In the year of the Matildas smashing records, there has been no sports bigger story than the rise of women’s sport in Australia. 

Bringing the matches to audiences around the country are the broadcasters, who work to make sure that it’s not just those who can make it to the game in person that are keeping up with the action. 

Mediaweek spoke with Fox Sports executive producer Joe Bromham, and Kayo executive director Cate Hefele about the year that was and what comes next.

For both Bromham and Hefele, the evolution of women’s sports has been a major part of their respective careers at Fox Sports and Kayo.

Bromham: “I’ve been working at Fox 2007 – there wasn’t even a W-League then. I’ve got a seven-year-old daughter and when she was born, there wasn’t even an AFLW or NRLW. There’s been rapid development and growth, particularly in the last five years.”

Hefele: “I’ve been with Kayo since the beginning of last year, and in that time we have gotten the netball. Having the availability of more women’s sports on the platform – we have AFLW, NRLW, netball, women’s cricket – you get into a routine throughout the year. It normalises it, it’s not that there’s women’s sport, it’s just sport.”

When it comes to showcasing women’s sports and making the most out of the broadcasts, Hefele said making sure the games get “the same tier-one exposure as the men’s” means listening to the audiences and what it is they’re after. 

Hefele: “A great example is the AFLW, they’re going through a bit of a rebrand for the coming year. What is that brand? What’s it going to look like on Kayo? How do we make it look and feel different, so that it’s not just AFL that happens to be played by women?

“We see different consumer behaviour when we look at women’s sport. Netball used to be played during the day on a Saturday, and a big shift we made was moving those games into prime time when we could get that big viewership. We work a lot with the codes about the nuance of each of the different fan bases.”

The Matildas

For Bromham, “the last thing you would want is a copy-paste for the men’s” when it comes to broadcasting women’s sports. The key difference, he said, comes down to storytelling. 

Bromham: “Traditionally in men’s sports, the athletes have not been encouraged to tell their stories – women’s sport has an excellent opportunity to be the complete opposite. We need to encourage our women’s athletes to tell their stories – no matter how trivial they think it is, everyone has a story and people are interested in other humans. If you’re there to watch the sport, if you’re there to watch them play, then naturally you’re going to be interested in their backstory.”

Storytelling isn’t just about putting the lives of the athletes out there for fun – Bromham highlights that the connection is what pushes women’s sports forward from a broadcast point of view as well.

Bromham: “Storytelling is the secret sauce in getting people connected and committed to watching sports. If you can have your viewers feel some empathy for the athletes and their backstory, then that is how you engage them. 

“There are two types of storytelling: there’s emotional storytelling and technical storytelling. Both hold their purpose, but I think emotional storytelling is really important in engaging people initially and getting them committed to a sport. Then technical storytelling, once they’re committed, keeps them there and makes them an expert and a super fan.” 

AFLW

Looking ahead to 2024, Hefele said the biggest hurdle for broadcasters will be walking the line “between pushing it hard, but also making it feel like we should be watching games and attending in person.”

Hefele: “To me, it goes back to normalising women’s sport. 

“All the work that the codes are doing to invest in growing the game helps us as broadcasters. Next year will have continued connections between the codes and the broadcasters, and for me, it will be about finding all those stories and really drawing them out. 

Bromham: “What we need to do to continue to grow is continue to have the sports successful at a commercial level. That can feed down the chain to the athletes, so the athletes can become full-time – too many of our women athletes aren’t full-time. 2024 will see continued growth in revenue and commercial growth for these sports to trickle down and fund that.”

–

Top Image: Joe Bromham and Cate Hefele

GFK Radio Ratings Survey 8, 2023

Sydney

ARN & Nova shine, 2GB keeps #1, K&J win brekky, smooth big improver

See Also: Sydney Radio Ratings 2023 Survey 8: Kyle and Jackie O end 2023 on top

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Melbourne

3AW leads, Fox & Gold level, but Fifi Fev & Nick #1 FM brekky

See Also: Melbourne Radio Ratings 2023 Survey 8: Fox & Gold level, but Fifi Fev & Nick #1 FM brekky

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Brisbane

Triple M the conqueror, but Ash Luttsy & Susie brekky champs

See Also: Brisbane Radio Ratings 2023, Survey 8: Triple M lift to take the win

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Adelaide

Triple M maintains lead, Fiveaa sinks after 9am, MIX improves

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Perth

Xmas upset as 96FM crushes Nova, but Nathan Nat & Shaun can’t be beaten

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See Also: Radio Ratings 2023, Survey 7: Highlights + Full Results

Meltwater has revealed the top 10 TikTok creators in Australia based on their ranks according to fans, reach and Meltwater Klear Influence Score.

The Klear Score is an overall influence indicator that is calculated using multiple variables and Klear’s proprietary AI algorithm. Meltwater takes into account many variables, including the influencers’ following, reach, quality of engagement rate and audience quality. Collectively, this information is used in Klear’s algorithm to assign each influencer a Klear Score from 1-100.

