:

[A] message from veteran Seven commercial director Bruce McWilliam to journalist Zoe Samios accused her of driving Seven’s star executive producer Michael Pell to self-harm because she had asked questions about a secret fraud investigation overseen by a law firm and involving Seven’s flagship Sunrise program.

“This is what your unfounded reports have caused Michael to do,” McWilliam emailed Samios, attaching a photo of a bloodied and bandaged Pell in a hospital gown and with a large gash on his forehead.

“Why don’t you keep it up so he kills himself. You are a complete disgrace,” McWilliam continued.

Samios is the newspaper’s former media writer and now works at The Australian Financial Review.

The Sydney Morning Herald reports:

Within hours, her story was shelved after consideration of Pell’s wellbeing.

The journalists now report that the photo of Pell form 2022 was not linked to his response to any fraud investigation:

The photo of the purported self-harm attempt was in fact an image taken several weeks earlier of an injury sustained by Pell after he had blacked out on a Los Angeles street.

The Sydney Morning Herald notes today:

In March 2022, Seven announced Pell’s departure from Sunrise to take up a key network role in Los Angeles, a move he described as a promotion. Pell would report directly to chief executive [James] Warburton, on the understanding he would be scouting for US shows to bring back to local audiences.

The “expenses affair” features today fills two pages of The Sydney Morning Herald

The article today also reports:

There is no suggestion by [The Sydney Morning Herald] that Pell has deliberately engaged in wrongdoing.

Pell has signed a non-disclosure agreement, meaning he can never talk about Seven.

The article in The Sydney Morning Herald comes a day after it published an editorial published about chequebook journalism.

The Australian reports today:

The 600-word editorial, beneath a headline that read “Squalor of buying scoop undermines good journalism”, made no mention of Nine’s own decades-old practice of engaging in chequebook journalism, including massive payments [for interviews].

Asked about the SMH editorial on Tuesday, a spokesman for Seven chief executive James Warburton said: “The recent allegations about Seven are unfounded and untested, and we have disputed them. People should always remember that The Sydney Morning Herald is owned by Nine, a direct rival to Seven, so it cannot be regarded as independent.

The stories today come two days after unconfirmed reports Seven West Media chief executive James Warburton will depart the business next week. The Sydney Morning Herald reports today: “Warburton will … leave this month.”

See also: Taylor Auerbach takes to the stand in Bruce Lehrmann trial

Tony Hale, CEO of ad agency body Advertising Council Australia (ACA), isn’t convinced that the UK’s Pitch Positive Pledge would work here. 

He has a “touch of scepticism” with cross-industry best practices as they tend to be a “bit of a generalisation” for what he called an “adolescent market”, he told Mediaweek, responding to TrinityP3’s inaugural State of the Pitch report released this week.

Hale noted that the Positive Pitch Pledge is well suited to the “well-constructed” and “very organised” UK market in contrast to the “Wild West frontier” of Australia and its “colourful, aggressive and competitive market.”

“It’s [Australia] an adolescent market, and what you’re doing with the Pitch Positive Pledge is probably appealing to the majority.

“So, will a Pitch Positive Pledge work in its own right? It might have some impact, but that won’t resolve the situation.”

The State of the Pitch report showed that agencies are facing pitch lists up to 45 agencies long and a lack of process and respect for a process that’s costing them money: 89% aren’t paid for the resources and work that goes into a pitch.

Among the recommendations TrinityP3 proposed in response to the findings was an Australian version of the UK’s Pitch Positive Pledge.

Founder and CEO of TrinityP3 Darren Woolley said local industry bodies could create a similar resource: “This points out a drastic need for an informational and educational effort to teach marketers, procurement people, and even some consultants how to run a pitch.”

Hale

Sophie Madden, CEO of the Media Federation of Australia (MFA), pointed to the MFA’s Successful Agency Pitching Guide, which involved widespread consultation from the industry. “We [the MFA] are always keen to collaborate in order to influence positive change in our industry. Collaboration and honest conversations are critical.”

Madden said she is a fan of the UK’s Positive Pitch Pledge initiative to serve as a “complement to existing efforts, rallying the industry and highlighting positive behaviour.”

Sam Buchanan, CEO of the body for independent media agencies, Independent Media Agencies of Australia (IMAA), is on board with a local version of the pledge. “The IMAA firmly believes that anything that improves the industry is good, so we would welcome pitch guidelines that keep the industry honest and accountable,” he said.

Marketers could appoint based on creds 

Hale noted a conundrum: despite the issues with pitching, agencies want to pitch because it’s a chance to show off in a competitive market, “particularly independent agencies that are still growing their reputation.”

The problem, according to Hale, is that increased pitching has increasingly “become the norm” and a “knee-jerk reaction”, even for lower-end projects that are short-term project-oriented work.

“Realistically, if marketers knew what they were doing in terms of client relationships, they could just about appoint agencies on credentials and capabilities, rather than going out to pitch.” 

Buchanan said, “our industry will always have some bad actors who will make pitching more difficult for agencies and clients who try to do the right thing.

“However, it is pleasing to see the beset and often opaque pitching processes being brought to light and hopefully held to account.”

Woolley told Mediaweek that industry bodies should help marketers by having conversations about different ways of running pitches and what constitutes acceptable and unacceptable demands.

Don’t waste ‘your time and the agencies’ time’

Madden shared that while most MFA members have reported positive pitching experiences to her, they have also seen badly managed pitches that waste everyone’s time.

“From a marketer’s perspective, you should go into a pitch with a clear understanding of your objectives and focus on delivering to them rather than wasting your time and the agencies’ time,” she said.

“The most important thing is to understand that pitching is a time-consuming process for everyone involved, and it should be respected.”

