By Alisha Buaya
The data points from Meta’s Instagram Trend Talk cover fashion and beauty, social media, dating, friendships, and wellness.
Self-improvement and sustainability are the two key focus areas for Gen Z audiences in the year ahead, according to Meta.
The data points from Instagram Trend Talk cover fashion and beauty, social media, dating, friendships, and wellness from a global perspective and indicate how such trends make their way to Australian audiences.
The year ahead will see Gen Zs lead the charge in sustainable fashion practices such as buying fewer new clothes, repeating outfits, shopping locally, thrifting, and second-hand shopping online or in-store.
On a global scale, the tech company’s data found the top trend in 2024 is modest dressing, followed by making old things new through thrifting, vintage, and heirloom. Third was repeating outfits, followed by wearing clothes in unexpected ways and DIY clothing.
Helen Black, Meta’s head of connection planning for Australia and New Zealand, told Mediaweek the report highlights Gen Zs are “setting the trends” and using Instagram to express themselves.
“Gen Z will DM their friends looks and use features like Close Friends to share their favourite things with a small, intimate group of people they trust.
Individuality will be a key trend in the fashion and beauty space. The data from Meta revealed that nearly 1/3 of Gen Z say they want to be more creative with how they dress.
The data also found that Gen Zs want to build their own ‘core’ aesthetic with clothes they are comfortable in. It found that people across surveyed countries agree they want their clothing choices to express comfort.
A new hairstyle was a favourite beauty tip younger Australians learned from social media, followed by skincare. Meanwhile, shaved eyebrows are out of style.
On the rise are fragrance creators, with over 1/4 of Gen Z planning to express themselves by discovering a signature scent in 2024.
For advertisers looking to leverage these trends, Black said that a brand’s values strongly drive Gen Z audiences.
“Businesses need to show that they care about the environment, and ones that do can connect with audiences, particularly Gen Z.
She noted that the current cost of living crisis impacts Gen Zs and that brands need to show the value they add to younger Australians.
“Gen Zs want to support local businesses too, to support thriving communities, useful for SMBs to show their local proposition.”
Data from the Instagram Trend Talk earmarked 2024 as Gen Z’s “growth era” centred on the themes: Self-Improvement or Development, Lucky and Unapologetically Myself.
Meta’s global data revealed that Gen Z’s top three priorities for the year ahead are to stay healthy (through exercise and a healthy diet), explore a career path, and travel.
The data also highlighted that Gen Zs have an entrepreneurial streak, with 1 in 3 saying the best way to achieve wealth is through self-employment.
Meanwhile, in the entertainment space, the data revealed that 3 in 4 Gen Zs connect over being part of a TV, music or gaming fandom.
Based on the data from Meta, Black said that Gen Zs are strengthening their personal relationships and seeking out third spaces outside of school, work and home to build communities online and in real life.
“They will crowdsource from people that follow them or will consult group chats of their closest friends,” she added.
So, how can brands and advertisers ensure the attention of Gen Z audiences in the lifestyle and self-improvement trend space?
Black reiterated that Gen Zs are “incredibly impacted by the cost of living” and that brands must show the value they add for younger Australians.
“Whether that’s through sustainable practices or being a trusted source as they seek self-improvement,” she added.
Creators should also be seen as “instigators and accelerants” of Gen Z culture.
She said: “Advertisers should think about how they can partner with Gen Z creators to give their brands expression to the many different sub-cultures that thrive among Gen Z.”
Black also noted that advertisers should stay current with the latest trends, take risks and experiment with trends from the Gen Z audience.
“Gen Z values creativity and innovation, so don’t be afraid to try something different,” Black said.
“The anti-syphoning list will be fundamentally undermined if it does not apply to digital rights.”
Millions of Australians may lose access to major sporting events and free television services on digital platforms unless significant amendments are made to the proposed Prominence and Anti-siphoning Bill, cautioned Free TV, the peak body representing free-to-air broadcasters like Seven, Nine, and Ten.
According to Bridget Fair, chief executive officer of Free TV, the current version of the bill fails to ensure the availability of free sporting coverage for those relying on internet-based television viewing. Additionally, it imposes an excessively lengthy timeline to secure access to local TV services on smart TVs.
Said Fair, “These two major oversights must be fixed to protect the free universal access of local TV services and sport for every Australian.”
Free TV is calling for the following changes to the bill:
• Reduce the implementation period from 18 months to a maximum of six months
• Extend the rules to existing TVs that receive software updates
• Ensure that viewers are presented with both free and paid options when searching for content
• Require electronic TV guides to include local free TV services
• Require that both the free broadcast and free digital streaming rights be acquired by a free broadcaster before the event can be acquired by a pay TV or subscription streaming provider
• Do not extend the automatic de-listing period from six to 12 months as many sporting events are acquired within this timeframe
The bill will prevent subscription streaming giants such as Amazon, Apple, and Disney from acquiring exclusive terrestrial broadcast rights to major sporting events like the Olympics and NRL.