Klear Score is not “good” or “bad” in its own right but rather is used to assign an influencer into their category of influence (Celebrity, Power User, Micro, Nano) and to provide a reference point for comparing between influencers.

Leading the top TikTok creators in Australia is Zachery Dereniowski, with 17.3 million followers on TikTok (as of publishing), a reach of more than 14 million on the platform and a Klear Score of 97. Dereniowski is a Canadian medical student at the University of Sydney and is known for his motivational videos about mental health.

How Ridiculous, lead by Brett Stanford, Derek Herron and Scott Gaunson from Perth, Western Australia, made second place on the list. The group has a TikTok following of 14.5 million, reach of more than 9.7million and Klear Score of 99. The group is known for their outrageous trick shots and experiments.

Angelo Marasigan made third place on the Meltwater rankings with 11.7 million followers, reach of over 10 million and an influence score of 97. He is known for his comedy skits inspired by the Kardashians and Woolworths voice-overs and was nominated for Creator of the Year at the 2023 TikTok Awards.

At fourth place on the list is Adam Milardovic with 11.2million followers on TikTok, a reach of 1.9million and Klear score of 93. Professional gamer Lazar Beam made fifth on the list, boasting 10.6million fans, a reach of 5.4million and a Klear score of 99.

Thomas Sharpe, also known as tom on TikTok, makes number fifth on the list of top creators is Australia. He boasts a following of 9.8million on the platform, with a reach of 2.79million and a Klear score of 94. Nick and Carrie, known for sharing videos about their relationship, follow in sixth spot with 8.7million followers on TikTok, a reach of 2million and a Klear score of 98.

Taking seventh on the list with 7.7million followers is Andrew Walsh, with a reach of 5.12 and Klear score of 97. In eighth is “bogan candymakers” Sticky Australia with with 7.5million followers, reach of 1.9million followers and Klear score of 94. Rounding out the list is  YBSbrodie with 7.3million followers, reach of 19.75million and Klear score of 97. 

See also: Mediaweek’s Social Media Influence 100

To wrap up 2023, Mediaweek is looking at the biggest trends, events, platforms, and brands of the year.

Welcome to Mediaweek’s A to Z of 2023 … and beyond.

By Eliza Sorman Nilsson, Editor-in-Chief, Mamamia 

If three examples of something is a trend, 2023 was the year it became official: Women are moving economic mountains more than we’ve ever seen in history.

The 1-2-3 punch of Barbie, the Matildas and Taylor Swift demonstrated how women can move global culture across all demographics. Smashing records, opening wallets, generating billions of dollars, and reversing downward financial trends. 2023 was the year women made their economic strength known, loud and clear and pink and green and gold.

From Taylor’s record-breaking Eras tour, which is on track to become the highest-grossing tour in history, Barbie’s record-breaking achievements – including highest grossing film of 2023 and first $1 billion movie by a solo female director – and the Matilda’s record-breaking viewing audience for its semi-final clash with England – 11.15 million Australians, which is more than 43 per cent of the population. 

The connection here is the phenomenal women who powered the moments that entertained, united, and inspired us. Yes, they showed generations of girls and boys that women can run the world. However, they also showed businesses, investors and, most importantly in our industry, advertisers that the days of overlooking women-led ventures should be well and truly over. 

Obviously, here at Mamamia, we’ve always known women have the power to do this. (They’ve literally been powering everything we do for 15 years now.) Our research has confirmed that women are overwhelmingly and consistently the decision-makers. From beauty to home entertainment to telco to auto to pretty much everything, women are the ones making ‘all or most purchase decisions.’ Put simply: Women are a tsunami of purchasing power. As wallets tighten, women are the ones calling the shots and managing the household budget.

While the financial squeeze is very real right now, there are still key areas where women intend to spend more money, not less, in the new year. Putting aside the things she has no choice about (rent, mortgage, groceries) women want to spend more on health and fitness and travel and holidays in the next 12 months. 

Women are done living a small, timid life where she’s at the bottom of her list of priorities. 

No more burnt chops for her. She’s levelling up. She’s in doing-mode. She wants to grab experiences, to travel and maximise time with the people she loves. She’s had a tough few years of life being on hold, and she’s re-evaluated what’s important. She wants to invest in herself. Beauty, entertainment, health and fitness are about self-care. It’s about mental health, physical strength, freedom, and a life well lived. 

The conversations are shifting, too. Women are talking candidly and openly about what it means to be a woman. The conversations are frank, sometimes uncomfortable, but always crucial in moving the dialogue forward. From 2023’s Australian of the Year Taryn Brumfit and her campaign to help women and children embrace their bodies, to Imogen Crump announcing she was having a peri-menopausal hot flush live on-air, and media powerhouse Jackie O’s candid conversation about divorce and dating again at 47. 