Buchanan agreed that good and bad pitch experiences are part of the industry. “Indie media agencies are more resilient than most and just want the chance to compete on a level playing field,” he added.

Sophie Madden

Pitch guides with ‘no punishment’

The MFA, in partnership with the AANA, created the Successful Agency Pitching Guide in 2021 to outline best-practice principles, from determining if a pitch is an appropriate course for an advertiser, to preparing for tender, and ensuring the process is fair. 

Madden said while the guide has been a good first step, more work still needs to be done to improve practices for agencies, clients, and employees, which the AANA and MFA boards will work on this year.

She noted that the MFA will focus on ingraining best practice principles to deliver an enduring impact and achieving a pitch process tailored to each project, aligned with its scale and scope.

The MFA’s role is to provide accountability that leads to behaviour change. “Tracking the impact of key issues, having conversations – just like we are right now – and holding people to account is the best pathway to positive change.”

Buchanan said these pitch process guidelines have been good for the industry: “Whether agencies will adhere to those guidelines when there is no ‘punishment’ is another question.”

Sam Buchanan

Hale noted that the ACA has its own set of guidelines, the Agency Partnership Principles. He pointed out that the industry’s biggest issue, and what needs to change, is the churn at the lower end of pitches, which disrupts the market.

“From an industry point of view, the amount spent on pitches significantly outweighs the profit generated, and the industry is not winning. Even if you take averages on those numbers, it will take 18 months to generate consistent revenue before you start breaking even.

“Agencies have got to be better at saying no, and marketers have got to be smarter at understanding when they should put things out for a competitive pitch.”

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Top image left to right: Tony Hale, Sophie Madde and Sam Buchanan

Free TV and Seven have expressed their displeasure with the findings of the Senate Standing Committees on Environment and Communications, in response to the inquiry into proposed prominence and anti-siphoning laws.

Bridget Fair, Free TV CEO, said the recommendations “represent a major missed opportunity to ensure that all Australians can benefit from free local TV services into the future.”

Seven West Media managing director and chief executive officer, James Warburton, added that the recommendations “totally misunderstand the needs of the Australian viewing public in 2024 and beyond.”

Existing screens

Fair said that a major issue with the report was that it had not applied the new requirements to existing TV sets in the market. 

“Every person with a connected TV sees the look and feel of their existing set updated on a regular basis. The changes required to implement the new prominence rules are no different.”

Warburton agreed, saying “it needs to apply to TV screens already in the home.”

Keeping sport free

The pair said the Committee recommendations weren’t strong enough in regards to ensuring sport remains free for all Australians.

“The Senate committee has released a report that does not see merit in ensuring free sport for all Australians, particularly those who don’t have an aerial,” Warburton said.

According to Fair, “We’re running a real risk that in the not too distant future, if you want to watch your favourite sports, you will need to pay multiple streaming services to do so. Knowing that every Australian can freely access the big footy finals or gather around the TV for the Boxing Day cricket will be a thing of the past.”

Digital rights

As the proportion of households watching TV online grows to half by 2027, Fair has said that the anti-siphoning list will be “fundamentally undermined” if it doesn’t include digital rights.

In a “nightmare scenario,” Fair predicts that leaving digital rights out of the bill will see that “bidding for sport will become commercially unviable if free-to-air broadcasters can only acquire a narrow range of terrestrial rights, leaving paid services to acquire exclusive digital coverage.”

For Warburton, “Seven strongly urges the government to ensure that the anti-siphoning scheme includes the free digital simulcast of the broadcast stream and that Australians see the benefits of the Prominence Framework sooner.”

Implementing changes sooner

Fair did note that Free TV welcomed the recommendation to bring the implementation period for the new prominence framework down from 18 to 12 months.

Seven was in agreement with this, with Warburton adding: “Seven welcomes the input of the Greens through Senator Hanson Young who sees the merit in a shorter introduction for prominence.”

Including smart speakers

Earlier this week, ARN chief executive Ciaran Davis, Nine Radio managing director Tom Malone, Nova Entertainment chief executive Peter Charlton, and SCA chief executive John Kelly weighed in on the legislation in a joint statement. 

The four representatives called on the Bill to include radio prominence for smart speakers, and urged the government to begin immediate consultation on radio prominence in cars.

The recommendations ultimately were to “prioritise the implementation of radio prominence on devices such as smart speakers”.

“It is essential to both the radio industry and communities that regulations are introduced to ensure free, easy, and reliable access to local radio for all Australians – whether they are listening to smart speakers or in connected cars,” the statement read.

“Smart speakers are becoming more common in Australian homes, and we are concerned this is creating a situation where global tech companies are the gatekeepers of our audio choices, shutting out local radio.

“Equally as concerning is that very soon all new cars will come with a connected dashboard, with Google, Amazon, Spotify, Apple Music – but there is no guarantee they will have easy access to local radio.”

The recommendations

These are some of the Committee’s recommendations:

Recommendation One

The committee recommends that the Minister for Communications and the Australian Communications and Media Authority consider options for a phased approach to the proposed prominence framework and or a reduction to a 12-month timeframe.

Recommendation Two

The committee recommends that the Minister for Communications request that the Department of Infrastructure, Transport, Regional Development, Communications, and the Arts prioritise the implementation of radio prominence on devices such as smart speakers.

Recommendation Three

The committee recommends that the Minister for Communications amend the bill to extend free-to-air codes of practice to online services.

Recommendation Four

The committee recommends that the Minister for Communications, on advice from the Department of Infrastructure, Transport, Regional Development, Communications, and the Arts amend the bill to allow the review of the prominence framework to be conducted within two years of implementation, as necessitated by rapid technological change.

Recommendation Five

The committee recommends that the Minister for Communications consider, either before or as part of the prominence framework review, other related reforms in the industry, to reflect the growing role of the internet, online service provision, and consumer behaviour.