However, it allows these platforms to obtain exclusive digital rights, potentially excluding millions of Australians who access free sports content through platforms like 7plus, 9Now, and 10 Play.
“As the proportion of households watching TV online grows to half by 2027, the anti-siphoning list will be fundamentally undermined if it does not apply to digital rights,” said Fair.
“Bidding for sport will become commercially un-viable if free-to-air broadcasters can only acquire a narrow range of terrestrial rights, leaving paid services to acquire all sporting events.
“This is exactly the nightmare scenario the government is trying to avoid with this bill – so it must be amended to reflect modern viewing habits.”
The total TV advertising market had a combined revenue of $3.4 billion for the year to December 2023, down 10% compared to 2022.
Total TV advertising revenue was down 10% for the 12 months to December 2023 as BVOD went up 20%, according to ThinkTV revenue figures for the six and 12 months to 31 December 2023.
The total TV advertising market report, showing metropolitan free-to-air, regional free-to-air and Broadcaster Video on Demand (BVOD) and excluding SBS, showed a combined revenue of $3.4 billion for the year to December 2023, down 10% compared to the same period ending December 2022.
In the December half, TV advertising revenue was $1.8 billion, down 9% when compared to the same period ending December 2022.
Kim Portrate, ThinkTV CEO, said the financial result for the past year was a reflection of “the perfect storm of economic headwinds” that many Australian media companies faced.
“Inflationary pressures, supply chain disruptions, 13 rate rises, and record-low consumer confidence have collectively created a complex landscape for advertisers.
“Despite challenging market conditions, Australia’s broadcasters continue to deliver compelling content that engages large audiences, distributed in an increasingly digital way as the market rapidly evolves,” Portrate added.
Advertising investment in BVOD platforms 7plus, 9Now and 10 Play accelerated with BVOD revenue up 12 per cent to $229 million for the six months to 30 December 2023. BVOD revenue for the total financial year was $417 million, up 10 per cent year-on-year, according to the media company.
Portrate noted that the growth in BVOD revenue is a “testament to the adaptability and appeal of the Total TV platform.”
“In a time of shifting consumer behaviours, BVOD continues its upward trajectory reaffirming the broadcasters’ commitment to delivering entertainment whenever, and wherever Australians wish to consume it. This is supported by brand-safe, premium advertising solutions, wholistically measured through the transparent and comprehensive VOZ system,” she added.
Back in August, ThinkTV recorded a combined revenue of $3.6 billion for the year to 30 June 2023, down 7.9 per cent compared to the same period ending 30 June 2022.
Read more: ThinkTV reports TV advertising market down 7.9 percent for 12 months to June 2023
By Trent Thomas and Tess Connery
Plus: Why publishing is no longer just “press and print”
Brand safety, editorial independence and media partnerships took centre stage for the first IMAA eLearning session. Held in partnership with ThinkNewsBrands, the Publishing & News101 module saw industry experts take the stage to provide insights and advice to more than 50 academy members.
Opening the session by speaking about the pillars that the IMAA was founded on, IMAA CEO Sam Buchanan told the audience that education has been a key feature of the organisation since day one.
“The education component [of the IMAA] is the biggest investment into the media industry’s education in the history of Australia,” he said.
“It’s $250,000 into the IMAA Academy, which attracts people into our industry. There are eight modules, this is the seventh one to be launched, and we’re beyond excited to do it with ThinkNewsBrands.”
Describing the session as being “taken up a notch” due to being held face-to-face, ThinkNewsBrands CEO Vanessa Lyons then told the crowd that “from a ThinkNewsBrands perspective, we’re really invested in the IMAA Academy and in trying to teach people a little bit more about everyone’s media channels.
“You don’t always have the time to really go through a module in detail, so we wanted to cut to the chase and get you accredited as quickly as possible whilst educating you at the same time.”
It was then time for the day’s panel, made up of Paul Blackburn, director commercial data video and product at News Corp Australia, Aimie Rigas, director of audience development publishing at Nine and Jakeb Waddell, sports editor at SWM were joined by Lyons as moderator.
The first point put to the panel by Lyons was that there is a common misconception that news is just breaking news and big headlines, asking Waddell if he thought that people and advertisers overlook the impact that topics like sport have within the news publishing environment.
“I think people underestimate just how many people pick up a newspaper to read sports and other category news,” Waddell told the crowd. “I know my boss, Anthony De Ceglie, the editor of The West always said that it doesn’t matter how good my front page is if we’ve got a crap back page.
“If you look at the stats, 13.5 million people engage with sports every single day, and that shows you that it’s multiple demographics engaging. They can’t just be the stereotype of the young male reading about niche things.”