Women dominated popular culture in 2023 and the marketers who are not already paying attention should listen up. 

See also: Mediaweek’s A to Z of 2023: V is for Video Advertising

—

To wrap up 2023, Mediaweek is looking at the biggest trends, events, platforms, and brands of the year.

Welcome to Mediaweek’s A to Z of 2023 … and beyond.

By Matt Morgan, managing director, lowercase

Wow, what a year for Elon Musk. I’m sure, like me, you have enjoyed strapping in for the rollercoaster ride that saw the Musk brand metamorphose from the ‘Genius’ behind SpaceX and Tesla to a ‘disruptor’ at the helm of X (formerly Twitter). Watching from the sidelines, his actions and decisions at X not only confused me but also seemed to bamboozle most other commentators, sparking widespread debate about both Musk and the platform’s future. So, let’s ride the rollercoaster once more as I take you through some of my highlights of Elon’s lowlights in 2023.

The Forced Purchase

From the very start, Musk’s acquisition of Twitter was compelling viewing, marked by legal battles and last-minute decisions. Initially, Musk seemed reluctant to finalise the purchase, citing concerns over inflated user numbers and bot presence. However, facing a potential legal defeat, he proceeded with the acquisition at an eye-watering $44 billion.

The Workforce Overhaul

Musk’s first order of business was a sweeping reduction of Twitter’s workforce, mercilessly cutting engineers, content moderators, and senior executives, with tech giants like Meta and Google following suit. In his quest for ‘freedom of speech,’ Musk reinstated controversial figures like Donald Trump and right-wing conspiracy theorist Alex Jones, sparking outrage.

The Rebrand

With advertisers retreating in response to reduced moderation and increased extremist content, Musk sought innovation as a revenue driver. Attempts to monetise features like the blue tick, however, fell short in compensating for the lost ad revenue. Then came the abrupt rebrand of Twitter to X, which, according to Scott Galloway (check out my podcast recommendation of the year, Pivot), eroded $10 billion in brand equity.

Advertiser Exodus

Musk’s outspoken nature on the platform has kept me watching, but it hasn’t been good for business. His recent promotion of an anti-Semitic conspiracy theory led to a mass exodus of major advertisers like Disney, Apple, and Walmart, severely impacting X’s financial health. Musk’s unapologetic stance, exemplified by his startling ‘Go fck yourself’ TV outburst against advertisers, again had me scratching my head in confusion.

The Future of X

So far, the power of Musk’s financial backing is keeping X afloat despite the $75m drop in advertising revenue. Whilst the gap between X and advertising needs to be closed, it is the widening gap between X and its user base that I think will ultimately be its downfall.

I’ve not been active on X/Twitter in a long time. I find the platform outdated, dull and lacking in innovation. I looked up when Meta released Threads; for me, the format is worn out and no longer resonates with users. This is Elon’s biggest challenge with X – even above the fact that Yaccarino is still allowing him to post (tweet?!).

Part of me is still expecting Elon to pull off a miraculous transformation of X by turning it into the West’s answer to WeChat, but there has been little concrete evidence to support this ambition in 2023. If Musk fails to meaningfully drive innovation on X, even if he somehow tempers his outbursts, I predict X’s slide towards bankruptcy will become inevitable in 2024.

—

By Josh Butt, Chief Audio Officer, Ampel

With the 100th anniversary of radio, and all the changes in the local and international audio markets, 2024 is the year of audio. If you listened to the numbers, 2023 was another bumper year in audio-ences – a continued rise in podcast listeners and revenue; YouTube’s entry into podcasting; DAB+ nearly doubled revenue and audience; spatial sound speakers hit the market; and a spike in connected cars all meant on-demand audio became more accessible than ever. 

Moreover, the massive increased volume of ads produced in audio advertising; audio creative continuing to be under-valued; tech improvements (for example, VAST tags) giving audio advertisers huge opportunities to be heard using basic dynamic creative, means audio should be an integral factor in your brands’ overall marketing strategy. 

But we should start with Podcasts as that’s where the power lies.

There is no denying the rise and rise of YouTube podcasts has begun. The increased commitment by podcasters to create video for their podcast means they’ve also created a huge amount of content that can be used across social platforms to promote their show. But you don’t need video of people talking to make videos, and if you’re driving or listening on your phone, videos are ineffective. Sixty per cent of the audience thinks a podcast is video and audio. 

A video version of your podcast will end up on YouTube – but for those making over one episodes a week you may be able to broadcast your show on a FAST channel – increasing reach and brand engagement, as well as improving the media value of any partnerships or sponsorships you do. 

Including your comms, marketing and social teams in your podcast strategy just became more important than ever. 