See Also: Seven ramps up sports anti-siphoning lobbying with consumer-facing campaign for digital access

Interbrand is partnering with off-grid cabin company Unyoked to launch a work in nature (WIN) policy aimed at fostering creativity in businesses.

Interbrand’s chief executive officer Nathan Birch highlighted the need for change in the creative work environment, citing long hours and economic pressures as factors contributing to staleness.

“The world of work continues to change for creatives, and not necessarily for the better. Long hours have led to staleness. Economic pressures mean a need to do more with less.

“Tech has people questioning their processes and validity. Maybe things need to change a bit, starting with the environment in which people create. This was the seed of our idea to test how and where creativity flourishes.”

The decision is a response to the companies’ The Nature of Creativity report. Unveiled today, it shows that less pressure leads to more flow, and constraints spark creativity, and explored the question: can spending time in nature, and disconnecting from the normal ways of working, have an impact on our originality and creative output?

See also: Interbrand Australia names Amanda Szylo-Duncan managing director

Findings from the study included that less pressure led to increased flow, constraints sparked creativity, focused solitude built confidence, and embracing nature heightened experiences.

Cam Grant, CEO and founder of Unyoked, added: “The creative benefits of time outdoors is something which, while not fully understood by most of us, can be a superpower if  you know how to use it.”

The study engaged employees from Interbrand’s design, writing, and strategy departments in solo trips to different Unyoked sites across NSW to work on client briefs. Participants documented their experiences before, during, and after their stays, with their creative output subsequently evaluated based strategic alignment and creative bravery.

One participant, Interbrand associate creative director Megan Schierhout, said: “Beyond the break from routine, the focus and clarity that came from a meeting-free day was a true luxury. Removing the usual distractions gave me the space to be more intentional with my time.

“But the most impressive thing to come from the study was the confidence our younger creatives found. With complete autonomy came a new level of bravery in their decision making.”

New Zealand-born, Australian-bred fine jewellery brand Michael Hill has released a teaser for its brand refresh, marking a new era two years in the making.

Partnering with its creative agency CHEP Network for the refresh, the heritage brand is focused on championing its history and creativity. It also hints at its first ever brand ambassador.

Michael Hill’s chief executive officer, Daniel Bracken, said the move was part of the brand’s long-term business strategy. He is anticipating a relaunch that focuses on quality, craftsmanship, and responsibility.

“It not only exudes the reimagined vision for the brand, but it allows us to continue telling our heritage story in a new, exciting way,” said Bracken.

Launching from next Monday 15 April, the new branding will be gradually rolled out across Michael Hill’s operational markets including Australia, New Zealand, and Canada over the next few years. 

As part of the overhaul, the Michael Hill store in Melbourne’s Chadstone will become the brand’s global flagship retail space, with a remodel incorporating all elements of the new brand proposition.

A new logo has also been revealed, which join the letters “M” and “H” in a tribute to the window displays created for the brand during its early years by Lady Christine, the designer and wife of the store’s namesake.

Michael Hill’s chief marketing officer Jo Feeney said the process has been one of fine-tuning to ensure the intention of Sir Michael and Lady Hill were still honoured, while transitioning the brand into its new, progressive, and modern iteration.

“Through our rebrand, we want to alter perceptions of what people think the Michael Hill brand portrays and create an aspirational shift in the market,” Feeney said.

Michael Hill last made headlines in adland with its feel-good Christmas campaign, A Christmas to Remember, joining the trend of John Lewis-esque storytelling ads that were ubiquitous during the 2023 festive season.

Last year, the brand also signed as advertisers with oOh!media to deliver key highlights of the Australian Open to out of home audiences across Australia. 

See also:
Mediaweek’s A to Z of 2023: H is for Holiday Sales
Same, same, but different: Why does every campaign feel like a John Lewis ad this Christmas?
oOh!media delivers Australian Open key highlights with Nine Entertainment and Michael Hill

Nick Parker has joined adtech company Veridooh as global president.

The former Kinetic global COO and out of home media leader joins Veridooh on a fractional basis and will work alongside co-CEOs Mo Moubayed and Jeremy Yang to drive expansion into key new markets for Veridooh.

Parker brings over 35 years of OOH experience to the company, most of which he spent within WPP. For the past 10 years, he has held C-suite positions including global chief investment officer and global chief operating officer within Kinetic Worldwide, overseeing more than 350 staff and being responsible for clients’ OOH investments in excess of $2.5 billion.

Since leaving WPP, he founded Go2OOH Consultancy to work with clients looking to make a difference and drive growth within the OOH medium.

In 2023, Parker received the World Out of Home Organisation Lifetime Achievement award, reflecting the scope and scale of his contribution to the industry.

Parker’s appointment completes a series of recent hires for the company, with Nick Wong and Alexander Fleming recently joining as chief of staff and head of marketing, respectively. 

Parker said Veridooh’s vision for a more trusted, automated, and data-driven OOH ecosystem aligned with his values.

“OOH is going through a huge renaissance right now, with the digitisation of inventory happening with breathtaking speed. Now is the time for OOH to double down on this momentum by implementing tech-enabled tools that have become standard in other channels, specifically automation and verification.

“This really is mission critical for the OOH industry. Delaying implementation means that the channel will struggle to ever break out from the 4% of global ad spend it currently commands. The Veridooh platform will be a seismic shift for OOH when implemented across the board.”

Jeremy Yang and Mo Moubayed

Moubayed noted Parker’s addition strengthens the company’s international capabilities and rounds out its international go-to-market team. 65% of OOH revenue in the UK last year came from digital OOH, and 35% in the US.