After an anecdote about how his daughter was one of the millions of Australians swept up in Matildas fever last year, Blackburn followed on to speak to other categories of news that might not necessarily be front-of-mind for advertisers.
“Shopping is news. News.com is the number one referring domain to the retail industry, and during Cyber Weekend, we are the number one referring domain by a longshot.
“When people are looking for shopping news, they’re coming to news.com.au first, and then going out to the retailer to buy. The category is so broad, to pigeonhole it as traditional current affairs is probably the wrong thing.”
No matter what topics are being covered, Rigas made the point to the audience that it had to be covered to the highest standard.
“When you think of the Sydney Morning Herald or the Financial Review, you probably think of a very specific type of content – but we also have experts in entertainment. For example, the Grammys, we give just as much resource, expertise, and rigour to that as we would a federal election in terms of how we cover it.
“Our audience trusts us to curate, and trust is something that we’ve built over a very long time.”
After the event wrapped up, Mediaweek caught up with ThinkNewsBrands CEO Lyons to ask what the biggest goal of the day was, and what the advantages were of bringing together participants in the same room.
“The big goal is to save people time, but still get across the important information,” Lyons said. “Sometimes there’s no better way to do that than to spend time face-to-face to really educate.
“We also wanted to give them the opportunity to ask questions and to have a greater exposure to the capability of publishing news, rather than the textbook theory. There’s a lot more practical use to it with a discussion, hence the panel and bringing other things to the fore.”
With so much information to get across in a short time, Lyons said there were three main points that she wanted to get across – the first being that publishing is no longer simply “press and print.”
“People need to start thinking of publishing and news in its entirety in order to take advantage of the full capability. If anyone refers to this channel now as press or print, then they’re swearing!
“The second one is to understand how to engage, and how to get the best outcomes for their clients. What’s the best way they can reach out to publishing news providers? What’s the best way that they can use their data, their content capabilities, and their advertising capabilities?
“The third one is that news is not just breaking news. Readers engage in a multitude of different categories within publishing, and the news environment is much broader than what people think. Stop thinking about the front cover or breaking news headlines only, start thinking about its full offering.”
Top Image: Publishing & News101 graduates
The pair signed off from ARN last year to make way for Kyle & Jackie O’s Melbourne debut.
When it was announced that Kyle & Jackie O would be making their Melbourne debut, it came at the expense of KIIS 101.1’s breakfast team, Jase & Lauren. Jason Hawkins and Lauren Phillips signed off with survey eight, and with Hawkins still under contract at the time, ARN’s chief content officer Duncan Campbell told Mediaweek in December that his new role would be announced “early next year”.
That announcement has come, although probably not the expected one from last year. In another twist for the radio landscape, the pair will be the new hosts of Nova 100’s breakfast show in Melbourne.
This shuffle sees Nova 100’s current breakfast show team, Ben, Liam & Belle being moved to host a new national show – Late Drive – from 6pm to 8pm weekdays.
Lauren Phillips said, “I’m beyond excited to be joining the Nova family. l’ve been a longtime fan of the station and to be joining Nova 100 really is a dream come true. I’ve made the most of having a few months off, but my plans of becoming a professional dog walker are now on hold, and I’m so ready to get back to work with Jase here in Melbourne.”
Jason Hawkins said, “I’m wrapped to have a job again. I’m even more over the moon that we get to join Nova. My whole career, I have always wanted to be a part of this network, it’s the perfect fit for Loz and I. So, I’m sorry Nova, we’re never leaving. Melbourne, we’re back! So join us and come over to Nova.”
Brendan Taylor, group programming director for the Nova Network, spoke about the new lineup, saying “Lauren and Jase are world-class radio broadcasters and their track record speaks for itself. As hosts of the second-highest rating show in Melbourne, we knew their blend of humour, honesty and chemistry would feel right at home on the Nova network. We had to pursue this opportunity and not let a great team disappear from the airways. The timing was right and they’re such a natural fit for us. We can’t wait to welcome them to the Nova family.”
Speaking on the Ben, Liam & Belle move, he added “Ben, Liam & Belle are an incredibly talented hosting team and we knew they had great potential when they joined the Nova Network straight from Triple J’s national breakfast show back in 2020. They’ve since delivered some outstanding results and have developed a great connection to their audience during their time with the network. We’re excited they’ll be at the helm of this newly created Late Drive show and taking their unique content back to a national audience.”
In further programming changes, Nova will also be introducing a new live and local workday slot from 9am-2pm. The new workday slots will be hosted by Mel Tracina in Melbourne, Adam Price in Sydney, Daniel Cassin in Adelaide, Maddy Rowe in Brisbane and Ross Wallman in Perth.
Super Bowl LVIII advertisers are spending an average of $7 million for a 30-second spot.
Advertising’s annual extravaganza, the Super Bowl, has launched some of the most highly anticipated commercials of the year. This year advertisers are investing an average of US$7 million to air a 30-second commercial, as they vie for their share of attention from audiences across the globe.