Which brings me to “What is a Podcast”? I’d argue we don’t really have a definition anymore. It was the narrated style, like serials – but then it became a chat… Is it the video style chat show? Over the years we’ve created a few styles: 

• Chat Cast: People having a chat (often easily filmed – here’s an example); 
• Sonic Reels: Short form audio episodes (think Linkedin posts / instagram reels for your ears – like, this how to content)
• Story Cast: Using story-telling techniques and higher production values (think NPR shows like Planet Money or 99% Invisible; true crime style with music and sound FX (Criminal Domain, or even a Sonic Sitcom series like Brian & Roger).

2023’s big podcast format was quizzes and the podcasting landscape continues to move towards TV style formats. Audio–ences habitually choose what they listen to depending on what they’re doing (in the car), little wonder DAB+ radio stations are double the size. Growth of Listnr, iheart, Apple Music and Spotify audiences, as well as indie podcast networks like Daily Aus, Mamamia, Fear and Greed, What the Flux are picking up steam. Finding the right format (or one that sounds different) is the challenge for new podcasts in 2024. 

Collaboration and partnerships among indie agencies and platforms become essential for variety and innovation in content. So much is available on demand. But on the radio? Same old. There’s not only nothing different there… there’s been nothing different for years. Kyle and Jackie O getting ten more years couldn’t be a better example of how things aren’t going to change. 

See also: Kyle & Jackie O say yes to 10 more years with ARN, Jase & Lauren axed as K&J invade Melbourne

And let’s look at what else won’t change much… ads. 

If you have a decent radio ad playing often enough it will work eventually because you can’t turn off your ears. But that’s hardly going to win you an effectiveness award!

Podcasting ads, however, are incredible for effectiveness, often rating three times more effective than video ads (which do better than most other forms of ads). And because podcasting ads often play in shows that are sponsored with no ads, the ads are read by the host, they sound more authentic. We’re hearing more and more ads placed into podcasting through programmatic, which allows a media buyer greater targeting capabilities. And this is good news for brands because they are heard more often and as a result their ads have greater recall. So, if you want to do a wide-reaching audio campaign – running an ad across radio and podcasting will reap the best results. 

But there are other issues to consider… what if SCA as we know it disappears? If that happens, we can all say bye-bye to free podcast and radio ads. With the impending changes in the Australian radio soundscape, many advertisers may get caught out when needing fast audio production because radio ads are often produced very cheaply by the radio stations as part of the media deals.  

All that free production might come back to bite when ad production costs unexpectedly rise. So, the creatives should actually be getting more creative so the advertiser doesn’t have to make as many ads. I’d argue it’s time to think about making fewer, more creative ads that utilise sonic branding and dynamic creative tech to personalise the message and increase effectiveness as a result.

In the United States, there’s a saying, change your ad creative with your wardrobe (i.e. every new season). I agree. It keeps a campaign fresh, but it does limit you to two ads per quarter. Each ad works harder, but if the creative is good, you’ll get the benefit of it staying on longer, delighting the audience with something worth hearing, that becomes familiar which is great for brand awareness. Recognising the value of holidays and experiences in consumers’ lives should play a part in guiding marketing strategies.

And when thinking of audio creative… think sonically. That is – people won’t see the ad, so you can’t rely on the visual or the audio of the visual ad. You need to make the ad fit the audio environment. A sonic logo is an audio logo that works in sound only (like EA Sports or Pushkin’s) as opposed to Intel or Netflix which has a great sound, but neither says the name of the company. And yes, McDonalds has the ba-da-dah-da-da, but that only works because they’ve used it for 20 years and are one of the world’s most prolific advertisers. They have a sonic style guide that sits across their audio and video advertising and everything is connected. Most companies have different music/VO/SFX in different environments so they sound different across different media.

Let’s hope 2024 sounds a lot different to 2023. 

See also: Mediaweek’s A to Z of 2023: P is for Podcasts

–

Top Image: Josh Butt

• Wonka takes $151M at the Global box office

This weekend, the Australian box office made $11,236,821, up 17% from last week’s $9,571,053.

Top Five

Audiences were whisked away into a world of pure imagination with Warner Bro’s Wonka, which debuted in the number one spot. The magical prequel to Charlie and the Chocolate Factory took $6.1M for its first week in Aussie cinemas, as well as a global box office cume of $151.4M. 

Coming in at number two for its third colourful week was Universal’s Trolls Band Together. Bringing in almost $1M, the Justin Timberlake and Anna Kendrick-led film was down 32% and has now brought in $6.8M since its release.

Roadshow’s The Hunger Games: The Ballad of Songbirds and Snakes continues to soar, coming in third place for its fifth week in cinemas. The movie brought in $1M, down 21% from last week and has now made over $18.9M in Australia.

Coming in at number four was Sony and Studio Ghibli’s latest animated masterpiece, The Boy and the Heron. The Hayao Miyazaki flick brought in $591K, down 49% from last week and has now taken $2.3M at the Aussie box office.

Finally, rounding out the top five for its fourth week in cinemas was Ridley Scott and Sony Pictures’ Napoleon. The high-budget, high-power flick took $582K (down 53%) at the local box office and has now taken $10.3M since charging into cinemas.