“We have been receiving strong demand from advertisers globally for our independent verification solution and we do not see it slowing down any time soon,” Moubayed said.

“What was evident from day one with Nick is that we shared a vision to make OOH the most trusted medium. With his experience, knowledge and relationships, we have no doubt we can fast track this mission globally making a huge impact for advertisers and the industry.

“When we first launched in 2019, we believed our independent verification solution was the right thing to do for the OOH industry. Five years later, we have over 160 advertisers and proof that automation and independent verification grows the OOH industry. With Nick joining, we now have further confidence that what we are doing is not only necessary for the OOH industry but what will help it thrive in the next few years.”

Seel also: Veridooh’s Mo Moubayed wants to expand globally and grow OOH beyond ‘4% or 5%’ spend

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Top image: Nick Parker

“We’ve always been a content company that has inspired,” Are Media’s head of affiliate partnerships and business development, Lauren Leisk, tells Mediaweek.

In an industry that thrives on relationships, Are Media has been pushing its content commerce strategy, using it to guide decisions about everything from the ad sales strategy, to the people the company is hiring.

Through building strong relationships with brands including Myer, Freedom, Sephora, Koala, Air BnB, Amazon, Temple & Webster, The Iconic, and Priceline, Are Media is already generating sales for a wide range of products.

Leisk came to the business two and a half years ago, and has worked to build Are Media’s affiliate marketing channel in three main ways. The first was to expand the company’s relationships, networks, and clients.

“Before I was on board, we didn’t really work with Amazon, or David Jones, or Temple and Webster directly,” Leisk said. “We had some brands through sub-networks and things like that, so my aim was to create one-to-one relationships with all the top e-comm brands in Australia that do have an affiliate campaign and are willing to engage with us on performance marketing. Expanding that portfolio was really key to start with.”

The second step was to invest in technology to “bring all that resulting data together and make sense of it all to make inferences and data lead decisions to inform our content.”

“Taking insights from search engines, keyword research, and the information that we’re getting from our brands about what people are buying enables us to inform our content strategy.”

The third was the upskilling of editors, with many coming from journalism and newsroom backgrounds. 

“That pivotal point was training them on how to write content that has a lot of longevity – SEO-informed evergreen content, helping people find the best dishwasher or the best wine fridge,” Leisk said.

“What’s important to look for when you’re in the market for those things is a very different story to writing an editorial piece. Training them to flip it on its head and think about how we service our readers from a shopping angle was key to driving revenue.”

All of these changes are working towards what Leisk describes as Are Media’s main goal to “always be servicing our audience.”

“Our aim in content commerce is to take the trust that our audience already has in our brands, and deliver them the information they need to make a choice about a product to help them along that journey.”

Helping readers involves finding them where they are – “as our audiences change, we need to follow where they’re consuming that content,” Leisk said.

“It doesn’t really matter what platform it’s on. Whether it’s in print, digital, social media channels, websites, or through an EDM, we want to be where audiences are and we want to help them make that next decision.”

For brands, Leisk said that the strategy will make them “a lot more tangible” for readers of Are Media’s titles.

“We’re delivering to advertisers and our brands – especially our big e-commerce brands and clients – readers who are already in the market to buy that product or research further, to take them further down the sales funnel.”

See Also: Magazines have become luxury items backed by luxury brands: Nicky Briger

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Top Image: Lauren Leisk

Never Not Creative and The Mentally Healthy Change Group have launched the fourth Mentally Healthy survey to understand the mental wellbeing of people working in the media, marketing, and creative sectors in 2024.

Organisers want this year’s survey to be the biggest version of the biennial project yet, aiming for more than 2,000 respondents from Australia while rolling the survey out across the US, New Zealand, and the UK. 

The 2024 survey, which takes 20-25 minutes to complete, will continue to track many of the mental health trends observed in earlier editions to provide a useful snapshot of the industry’s progress. 

It will feature a new focus on how workplace expectations, roles, and working models (such as hybrid and remote) are impacting the industry’s mental health. It will also include questions around the awareness and implementation of psychosocial hazard legislation and guidance which came into effect in Australia in 2023 and applies to all businesses. 

Andy Wright, co-chair of The Mentally Healthy Change Group and founder of Never Not Creative, said as AI becomes a prevalent factor across the business and with increased scrutiny on cost and budget, humans and their skills are the industry’s “one true differentiator”, but he questioned if the industry is doing enough to make sure its people feel empowered.

He said the survey has become a benchmark for the industry’s performance in how people are being treated. He noted that it has helped to spark big conversations and tangible changes in the industry.

“But the job is by no means done, so it is important we keep the spotlight shining brightly here. The more responses we get, the better our understanding will be of where the opportunities and barriers to improvement are.”

Kate Holland, co-chair of The Mentally Healthy Change Group, said the post-Covid workplace is “still in a state of flux”, and the industry is beginning to see the long-term impact of practices like remote and hybrid working on people.

“No one professes to have the perfect answer, so it’s important we examine how and who these different models are working for.”

She said that with a big and robust data set, these areas can be examined and understood, urging members of the industry to take part.

The findings from the research will be shared widely with the industry in June, and will inform ongoing and new initiatives by Never Not Creative and The Mentally Healthy Change Group, aimed at promoting mental health within the workplace.

Previous surveys have highlighted the necessity for such research, revealing significant gaps in mental wellbeing between different agency types and generational attitudes towards mental health.

The survey is available here and will remain open until midnight, 3 May. Participation is anonymous, and respondents have the option to leave their organisation’s name in the final question, though this is not mandatory.

If you or someone you care about needs support, please contact:

Lifeline: 13 11 14
Suicide Call Back Service: 1300 659 467
MensLine Australia: 1300 78 99 78
beyondblue: 1300 22 4636

Those looking to move to Brisbane may stumble across a unique listing this week, as the iconic Bluey house is officially listed for sale on Domain. 