Last year, around 113 million viewers tuned in the United States in to witness the Kansas City Chiefs’ victory over the Philadelphia Eagles in Super Bowl LVII, according to Nielsen. This places the game as the second most-watched Super Bowl ever.
According to nfl.com, over 56 million viewers worldwide tuned in to see the Kansas City Chiefs secure a 38-35 win against the Philadelphia Eagles. This marked a 7% uptick from the previous year, indicating a growing international enthusiasm for the NFL.
Here’s the list of commercials so far set to air during one of advertising’s (and sports’) marquee events:
Oscar winner Martin Scorsese directs Squarespace’s 10th Super Bowl ad, Hello Down There, questioning the existence of aliens without a website.
See also: Did Uber Eats just win the Super Bowl?
Arthur Sadoun: “In a very challenging macroeconomic context, and after 6 years of transformation, Publicis definitely extracted itself from the pack in 2023.”
Publicis Groupe reported net revenue organic growth at +6.3% along with a stronger-than-expected Q4 at +5.7% in its full-year 2023 results.
The French multinational advertising and public relations company posted net revenue for 2023 was 13,099 million euros, up +4.2% compared to 12,572 million euros in 2022.
The Groupe’s strong and consistent performance in 2023 was reflected in its different capabilities. Media, which is one-third of the revenue, grew double-digit on top of double digits last year, benefitting from both market share gains and organic growth at existing clients.
Data and tech activities, also another third of revenue, posted a very solid growth overall, while creative, the remaining third, showed its resilience with organic growth in the low-single digits for the year.
In the APAC region, Publicis Groupe’s net revenue grew by +2.9% organically and saw a decline of 1.7% on a reported basis. Meanwhile, China posted +2.2% organic growth despite difficult macroeconomic conditions throughout the year.
Arthur Sadoun, chairman and CEO of Publicis Groupe, said: “Publicis definitely extracted itself from the pack in 2023” despite a very challenging macroeconomic context and six years of transformation.
“Our +6.3% net revenue organic growth for the full year, coming after a stronger than expected end to the year at +5.7% in Q4, means that not only are we substantially outperforming our holding company peers, we are also growing twice as fast as the main IT consulting firms.”
“What is true for organic growth is also true for our financial KPIs, be it on margin or on free cash flow.”
He said the company’s unique model has made a difference in allowing them to significantly gain market share and rank first in new business for the fifth year in a row.
Sadoun noted that Publicis Groupe has established itself as the industry’s “second largest player and the first in terms of market capitalisation.”
He added that the company is entering 2024 feeling confident in sustaining the momentum as they have over the last four years with a +4.7% CAGR.
“We anticipate delivering +4 to +5% organic growth while maintaining our historically high operating margin at 18%. When it comes to Q1, we expect to significantly outperform the industry with an organic growth within our full year guidance,” he said before going on to thank the company’s people for their efforts and the clients for trusting their transformation journey.
Publicis Groupe says it is “confident in outperforming in 2024, despite macroeconomic challenges.”
Looking ahead, the company is forecasting organic growth at +4% to +5%, an operating margin rate of 18% and free cash flow between €1.8 and €1.9 billion.
The report examines sports new media landscape, the challenges and opportunities for brand advertisers.
At a time when marketers are increasingly reliant on sports for mass reach, Sports media is facing fragmentation, according to WARC Media’s Global Advertising Trends report.
The research found live sports rights are splintering between broadcast, over-the-top (OTT or streaming) and mobile apps, while social platforms are rising in importance for fans.
The Global Advertising Trends report examines sports new media landscape, the challenges and opportunities for brand advertisers and how rights holders plan to sustain the economics of sports in the years ahead.
Alex Brownsell, WARC Media’s head of content, said: “Sport is one of the last providers of true ‘water cooler moments’, and this year’s bumper schedule of major sporting events, such as the summer Olympics and Paralympics in Paris, the UEFA European Football Championships, and the T20 Cricket World Cup, will provide advertisers with unrivalled means to achieve mass reach.
“However, these enduring qualities are under threat as consumption fragments. In this report, we take a closer look at the current state of sport advertising at a time when media consumption poses a dilemma for brand advertisers.”
Adrian Sutherland, vice president of Publicis Sports, said: “Sports is the one constant within media plans. Live sport is getting the eyeballs and sport content is getting the engagement.
“However, in some sports, local fans may need at least three separate subscriptions to watch a full season of games. It is imperative platforms keep a strong content plan in place to keep consumers engaged,” he added.
The WARC report forecast global spending on sports media rights could reach $60.9bn in 2024, per SportsBusiness data, up 18.9% on pre pandemic levels.
This year is also predicted to be a major one for live sport and mass audience reach with the return of Summer Olympics and Paralympics, UEFA Euro 2024, and the T20 Cricket World Cup.