Top 6 – 10

Other films in the top 10 this week were Animal, Saltburn, Godzilla Minus One (debut), Love Actually (20th Anniversary) and Home Alone (1990).

TOP FIVE

1. Wonka – $6,110,661

2. Trolls Band Together – $1,016,982

3. The Hunger Games: The Ballad of Songbirds and Snakes – $1,006,739

5. Napoleon – $582,805

A look at the military commander’s origins and his swift, ruthless climb to Emperor, viewed through the prism of his addictive and often volatile relationship with his wife and one true love, Josephine. Starring Joaquin Phoenix, Vanessa Kirby and Edouard Philipponnat.

The film grossed $582,805, averaging $1,435 over 406 screens and has made $10,339,229 in Australian cinemas to date.

Gatorade No Sugar has launched its latest brand platform, Water wasn’t made for this, in a new campaign executed by brand experience agency Akcelo. The campaign emphasises the unique formulation of Gatorade No Sugar to meet the specific demands of today’s exercise.

The focal point of the campaign is a launch film directed by Justin McMillan of TAXI Films, highlighting the significance of water in sustaining life while underscoring its limitations in addressing the electrolyte needs of intense workouts. Chris Searle from Title Artist Management captured the essence of the campaign in out-of-home visuals, showcasing the physical intensity of activities such as vigorous gym sessions, breathless runs, and scorching tennis matches, all of which necessitate Gatorade No Sugar.

The fully integrated campaign spans film, outdoor, and social media. Additionally, ambient placements strategically target areas where exercisers sweat the most, such as the summit of challenging staircases, heavy kettlebells, pull-up bars, and outdoor gyms.

Vandita Pandey, chief marketing officer Australia and New Zealand of PepsiCo Snacks and Beverages, remarked on the relevance of the new positioning to exercise enthusiasts, stating, “This new positioning puts a really relevant spin on hydration, something exercise fanatics take extremely seriously. It’s exciting to go beyond the usual media placements and utilise some hyper-targeted opportunities to speak to people during sweaty moments.”

Akcelo’s chief executive officer, Aden Hepburn, commented on the brand platform’s departure from conventional approaches in the beverage category, opting for a distinctive perspective that combines powerful insights with stillness, simplicity, and craftsmanship. Said Hepburn, ““In a category defined by fast-paced, high octane visuals and nothing but glossy, muscular and impossibly toned physiques, we opted for a different take – a powerful insight, executed with stillness, simplicity and craft. This work represents a big shift for our partners at PepsiC.”

Gatorade, a globally recognised brand synonymous with meeting the needs of athletes, has traditionally aligned itself with sweat and physical exertion. Water wasn’t made for this, represents a bold step forward for the brand, breaking away from the visually charged norms of the category.

Credits:
Agency: Akcelo 
Group creative director: Louise McQuat
Creative Partner: Jon Foye
Creatives: Henry Wall, Grga Calic
Chief Strategy officer: Dave Di Veroli
Strategy director: Sarah Tan
Client partner: Sarah Pang
Account director: Raquel Ware
Senior producer: Stephanie Ceccaldi
Integrated producer: Dan Burns
Executive events producer: Michal Frydrych
Chief executive officer: Aden Hepburn

Client: PepsiCo Australia 
Vandita Pandey, chief marketing officer Australia and New Zealand. snacks and beverages
Susan Press, head of beverages marketing, Australia and New Zealand
Eric Burke, marketing manager
Brad Fisher, brand manager
Belinda L’Estrange, marketing manager
Judith Myers, insights manager

Film production: Taxi 

Director: Justin McMillan

Post production: The Editors 

Sound post production and Music facility: Rumble

Stills photography: Chris Searl 

See also: Mountain Dew, VaynerMedia & Golin debut origin story trailer dispelling fan myths

Principal photography for the upcoming Netflix Australian drama series, The Survivors, is slated to take place in Tasmania in 2024, with development, production, and post-production activities taking place in Victoria. The series, adapted from Australian bestselling author Jane Harper‘s novel, is spearheaded by the renowned team at Tony Ayres Productions, backed by Matchbox Pictures and Universal International Studios, a division of Universal Studio Group.

The Survivors unfolds in a Tasmanian seaside town, delving into the repercussions of unresolved grief. Ayres, serving as show-runner, executive producer, and writer, leads the executive production team, including Andrea Denholm, Matt Vitins, Cherie Nowlan, and Harper. Directors for the series include Nowlan and Ben C Lucas.

The writing team comprises Tony Ayres, Belinda Chayko, Christian White, Peter Templeman, and Alberto Di Troia. The series will be produced by Andy Walker.

According to Victorian Minister for the Arts Colin Books, the production is anticipated to generate over 200 jobs in the state. Tasmanian Minister for the Arts, Madeleine Ogilvie, foresees job opportunities for 110 Tasmanian cast and crew, along with an estimated 720 extras.