“A quaint, animated family home nestled in an undisclosed Brisbane location, that could be in Red Hill or The Gap (we’ll never tell), with mid-century design aesthetics offset by whimsical touches,” the listing reads.

“Illustrated lovingly at the end of a cul-de-sac, this house sits atop a hill with views of Mount Coot-Tha. This 3 bedroom, 4 (ish) bathroom home boasts of work from home spaces, lovely period floorboards and mysterious hallways that don’t logically seem to join spaces together but always feel cohesive and purposeful. Perfect for endless play and games with the family.”

The listing – which is being overseen by canine realtor Bucky Dunstan – comes off the back of the most recent episode of Bluey, Ghostbasket. The Grannies return in the episode, setting out to ruin Bandit’s attempts to sell the house to Chilli. It’s all fun and games until the final shot of the show, which zooms out to reveal an actual For Sale sign in front of the house.

Ghostbasket is the lead into the 28-minute Bluey special episode, The Sign, which is set to drop at 8am on Sunday 14 April, on ABC Kids and ABC iview. Both episodes are penned by Bluey creator and writer Joe Brumm, directed by Richard Jeffery, and produced by Ludo Studios.

The Sign has a major roster of cameo voice talent: Patrick Brammall returns as the voice of Uncle Rad, with Megan Washington as Calypso, Claudia O’Doherty as Frisky, Myf Warhurst as Trixie, and Rose Byrne as Brandy. Making their Bluey voice debut, The Sign will also feature Rove McManus, Deborah Mailman, Brendan Williams, and Joel Edgerton.

“This is an exciting opportunity for all families around the world to see if this beloved, iconic house becomes home to a lucky new family,” the Domain listing concludes.

CHEP has unveiled the animated short, Blip: Lightyears from Home, in partnership with for Hospitals United for Sick Kids, a national alliance dedicated to raising funds to help sick kids get home, and back to the things they miss.

The film, produced by Assembly, Finch, and Sonar, follows its adorable space protagonist, Blip, on a mission to return home. The film’s metaphor reflects the alienating experience of sick children in hospitals, who, much like Blip, often feel lightyears away from home.

Launched in 2019, Hospitals United for Sick Kids has raised over $7 million with the support of key partners including Coles, Lowes, and Swisse, which have helped in fundraising for investments into research, technology, treatments and services across Australia.

The campaign – rolling out via TV, OOH and socials – follows the organisation’s recent rebrand from Curing Homesickness to Hospitals United for Sick Kids.

Beyond the short, the character of Blip will now be a mainstay symbol that Lightyears from Home partner brands can use to show their support.

Paul Meates, executive creative director at CHEP, said the idea for Blip came with successful and rapid growth of partner products, which quickly called for something to tie them together.

“Something emblematic of what it’s like to be a kid in hospital,” described Meates. “Something that could appear on any product to make it instantly recognisable as a product that helps sick kids get home from hospital. Blip was our solution – a cute, vulnerable space character far from home.”

Mum’s Sause is one such product – stocked in Coles, and developed in response to kids in hospital missing their mums’ home-cooked sauce. Launched in 2019, 50c from every jar of the ‘sause’ sold goes to the charity.

“With Blip, we hope to reach out and inspire consumers to make simple changes to their daily shopping by choosing products that help get sick kids back to the things they miss,” explained Hospitals United for Sick Kids’s newly appointed CEO, Nicky Bowie.

See also: The Monkeys snatches gold at Clios, Australia tallies 14 wins

Credits:

Client: Hospital United for Sick Kids
CEO: Nicky Bowie
Marketing and communications lead: Shilpi Khanna
Corporate partnerships manager: Tammy Grillo
National coordinator: Kim Roberts
Social media manager: Danielle Johnson 

Agency: CHEP Network Sydney

Production company: Assembly
Director: Matt von Trott
Executive producer: Jane Oak
Laad art director and lead animator: Joshua Fourt-Wells
Animator: Frankie Principe
Animator: Elliot Stronge

Production company: Finch
CEO: Rob Galluzzo
Managing director / executive producer: Corey Esse
Executive producer: Loren Bradley

Music / sound: Sonar Music
Original music composition: Matteo Zingales
Additional music and production: Josh Pearson
Vocalist: Josie Mann
Senior sound designer: Andy Stewart
Head Of sound: Timothy Bridge
Producer: Haylee Poppi
Executive producer: Sophie Haydon

CEO of Free TV Australia, Bridget Fair is amongst the new appointments to Women in Media’s board of directors, with Nicole McInnes, and Pooja Patel joining her, effective immediately, for a three-year term. 

Fair said: “I’m proud to join the WIM board and to have the opportunity to contribute to the empowerment of professional women in the industry.

“Our programs aim to enhance networking opportunities, skills development, and career advancement for women in media. Women have come a long way in the media sector but there is always more to be done.”

McInnes is the managing director of Digital Wellness and adds her expertise in commercial management and digital leadership from her tenure with companies such as WW, Dell and Amex. Pooja Patel is an audit partner specialising in media and technology at Deloitte. 

Victoria Laurie, founder and co-chair of WIM said: “We are delighted to welcome Bridget, Nicole, and Pooja to our board of directors. Each of them brings extensive networks and industry expertise that will enrich our efforts to support women working in the media sector across Australia.”

The board additions follow Kym Middleton’s appointment as the inaugural general manager in January. Together, they will aim to address the persistent barriers faced by women in the media industry, as highlighted in the WIM Industry Insight Report 2023.

The report found that the majority of women (54%) continue to be either unsure or explicitly dissatisfied with the progress of their careers.