Meanwhile in the US, brands are expected to spend an additional $2 billion on the Paris Olympics while Euro 2024 will drive €250m in incremental ad spend across Europe.
The WARC report noted that sport will not reverse declines in linear TV ad spend in the UK (-1.6%) and Germany (-0.6%), spend with linear TV is forecast to remain in decline throughout the summer of 2024, although France bucks the trend (+4.9%).
In the US, a recovery of linear TV spend (+6.3%) will owe more to favourable year-on-year comparisons and the upcoming US Presidential election than to sport. The report also noted that 73.0% of those planning to watch Super Bowl LVIII on 11 February intend to watch the commercials.
Among the key insights highlighted in WARC’s Sports media are:
• Major live sport moments still deliver mass audience reach:
Over 115 million viewers tuned in across Fox properties to watch Kansas City Chiefs defeat the Philadelphia Eagles in Super Bowl LVII last year making it the most watched US telecast of all time, the WARC report found.
• TV firms are spending ever greater sums for sports rights:
Global spending on sports media rights is forecast to reach $60.9bn in 2024, per SportsBusiness data, up 18.9% on pre pandemic levels, with traditional broadcasters digging deeper to retain access to prime sports assets.
• 2024 will be a major year for live sport, as the Olympics returns:
Broadcasters and streamers will be buoyed by the return of blue chip sports competitions this year, including the Paris 2024 Summer Games, UEFA Euro 2024, and the T20 Cricket World Cup.
• However, sport will not reverse declines in linear TV ad spend:
In the UK, spend with linear TV is forecast to remain in decline (-1.6%) throughout the summer of 2024, according to WARC Media data. A similar picture emerges in Germany (-0.6%), which will host Euro 2024, although France bucks the trend (+4.9%). In the US, a recovery of linear TV spend (+6.3%) will owe more to favourable year-on-year comparisons and the upcoming US Presidential election than to sport.
• Fragmentation of sports rights threatens mass reach moment:
NFL coverage spans broadcast and cable TV (NBC, ESPN) as well as OTT (Peacock, Amazon Prime, YouTube TV) and mobile app (NFL+). It is becoming costlier and more complex for fans to follow all live games.
• Social media is taking centre stage as a sports channel:
93% of 18-24s engage with sport on social media at least weekly. However, Gen Z fandom is more ‘fluid’. Younger cohorts are often more interested in athletes’ stories, rather than teams or competitions, according to the WARC report.
• Streamers are tapping into a passion for sports stories:
Amazon and Netflix are beginning to acquire live sports rights. However, they are also capitalising on a desire for behind the scenes storytelling, with documentary series such as Netflix’s F1: Drive to Survive.
• Advertising remains a key part of the Super Bowl experience:
Nearly three quarters (73.0%) of those planning to watch Super Bowl LVIII on 11 February intend to watch the commercials. Last year’s broadcast earned Fox an estimated $650m in gross ad revenue, with brands spending up to $7m for a 30 second spot, the WARC report noted.
By Alisha Buaya
Bowness and Wiley share their perspectives, thoughts and opinions.
Meeting of the Minds returns in 2024, showcasing diverse perspectives, thoughts and opinions from an experienced expert and industry rookie.
This week’s Meeting of the Minds sees Gerry Bowness and Kaitlin Wiley from Mediahub reveal their leadership heroes, current streaming binge and career goals.
Favourite podcast/read – Wolf & Owl Podcast – as an expat in Aus, it gives me a slice of dry British humour every week
Current streaming binge – Boy Swallows Universe
Guilty pleasure content – Luxe Listings – the swagger on the agents is hilarious.
What do you have on repeat – Sopranos, still yet to find a better TV show.
Best career advice – go with your gut instinct.
Leadership hero – Gordon Ramsey; his pursuit for perfection and relentless energy is inspirational whatever field you’re in. Watch clips of Boiling Point on YouTube to see his early drive for 3 Michelin stars – it’s no surprise he won them.
Best training course/session – not so much a training course but a recent APAC pitch I participated in exposed me to some great thinking from some of the most senior people in IPG across the region. I believe pitching, whether successful or not, is the catalyst for many great ideas across our industry.
I wish someone had told me – to live and work in more countries.
Favourite place to network – industry events where we’re not talking too much shop.
Something that’s surprised you about the industry – how similar agency life is whether you’re at an Indie or a Group.
What is your hot take on the industry – Creative media thinking is becoming more important than ever, whether it’s a distinctive new format or an amazing creative idea that’s enhanced through media. AI and biddable has levelled the playing field somewhat, so creative media thinking is where a brand & agency can really stand out.
Career goal for 2024 – continue to grow the amazing team at Mediahub across ANZ
Favourite podcast/read – Fav poddy– Newly Weds by Sophie Habboo and Jamie Lang (funniest podcast, I always listen to it on my way to work and it puts you in the best mood for the day).