The Victorian Minister for Creative Industries, Colin Books, expressed support, stating, “As part of our ongoing work to boost Victoria’s profile as a global screen powerhouse, we’re proud to back this series, which has created 200 jobs in our state before a single frame is shot.”

Netflix director of Ccntent Australia and New Zealand, Que Minh Luu, shared enthusiasm for shooting in Tasmania, noting, “We’re excited to join forces with Tony Ayres Productions, bringing Jane Harper’s acclaimed book The Survivors to life as a gripping crime-mystery limited series that delves into the complex themes of unresolved grief through a uniquely Australian lens.”

Ayres emphasised the ambition to intrigue and move viewers, aligning with Harper’s storytelling prowess, expressing “Jane Harper’s brilliant writing has the rare ability to speak to an audience both widely and deeply, and that’s our ambition in adapting The Survivors to screen.”

Executive Producer Vitins also commented on the sophistication of The Survivors as it presents an Australian narrative to an international audience, attesting, “Our production model will access incredible Tasmanian locations; and state-of-the-art Victorian facilities and post-production infrastructure.”

Netflix has pledged $100,000 to support attachments for emerging Tasmanian and Victorian screen practitioners on the production. The initiative aims to provide hands-on experience and foster career growth across various departments.

See also: Netflix engagement report reveals the shows aussies are watching

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Top Image: Tony Ayres

Thinkerbell has teamed up with Big M to launch the official drink to leave out for Santa this Christmas Eve – an Original Chocolate Milk with bespoke packaging for families to personalise a note to the Big Guy.

Milk for Santa will be rolled out across Big M in Victoria, Masters in Western Australia and Dairy Farmers Classic in South Australia.

Anne Scott, senior brand manager at Bega Group, said: “We’re delighted to be sharing Victoria’s favourite choccy milk with Santa this Christmas.

“Given how hot this Summer is tipped to be, we know there’s nothing Santa will need more than a refreshing ice-cold Chocolate Big M.”

It will be available in supermarkets and convenience stores from December 11th, in time for families to stock up ahead of the most magical night of the year.

The independent agency’s work with Big M follows several notable campaigns with brands this year, including the Pringles “Shoot From The Chip” campaign, a digital platform developed in partnership with the Sydney Kings, aimed at enhancing the basketball fan experience.

Shoot From The Chip allowed fans to engage in an interactive game during Sydney Kings’ home games this season. Participants can utilise their basketball knowledge to predict and potentially win prizes based on real-time, in-game action.

See more: Pringles and Thinkerbell launch “Shoot From The Chip” campaign following agency win

Thinkerbell also partnered up with Menulog to strategically repurposed its distinctive delivery bag, created by Australian Indie designer By Weave Collection, to reimagine the iconic delivery bag by turning it into a fashion accessory for global pop icon Christina Aguilera.

The move coincides with the launch of the next phase of Menulog’s “Did Somebody Say” brand platform, featuring Aguilera and rising hip-hop star Latto as campaign ambassadors.

See more: Menulog and Thinkerbell create designer delivery bag for brand ambassador, Christina Aguilera

Over the past decade cloud-based business intelligence and data analytics platform, Domo, has tracked the exponential increase in online activity across various platforms, from Instagram and X to Amazon, and many others. Now, Domo has released the 11th edition of its Data Never Sleeps (DNS) study, showcasing a comprehensive analysis of global data usage trends, and shedding light on the ever-evolving landscape of digital interactions.

The annual DNS report serves as a panoramic overview of the colossal volume of data generated on the internet every minute, illustrating the profound impact of data on daily lives as people continue to engage with digital platforms and services.

Domo’s founder and chief executive officer, Josh James, noted, “This year’s findings reflect the ever-changing and fast-paced digital landscape, which has only been heightened by the rapid popularity of AI models such as ChatGPT.”

Emphasising the omnipresence of data in our lives, James remarked, “Data drives everything we do, from a quick search online or sending an email, to checking the latest headlines on our way to work.”

Key highlights from the Data Never Sleeps 11.0 report include:

The AI Boom: Artificial Intelligence (AI) has become a driving force in the digital realm, with platforms like ChatGPT reshaping the ways we work, communicate, and create.

Users submit 6,944 prompts every minute, showcasing the pervasive influence of AI. Simultaneously, search engine habits persist, with over 6.3 million Google searches occurring every minute, reflecting a steady increase from the previous year.

Entertainment Dominance: X (formerly Twitter) has experienced a resurgence, with users now posting 360,000 tweets per minute, up from 347,000 in the previous DNS edition. Spotify users stream 24,000 hours of music, including 69,444 Taylor Swift songs, every minute.

Instagram users send over 694,000 reels via direct message in the same timeframe. The world of streaming continues to thrive, with viewers collectively watching more than 40 years of content every minute.