See also: Women in Media calls on women in the industry to have their say as annual survey launches

Genero has appointed Chris Dodson as managing director for Australia and New Zealand, based in Sydney. 

Dodson spent six years leading YouTube’s consumer and business marketing in Australia, before moving to London to build and lead YouTube’s subscription and music business across EMEA. He returns to Sydney to help evolve Genero.

Dodson also served as the CEO of Wild Nutrition, a private equity-backed health brand in the UK, and as partner and CMO at Two Island Ventures, a venture capital firm with an eye on emerging brands in the consumer and tech sectors.

Dodson’s appointment follows the recent hiring of ex-Hogarth COO Chloe Lane as MD – global client solutions, with a number of additional hires being made globally following a new investment from Acorn Capital. 

Mick Entwisle, CEO and co-founder of Genero said: “The moment we met Chris, we recognised how much he would bring to our business in Australia and NZ, as well as globally. He’s a globally innovative, creative and commercial leader with deep experience across the advertising and marketing industry, and will bring a lot of value to our clients.

“He has first-hand knowledge of the challenges marketers are facing, and we’re so excited about the strategic experience and skills he brings to the team.”

Dodson added: “It’s so exciting to be part of Genero’s next chapter of growth and I’m thrilled to support AUNZ marketing teams as they leverage Genero’s innovative platform and vast on-demand creative network.”

Genero’s platform is used for collaboration between marketers and a global network of professional creatives. Its technology is used by brands including L’Oreal, Hilton, the BBC, P&G and Nestlé to generate audience-first ideas and creative with speed. 

Genero is also an official partner of platforms including Meta, Google, TikTok, Pinterest, and Amazon. 

Bastion has released its first creative work for Australian credit asset management firm La Trobe Financial since its appointment to the account in late 2023, following a competitive pitch process.

The first marketing campaign in many years for La Trobe, the brand said Grandpa’s Gift is emblematic of a shift in its approach from product-centric to human-centric.

Chief executive officer of La Trobe Financial, Chris Andrews, said the campaign drew from the insight that throughout the long-standing institution‘s history, its clients have relied on its services to help care for their loved ones.

“With this as our foundation, we have created a campaign that we think truly captures the hearts of our investors,” said Andrews.

“It depicts, in a beautiful way, our investor base and puts the focus on those who are seeking a prosperous future and a dignified retirement.”

The ad depicts a touching scene in which a grandfather surprises his granddaughter by transforming her simple picnic into an outdoor fort.

“It shows a connection between generations and taps into our universal desire to care for our families through everyday acts of kindness,” said Andrews.

Bastion Creative’s chief creative officer, Simon Langley, added, “In a world of golf, convertibles, and walks along beaches at magic hour, this takes a different approach in tone and message – capturing the importance of having the funds not just for your retirement, but to be able to provide for or treat those you love.”

Bastion’s launch of Grandpa’s Gift comes on the heels of its March acquisition of digital creative agency AnalogFolk.

The move came a year after AnalogFolk’s CEO Matt Robinson and chief strategy officer Ben Hourahine acquired the agency from its UK parent company through a management buyout.

Bastion CEO Jack Watts said the acquisition aligns with the agency‘s continued growth ambitions.

See also: Bastion acquires AnalogFolk ‘to redefine the landscape’

303 MullenLowe have launched a powerful first-responders campaign for ambulance and first aid service St John Western Australia and Safety Commission (RSC), highlighting the critical first four minutes after a crash.

Based on a real-life scenario, Anyone Can Save a Life depicts a young driver saving an unconscious motorist’s life using just the tips of her fingers, equipped with the knowledge of first aid. Targeting all drives – particularly young ones – the campaign is a poignant reminder that with first-aid training, anyone can be this person.

The campaign, which is now live across BVOD, audio, radio live reads, sponsorship, online, social, and display, further highlights all drivers can prepare for the unexpected by taking St John’s free 15-minute First Aid For Me online learning program.

303 MullenLowe Perth’s managing director, René Migliore, said the true story on which the campaign is based stood out due to its simplicity and power. He said his team drew inspiration from how an individual can be empowered by first-aid training with the ability and confidence to take action.

“With one simple act, a life is saved. It’s a unique scenario and associated visual that we were then able to apply across the campaign to capture attention on multiple platforms,” said Migliore.

“Unlike other road-safety commercials, the campaign’s focus is less about the behaviour of the driver in the crash, and more about the importance of being a first responder.”

St John WA’s head of brand and marketing, Smiljka Dimitrijevic described the campaign as a two year work in progress following an increase in driving holidays during COVID.

“Our media and communications team worked closely with Road Safety Commission to create a joint campaign that would improve patient outcomes and survival rates by educating the WA community about the part they can play,” said Dimitrijevic.

St John WA group chief executive officer Kevin Brown said 15% of road deaths can be avoided with early first aid intervention, particularly to address blocked airways as is shown in the campaign.

“While there is no substitute for learning quality CPR through an accredited first aid course, spending 15 minutes learning the basics could mean the difference between life and death,” said Brown.

The latest work follows a host of senior appointments made by the creative agency across its Australian network earlier this year. In February 303 MullenLowe Sydney announced a restructuring of its senior leadership team, with Joanna Gray promoted to the newly established position of Sydney chief executive officer, and Karen Coleman appointed as Sydney managing director.

In March, 303 MullenLowe Perth announced the appointment of Sara Oteri as executive creative director.