Fav read – Good Material; Dolly Alderton or anything by Dolly, her writing style is amazing.
Current streaming binge – Boy Swallows Universe
Guilty pleasure content – Recipe inspo and foodie content, honestly could be stuck in a scroll hole for hours.
What do you have on repeat – Anything Country…. (in my Luke Combs era)
Best career advice – Question everything that’s presented to or put in front of you…
Leadership hero – Jacinda Ardern; Not only showing the world that you can lead a country and have a bubba at the same time!! But also, the kindness and empathy she demonstrates within her leadership style are qualities I find so admirable and is something I hope I can embody throughout my career.
Best training course/session – NGEN Course – Light Your Fire! How to Unleash Your Creativity Within – Was such a good course which helped me realise no matter the role you are in you can spark creativity within your everyday.
I wish someone had told me – the ‘goal seek’ function on excel earlier – life changing
Favourite place to network – Media events of course
Something that’s surprised you about the industry – The amount of avenues you can take within media. No matter where your passion lies there is so many ways to make impact within the industry even if it sits outside your role.
What is your hot take on the industry – Influencer Marketing needs to be given just as much love as the other channels in our media mix!
Career goal for 2024 – Specifically working in the digital space, I want to learn how I can most effectively plan and buy to ensure we are making environmentally conscious decisions. I would really love to end 2024 knowing I have helped change the way we buy media within our agency to have a focus on how we can help reduce emissions.
To take part in future editions of Meeting of the Minds please email: [email protected]
For past editions of Meeting of the Minds see here
Top image: Mediahub’s Gerry Bowness and Kaitlin Wiley
“We’re beholden to delivering results on all counts.”
Advertising agency The Hallway has officially attained B Corp certification, which serves as a global standard for businesses that uphold high levels of social and environmental responsibility, accountability, and transparency. The certification confirms that a company meets B Lab’s criteria for social and environmental impact, adopts stakeholder governance, and maintains transparency by publicly disclosing its performance.
The announcement comes amid increasing government scrutiny and impending industry regulations targeting greenwashing practices.
The Australian Competition and Consumer Commission (ACCC), announced a crackdown on greenwashing last year, followed closely by The Australian Association of National Advertisers (AANA) releasing an exposure draft of the Environmental Claims Code for public comment, geared at advancing the industry towards a sustainable future.
The 18-month process leading to certification was spearheaded by partner and chief creative officer Simon Lee. Lee said, “The Hallway exists to be creative catalysts for a flourishing world, and in B Corp, we’ve found a model that not only enables us to measure whether we’re meeting this ambition but actually holds us accountable for doing so.
“In effect, we’re now officially operating a business with a triple bottom line of people and planet as well as profit, and we’re beholden to delivering results on all counts.”
Jules Hall, chief executive officer of The Hallway, added, “We’re committed to helping create a sustainable future for our business in which commercial success sits side by side with positive societal and environmental impact.
“This starts with how we approach our corporate governance, and B Corp provides us with a tangible, enduring framework to optimise our business against.
“Equally importantly, it gives our clients visibility and transparency, helping them as they optimise the performance of their supply chains and partners.’
Top Image: Simon Lee & Jules Hall (L to R)
The move comes as the company launches its first masthead, The Politics.
Independent publisher, General Publishing, has appointed Olivia McDonnell as its managing director.
McDonnell comes from her previous tenure as managing director at SmartCo, a subsidiary of the Private Media group.
As General Publishing works towards the launch of additional mastheads in 2024, McDonnell said of her new role, “I am excited to contribute to General Publishing’s vision of shaping the future of digital publishing in Australia. Together, we will strive to create platforms that foster informed and vibrant communities.”
Piers Grove, founder and publisher of General Publishing said: “We are absolutely delighted to welcome Olivia to the team. Her industry-leading skills, coupled with a deep alignment with our values, make her the perfect leader to steer General Publishing towards our goal of creating useful and meaningful digital communities.”
The move comes as the company launches its first masthead, The Politics, with Rachel Withers as editor in chief, with plans to introduce two more mastheads within the calendar year.
Recently acquired from Schwartz Media, The Politics will remain under the stewardship of Withers as it expands into its own masthead in coming months.
“The success of The Politics as one of Australia’s most trusted sources of cut-through commentary is a testament to the hard work and acumen of Rachel Withers. We are thrilled to have her on board as a key driver of General Publishing,” McDonnell said.
“I’m thrilled to have the chance to create a new home for smart, progressive politics in Australia, and so pleased to have Olivia and her strategic guidance as we find new ways to make independent media free and accessible,” said Withers.
Working to shake up the landscape of independent publishing in Australia via focus on building digital communities, General Publishing Also runs titles including live music publication Check Check, and Breaking Trail for extreme adventurers.