See also: Mediaweek’s A to Z of 2023: X is for X (formerly Twitter)

Transactions on a Tear: Digital spending continues to surge, with Amazon witnessing over $455,000 in sales every minute. The food sector sees a significant uptick in digital transactions, as DoorDash diners place orders totalling $122,785 every minute.

Cybersecurity Challenges: As digital activities intensify, so do cybersecurity threats. Cybercriminals launch 30 Distributed Denial of Service (DDoS) attacks every minute, underscoring the imperative need for robust online security measures to safeguard individuals and businesses.

James concluded, “Data weaves the fabric of our digital lives, and our annual Data Never Sleeps report highlights some of the most meaningful data for businesses and consumers alike.”

Patricia Karvelas will return as permanent host of the ABC’s Q+A in 2024, having been filling in after the departure of Stan Grant earlier in the year. ​

She will also continue to present RN Breakfast three or five days a week, depending on the Q+A schedule.

​Patricia Karvelas said “Q+A is the town hall. It’s the only program bringing together a range of guests to debate the big issues where ordinary people – not journalists or insiders – can come along and ask questions of powerful people.​

“I thrive on big and difficult conversations and I’m excited and privileged to take on the role of host of this iconic ABC program in 2024.

“A show like Q+A should constantly be evolving to meet the needs of Australians and that’s what I’m committed to doing.

​“RN Breakfast is the agenda-setting long-form audio interview program that brings me so much joy. I’m delighted to combine my love of radio and TV at the ABC.”

Justin Stevens, ABC Director, News said “Having a journalist of Patricia Karvelas’s calibre leading these two key programs is terrific for the ABC and for audiences.

“Patricia’s an exceptional communicator with a rare ability to cut through complex issues and make them clear.

“She’s an independent thinker who brings ethical and intellectual rigour to her journalism.”

In May, Grant left the show citing racial abuse that he had been on the receiving end of since the coronation of King Charles III. In a column posted on the ABC’s website, Grant wrote that the ABC’s reaction to the abuse helped him come to his decision.

“I am writing this because no one at the ABC — whose producers invited me onto their coronation coverage as a guest — has uttered one word of public support. Not one ABC executive has publicly refuted the lies written or spoken about me. I don’t hold any individual responsible; this is an institutional failure.

“I value the friendship of ABC director of news, Justin Stevens. He has been a support and a comfort. He is trying to change an organisation that has its own legacy of racism. But he knows I am disappointed. I am dispirited.”

See Also: Stan Grant to leave Q+A, citing racist abuse after ABC’s coronation coverage

Q+A returns on Monday 19 February 2024.

Schwartz Media has welcomed the appointment of Ben Shepherd as its new CEO, commencing the new role in late February.

Shepherd joins the independent media publisher after less than a year as chief investment officer at dentsu. He takes over from Rebecca Costello after she moved to Guardian Media Australia in September to step into the role of managing director.

Shepherd has worked in media and marketing for the past two decades. He was previously general manager at Thinkerbell, expert vice president at Bain & Company, chief media officer at CHE Proximity, and head of strategy and innovation at OMD.

Shepherd shared he was looking forward to joining Schwartz Media and said: “To serve the amazingly talented people in the business, its outstanding writers and its loyal and engaged readers, as its CEO, is a privilege.”

Morry Schwartz, proprietor of Schwartz Media, welcomed Shepherd’s appointment, calling him a “sharp, clear-eyed thinker.”

“He understands the media and where it is headed. I have complete confidence that he is the perfect person to lead Schwartz Media into its next phase of growth.”

Shepherd is joined on the company’s senior leadership team by deputy chief executive Zoe Featherstone and editor-in-chief Erik Jensen.
 
Schwartz Media publishes The Monthly and The Saturday Paper, Australian Foreign Affairs, and the daily news podcast 7am.
 
See also: Guardian Media Group names Rebecca Costello as managing director of Guardian Australia

Costello was named managing director of Guardian Australia in September and reports to GMG chief executive Anna Bateson.

In the role, Costello will oversee the strategic direction and overall growth of the Guardian Australia business, working in partnership with editor Lenore Taylor.

Costello has led the commercial development of Schwartz’s portfolio of long-form, quality independent journalism, overseeing advertising and reader revenues across digital, print and audio.

Costello will join Guardian Australia in January, succeeding Dan Stinton, who left Guardian Australia in August 2023. 
–
 
Top image: Ben Shepherd

Raiz Invest has announced the continuation of its strategic collaboration with Seven West Media, revealing a significant media investment for 2024. The forthcoming Raiz Your Game campaign, set to debut during Seven’s Big Bash League cricket series and prominently featured in the Boxing Day Test, will feature Trent Copeland. Additionally, the campaign will extend throughout the year with Abbey Holmes covering the AFL and AFLW seasons.