See Also:
303 MullenLowe taps Akkomplice’s Sara Oteri to lead Perth creative team as Damian Royce departs
303 MullenLowe Sydney names Joanna Gray CEO, Karen Coleman MD in leadership restructure

Campaign credits:

303 MullenLowe
Managing director – René Migliore
Senior business director – Holly Creasey
Business coordinator – Braydon Gallop
Chief creative officer – Damian Royce
Head of production – Johnathan Julius (JJ)
Art director – Stephen Hansen
Copywriter – Zosia Kilpatrick
Head of design – Alby Furfaro
Finished artist – Suzanne Whoston

St John WA
Head of brand and marketing – Smiljka Dimitrijevic 
First aid marketing specialist – Kieran Ball
Chief preventative officer – Megan O’Donnell
Head of customer experience – Tom Hubbard
Head of corporate affairs – Peta Rule
Content and media lead – James Fogg
Social media and content specialist – Abbey Dunne
Clinical digital specialist – Matt Didcoe

Road Safety Commission
Campaigns officer – Alisia Mumby
Strategic communications manager – Joanna Hynes
Acting strategic communications manager – Kirsten Brent

Media Planning – Initiative
Investment partnerships executive – Daniel Pomponio
Account director – Tiaan van Jaarsveldt 

Production Credits
Production company: Sandbox Productions
Director: Armand de Saint Salvy
Photography and retouching: Finlay MacKay
Audio production: MDS Audio

The Man Cave, a preventative mental health and emotional intelligence charity, has entered into a long-term partnership with Icon Agency’s social and behaviour change division, The Change Collective.

Now in its tenth year, The Man Cave is a national youth charity that works with young men to facilitate safe-space discussions masculinity’s unique challenges and opportunities today.

The partnership will see Icon and The Man Cave sharing resources and insights to deliver behaviour change programs for state and federal government departments. This includes a strategic comms program focused on youth radicalisation, as well as working with not for profits and consumer brands to help address problematic gender stereotypes.

Head of Change Collective, Mat Crompton, said, “The Man Cave has unique insights into the behaviours and nuanced experiences of young men in Australia, a typically hard-to-reach audience.”

The Man Cave’s chief executive officer, Hunter Johnson, added: “Culturally, we are at an inflection point for masculinity, which I think is very exciting.

“The question is, what next? What behaviours do men need to let go of? What behaviours and attitudes do they want to evolve into – both for their betterment and for the betterment of the communities around them.”

Last month, Innocean‘s gender equality movement, F*ck The Cupcakes (FTC), announced it was launching an all-year-round program called Yeah the Pies, aiming to promote productive conversations between men on gender equality.

Its inaugural event takes place this Thursday 11 April, in a drive via Paramount, Infinity Bakery, and Bloke Coaching, that invites men from Australian adland for an afternoon of cooking, conversations, and change – all while baking pies. 

Commenting on the initiative, FTC founder and Innocean Australia CEO, Jasmin Bedir, said: “We’ve struck a chord with our sentiment that International Women’s Day is meaningless if women continue just to talk to other women.

“But it is incredibly difficult to get men at scale engaged in the topic of gender equality, which was confirmed by the Gender Pay Gap data.”

See also: F*ck The Cupcakes launches Yeah the Pies to engage men post-IWD

–

Top Image: Icon and The Man Cave team with Sasha the dog in her new Man Cave basketball jersey.

Foundation Australia has launched its Renewables Ad Engine to help minimise carbon emissions from streaming ads, with Sanofi Consumer Healthcare’s Ostelin as the pilot client.

This initiative reflects the Omnicom Media Group agency’s commitment to sustainability and innovation, and addresses the environmental impact of advertising by prioritising the reduction of carbon emissions associated with streaming campaigns.

It comes after recent findings from the Scope3 Q2 2023 Sustainability Report reveal a contrast in carbon emissions between streaming (706.5 gCO2PM) and display advertising (333 gCO2PM).

The key reasons for the high level of streaming carbon emissions are the larger size of the consumer device (high proportion of large CTVs) being used to consume the media and the intensity of energy required for the data transmission of streaming content.

The Renewables Ad Engine leverages real-time data on renewable energy availability in the grid for key Eastern Seaboard States, the engine activates ads during periods of high renewable electricity generation and deactivates them during periods of lower renewable energy availability.

This approach ensures advertising campaigns align with fluctuations in renewable energy supply, minimising carbon emissions and maximising the use of clean energy sources.

Ashley Wong, head of digital, data and innovation at Foundation Australia, said the collaboration with Sanofi Consumer Healthcare to pilot the Renewables Ad Engine is a significant milestone in the agency’s efforts to reduce the environmental impact of advertising campaigns while delivering results for our clients.

Jono Carroll-Goldin, head of brand and innovation at Sanofi, said the company is proud to be part of the pilot project that “demonstrates commitment to modern sustainable practices and environmental stewardship in the consumer healthcare industry.”

“We bear great responsibility to take actions that mitigate the consequences of climate change on human health, including carbon emissions, reduced air quality, food and water shortages, and conditions that cause the spread of allergies and disease.”

Key features of the Renewables Ad Engine pilot program include:

1. Real-time Renewable Energy Activation: Ads are activated based on real-time data on renewable energy availability in the electricity grid, ensuring maximum use of clean energy sources.
2. Dynamic Ad Campaign Management: The engine dynamically manages the activation thresholds to align with fluctuations in renewable energy supply, to beat grid daypart averages.
3. Renewables Impact Monitoring: Sanofi Consumer Healthcare will have access to comprehensive monitoring of renewables usage associated with the pilot campaign, enabling them to understand how the ad engine has helped them increase the renewable energy that is used to deliver their campaign vs the grid average.
4. Win/Win Approach to positive impact: While striving for increased renewables usage, the engine is designed not to sacrifice overall campaign delivery or results.

As the pilot client for the Renewables Ad Engine, Sanofi Consumer Healthcare is reaffirming its dedication to driving positive environmental change within the Consumer Healthcare industry.

The healthcare brand says it has seen a 79% increase in renewable electricity use, with no negative effect on media pricing or campaign reach and frequency.