Top Image: Olivia McDonnell (left), managing director of General Publishing; Rachel Withers (right), editor in chief of The Politics
Nick Clegg: “We want to be able to do this with content created with other companies, tools too.”
Meta will label AI-generated images across its family of apps – Facebook, Instagram, and Threads – in response to user demand for transparency surrounding the technology.
The tech giant said it has been working with industry partners to come to an agreement on common technical standards and guardrails that identify when a piece of content has been created using AI, working together through forums like PAI (Partnership on AI).
Nick Clegg, Meta’s president of global affairs, said: “We do that by applying ‘Imagined with AI’ labels to photorealistic images created using our Meta AI feature, but we want to be able to do this with content created with other companies’ tools too.”
In the statement, Clegg explained that the capability is in the works and will be out in the market in the coming months and will be available in “all languages supported by each app.”
“We’re taking this approach through the next year, during which a number of important elections are taking place around the world.
“During this time, we expect to learn much more about how people are creating and sharing AI content, what sort of transparency people find most valuable, and how these technologies evolve,” he said.
“What we learn will inform industry best practices and our own approach going forward,” Clegg added.
The platform has already implemented visible markers, invisible watermarking, and metadata on its Meta AI feature to ensure other platforms can identify them.
Meta said that they are building tools that can identify “invisible markers” at scale in order to label images from Google, OpenAI, Microsoft, Adobe, Midjourney and Shutterstock as they implement plans for adding metadata to images created by their tools.
Clegg said: “We’ll continue to learn from how people use our tools in order to improve them. And we’ll continue to work collaboratively with others through forums like PAI to develop common standards and guardrails.”
Elsa Beaumont: “The thing we didn’t quite expect is the impact of being in-house.”
Splash, the in-house agency for Treasury Wine Estates, has hit its one-year anniversary with some notable achievements.
The milestone coincides with 2023 In-House Agency Landscape Report, produced by the In-House Agency Council (IHAC) and Kantar Australia, which revealed that 78% of marketers in Australia were working with an in-house agency, compared to 63% only two years prior.
Australia now surpasses mainland Europe in terms of percentages of businesses with an in-house agency offering, sitting only behind the United States.
Led by director Elsa Beaumont, Splash also aims to challenge the idea that internal agencies can’t mix with the best.
Said Beaumont, “We have had a huge first year. I came in with a desire to build an agency that could produce work that sat alongside great external agencies.
“The thing we didn’t quite expect is the impact of being in-house. The depth of business, commercial, brand and category knowledge we now have has been a game changer to the quality of the work we produce.”
Splash leadership team includes creative directors, Phil van Bruchem and Tom Opie, head of media, Ben Oliver and head of operations, Faye Collay.
Splash’s collaborations with partners like Glue Society and Content Hustlers have garnered recognition, including the creation of One by Penfolds with Human Made designer, NIGO, and the Squealing Pig’s Summer of Love campaign.
Van Bruchem said, “It’s been great to hit the ground running and receive early recognition for some of our work. It’s really helped grow our faith in what we’re building here at Splash, Treasury Wine Estates.”
Opie added, “The work is really benefiting from great relationships and trust between Splash and the wider TWE team. We’re looking forward to the growing opportunities ahead.”
By Anita Anabel
Comedian Dave Hughes visits The Project straight from hospital.
• A triple episode on Home and Away spells trouble for Justin and Leah
• It was a night with the emergency services on Nine
Nine’s A Current Affair spotlighted journalist and TV personality Deb Knight who revealed how she was scammed, falling for a Taylor Swift ticket swindle. The irony? She is the host of the Anatomy Of A Scam Podcast.
RBT followed with a unique, behind-the-scenes look at RBT patrols testing for alcohol and drug-affected drivers. The double episodes were titled The Gambler and Father’s Regret.
Viewers were then taken inside The Royal Melbourne Hospital with Emergency as Dr Andrew Trezise worried a young dirt bike rider had life-altering injuries after a crash. Dr Jonathan Papson feared for a showjumper with multiple breaks after being thrown off a horse.
A repeat of RPA followed where, when Kyle’s first kidney transplant from an organ donated by his older brother fails, he miraculously gets a second chance at life when sister Jess offers to donate one of hers.
Over on Seven, it was a triple episode of Home and Away. During the dramatic instalments, Eden fought for her rights while Mackenzie and Levi had a close call and Cash got a mysterious call, before calling it a day. Meanwhile, Mackenzie gets a reality check and Leah gives Justin an ultimatum while Justin and Valerie get off on the wrong foot. Finally, Mackenzie confesses to Tane.
In a brand-new episode of Mrs Brown’s Boys, Winnie McGoogan and Agnes Brown have dinner at Foley’s Fun Food Festival. Dermot Brown, and Buster Brady go into a syndicate to play the lotto while Agnes Brown meets Anita (not the Anita writing this article) while Cathy Brown has a DNA test. Another episode, saw Dermot Brown and Maria decide to renew their wedding vows as the priests go on a pilgrimage.