See also: Seven reports national audience of 4.98 million for 2023 AFL Grand Final

Raiz Invest, an Australian mobile-first financial services platform aimed at enhancing investing, savings, and financial education, is set to leverage this media partnership for maximum exposure.

The collaboration, initiated in 2021, saw Seven West acquire a strategic stake in Raiz through a $10 million share placement, providing access to Seven’s network encompassing broadcast television, publishing, and digital media assets, reaching over 19 million Australians monthly.

The Raiz Your Game campaign, a joint effort with Seven West’s 7RED and Red Engine creative teams, is strategically designed to emphasise the Raiz Round-Up feature. This innovative campaign showcases how Australians can effortlessly invest small amounts through rounding up everyday purchases, illustrating the platform’s user-friendly approach. For instance, a $3.50 coffee transaction would be rounded up to $4.00, with the 50 cents directed towards the customer’s chosen portfolio.

With a focus on demystifying investment opportunities and dispelling the notion that lifestyle changes are necessary, the campaign aims to connect with more Australians. Raiz has achieved significant milestones in 2023, experiencing a 19.1% YoY growth in Funds Under Management (FUM), surpassing $1.1 billion, and distributing over $100 million in dividends to customers.

Brendan Malone, managing director and chief executive officer of Raiz Invest, expressed enthusiasm for the Raiz Your Game campaign, stating, “Designed to demonstrate that customers do not need to change their lifestyle to start investing, the campaign aims to demystify what can be an exciting and daunting opportunity for new investors. We’re pleased to have Trent Copeland and Abbey Holmes on board for the campaign as we look to expand our reach and connect with even more Australians in 2024.”

Katie Finney, Director at 7RED, praised the campaign’s strategy, stating, “The ‘Raiz Your Game’ campaign strategy and execution exemplifies best-practice integration, seamlessly harnessing on-air talent within a contextually relevant environment. The campaign is designed to captivate and inform, and we’re eagerly anticipating its impact in driving increased awareness and uptake of Raiz products.”

See also: Mediaweek A to Z of 2023: J is for James Warburton as he announces his departure from Seven

• Motorway Patrol follows The Force – Behind the Line

Overnight TV Ratings, December 18

**More ratings as we get them

Share summary

Nine won Monday night with a primary share of 21.3% and a network share of 31.3%.

7Two has won multi channels with a 4.6% share.

Seven received a primary share of 16.5% and a network share of 27.8%.

10 took a 7.6% primary share and a network share of 15.7%.

Nine

616,000 watched Nine’s A Current Affair which explored how victims of a sophisticated deep fake scam are warning others not to believe what they see or hear, as scammers use artificial intelligence to swindle thousands of innocent Australians.

Then, 377,000 watched Planet Earth III where Sir David Attenborough uncovered stories where life exists on a knife edge amongst Earth’s greatest natural wonders. 

Australian Crime Stories followed for 287,000 as the program put the spotlight on Renae Marsden who died by suicide on the day her turbulent relationship ended. 

Finally, 145,000 watched The Disappearance of Dolores McCrea.

Seven

384,000 began their evening with a repeat of Seven’s The Force – Behind the Line where Police Rescue was called to Glebe after a daring inner city raid.

330,000 stayed on for Motorway Patrol as Constable Roya Shields found a missing person and a drunk challenged an officer to a fight.

Then, it was time for Highway Cops as a hot-pool soak before hitting the road sent one driver to sleep. 276,000 tuned in.

Morbius followed for 115,000.

ABC

439,000 watched ABC’s 7.30 as the program looked at why super funds are set to play a big part in the nation’s energy transition. Laura Tingle interviewed Queensland Premier Steven Miles.

184,000 then watched The Man Who Stole the Scream, the remarkable story of the outrageously bold art heist and theft of one of the most iconic paintings in history, Edvard Munch’s The Scream.

71,000 also saw Bradman and Tendulkar which compared two of cricket’s greatest players.

10

On 10, viewers began their evening with The Project (166,000 6.30 pm / 243,000 7.30 pm) as Sam Taunton journeyed to London to chat with Jason Momoa and the panel discussed whether three of TikTok’s biggest influencers, who have been shouted all-expenses-paid trips to Australia (costing a total of $90,000), would boost tourism.

The Bachelors followed as the final group date saw professional matchmaker Trudy Gilbert shine a light on aspects of the relationships she saw that our Bachelors might have been blind to. 182,000 tuned in.

87,000 then watched The Secret She Keeps.

SBS

Over on SBS, 111,000 tuned in to London Zoo at Christmas. Channel 4 went behind the scenes of the iconic London Zoo, giving viewers a glimpse into what goes on as they prepare to celebrate the most wonderful time of the year.

Then, Freddie Mercury Auction Special reached 88,000.

Total TV Ratings, December 11

628,000 watched Nine’s Planet Earth III, up 12%.

417,000 caught ABC’s Prosecuting Evil, up 10%.

337,000 tuned in to 10’s The Bachelors, up 35%.