At the conclusion of a successful pilot, Foundation will be looking to beta this opportunity across a broader range of client partners.

See Also: Scope3 report reveals 36% overlap between green advertising and performant ads

TV Report April 9, 2024:

Nine TV Report

Gordon Ramsay’s Food Stars

Nine’s evening began with episode 5 of Gordon Ramsay’s Food Stars.

Ramsay celebrated one of Britain’s most beloved and iconic brands: Cadbury Chocolate.

The teams are tasked to help launch Cadbury’s new ‘slices’ range, having to devise a high-concept and interactive publicity stunt to launch the product. Their unique creation must take the form of a social media-friendly video, directing foot traffic from the general public to the product via a QR code. 

The teams had to get creative and disruptive with their stunt to weather as many AR code scans and likes on their video as they could. The team whose stunt attracted the biggest audience engagement with views and likes to their video wins, with the others facing elimination. 

The losing team had a face-off against Gordon and Janine and there was nowhere to hide as they are grilled on their performance. 

A Current Affair

Over on A Current Affair, the program looked into the MAFS groom who revealed his secret past as an international drug smuggler and investigated the school system ‘absolutely failing’ a young girl who’s been suspended 10 times.

Seven TV Report

Ego: The Michael Gudinski Story

On Seven, Ego: The Michael Gudinski Story told the wild ride of maverick entrepreneur Michael Gudinski who defied convention and revolutionised the Australian music industry.

Home & Away

Before Ego was Home & Away as Summer Bay gathered to celebrate Justin and Leah’s big day. Leah was overjoyed by a surprise wedding guest and Justin confronted Theo.

10 TV Report

The Project

The Project on 10 looked into the landmark gender case beginning in court and the solar eclipse that took over the US. They also chatted to Chris Parker. 

I’m A Celebrity… Get Me Out Of Here!

On 10’s I’m A Celebrity, it was pure nightmare fuel for Ellie Cole as she faced being bitten by either a snake or a rat. 

See also: “It just hit me right now”: Frankie Muniz’ devastating family revelation on I’m a Celebrity

ABC

7:30

On 7:30, the program looked into division in the AFL in the aftermath of drug allegations and Sarah Ferguson interviewed Defence Minister Richard Marles.

SBS

Great British Railway Journeys

Michael Portillo follows his 1930s Bradshaw’s Guide to the unspoiled east Sussex Cinque Port of Rye, where, on the windswept harbour beach, he hears how in 1928, a generation of lifeboatmen lost their lives in a tragic rescue attempt at sea. 

Monday Apr 8 2024: VOZ Total TV Ratings Overnight Top 30 – Programs ranked on reach

Total People TV Ratings

Nine’s Married at First Sight recorded a total TV national reach of 2,752,000, a total TV national audience of 1,731,000, and a BVOD audience of 326,000.

Nine’s A Current Affair recorded a total TV national reach of 1,871,000, a total TV national audience of 1,169,000, and a BVOD audience of 105,000.

Seven’s Highway Patrol recorded a total TV national reach of 775,000, a total TV national audience of 424,000, and a BVOD audience of 22,000.

Also on Seven, Home & Away recorded a total TV national reach of 1,202,000, a total TV national audience of 812,000, and a BVOD audience of 84,000.

10’s airing of I’m A Celebrity… Get Me Out Of Here! recorded a total TV national reach of 1,150,000, a total TV national audience of 592,000, and a BVOD audience of 58,000.

See Also: TV Report April 8, 2024: Tori and Jack storm out of heated MAFS Reunion Commitment Ceremony

People 25-54

Nine’s Married at First Sight:
• Total TV nation reach: 1,166,000
• National Audience: 789,000
• BVOD Audience: 210,000

Nine’s A Current Affair:
• Total TV nation reach: 659,000
• National Audience: 356,000
• BVOD Audience: 63,000

10’s I’m A Celebrity… Get Me Out Of Here!:
• Total TV nation reach: 484,000
• National Audience: 262,000 
• BVOD Audience: 34,000

Seven’s Highway Patrol:
• Total TV nation reach: 265,000
• National Audience: 146,000
• BVOD Audience: 13,000

Seven’s Home & Away:
• Total TV nation reach: 387,000
• National Audience: 256,000
• BVOD Audience: 49,000

People 16-39

Nine’s Married at First Sight:
• Total TV nation reach: 563,000
• National Audience: 378,000
• BVOD Audience: 138,000

Nine’s A Current Affair:
• Total TV nation reach: 272,000
• National Audience: 136,000
• BVOD Audience: 37,000

10’s I’m A Celebrity… Get Me Out Of Here!:
• Total TV nation reach: 191,000
• National Audience: 105,000 
• BVOD Audience: 23,000

Seven’s Highway Patrol:
• Total TV nation reach: 91,000
• National Audience: 55,000
• BVOD Audience: 8,000

Seven’s Home & Away:
• Total TV nation reach: 154,000
• National Audience: 104,000
• BVOD Audience: 29,000

Grocery Shoppers 18+

Nine’s Married at First Sight:
• Total TV nation reach: 2,146,000
• National Audience: 1,372,000
• BVOD Audience: 260,000

Nine’s A Current Affair:
• Total TV nation reach: 1,472,000
• National Audience: 929,000
• BVOD Audience: 84,000

10’s I’m A Celebrity… Get Me Out Of Here!:
• Total TV nation reach: 868,000
• National Audience: 439,000 
• BVOD Audience: 46,000

Seven’s Highway Patrol:
• Total TV nation reach: 621,000
• National Audience: 337,000
• BVOD Audience: 17,000

Seven’s Home & Away:
• Total TV nation reach: 931,000
• National Audience: 634,000
• BVOD Audience: 67,000

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.