On 10, The Project welcomed comedian Dave Hughes to the desk, who is so committed to being on the show that he came straight from the hospital! The program also looked at how a Russian man had programmed ChatGPT to become his “dating assistant”, helping him talk to over 5,000 women on dating apps. While a risky move, it had a happy ending as it helped him find a wife!
Then, it was time for The Dog House Australia as pup Boof was hoping to be the bundle of joy that the Pikari family needed and Justine and Nick met playful Labrador Taffy.
The Dog Hospital with Graeme Hall followed as Willow, the two-year-old Labrador was rushed to the hospital because a severe infection had taken hold in her chest.
Sarah Ferguson interviewed Foreign Minister Penny Wong on ABC’s 7.30, while the series also looked at how Russian soldiers are marching in to replace the Wagner Group in Africa’s “coup belt”.
Grand Designs Transformations followed in Geelong Victoria. Luke and Bree restored a Victorian cottage and added a massive contemporary extension, while in the Tasmanian village of Oatlands, Karen and (another) Luke restored a sandstone Georgian cottage.
On Martin Clunes: Islands of America, Martin Clunes’ travels took him to the San Juan Islands in Washington State, the Channel Islands National Park – known as ‘America’s Galapagos’ – and Avery Island in the Gulf of Mexico.
Finally, on Fake or Fortune, Henrietta Sitwell had inherited a sketch she believed to be by the 20th-century artist Amedeo Modigliani, but she had been told it might not be genuine.
Over on SBS, DNA Family Secrets saw Kerry desperate to know whether the man she knew as a child was really her dad. Plus, conceived using IVF, twins Madison and Sydney were looking for their egg donor mum and Anthony from Liverpool was searching for the American GI he believed was his father.
Australia Uncovered followed which featured a Jewish boy who witnessed the murder of his family, survives the Holocaust by becoming Hitler’s youngest soldier, had four false names, two mistaken family reunions and now, thanks to DNA, is on the cusp of discovering his true identity on his deathbed. But is it too remarkable to be true?
By Andrew Mercado
Plus: Sofia Vergara as a Columbian drug lord in Netflix’s Griselda, Lenny Henry’s Three Little Birds.
Seven has a buzzy new drama that has just had a “profound cultural and social influence” in the UK. Over 12 million viewers have watched Mr Bates vs The Post Office and it has led to their Prime Minister announcing new legislation to finally bring justice to the victims (let’s hope he’s telling the truth).
Mr Bates vs The Post Office (Wednesday on Seven) is about an appalling miscarriage of justice, where postmasters were accused of fraud and stealing. Just like Australia’s Robodebt scheme, it required those accused to prove their innocence, rather than being provided any proof of their guilt. That’s because no evidence existed and that led to victims suffering breakdowns, bankruptcy, prison time and death.
The dependable British cast includes Julie Hesmondhalgh, Alex Jennings, Katherine Kelly, Shaun Dooley and Will Mellor. All are totally believable in their roles, but Toby Jones as Mr Bates is a standout playing a man of gentle determination and unflappable demeanour.
This drama also stands because of its beautiful cinematography. Utilising truly stunning locations means not a single shot is wasted. Phone conversations happen against the backdrop of a Welsh valley, and every meeting takes place in an office with perfectly framed backdrops.
Mr Bates screened on ITV over four consecutive nights in January. Free-to-air UK broadcasters don’t rely on reality franchises the way that their Aussie counterparts do, and their special scheduling turns drama into event television. This strategy, also favoured by Channel 5, can pay off big time and it’s a great way to alert your audience to a can’t-miss drama.
Seven is giving Mr Bates a decent timeslot at 8.30pm but it will still finish late thanks to double episodes. There is probably no hope that Seven will ever play a drama over four nights instead of a reality series, but at least 7plus will have all four episodes to binge.
Another true drama is Griselda (Netflix) starring an unrecognisable Sofia Vergara as a Colombian drug lord running a cocaine business in Miami. It’s initially pitched as a woman being empowered as she faces sexism from every man in her orbit, including the police. By the end, she is as bad as those around her, and senselessly killing all and sundry. Fans of Narcos will love it, but others should proceed with caution.
Three Little Birds (BritBox) is loosely based on the lives of Sir Lenny Henry’s parents when they immigrated from Jamaica to Britain in 1957. Written in collaboration with Russell T. Davies, the appalling racism seen here is hard to watch. Hang in there though, because at the end of the second episode, there is a message of hope that not everyone in England is awful.
Listen now on your favourite podcast platform for 30 minutes of TV reviews and recommendations every week from Mediaweek’s Mercado on TV columnist Andrew Mercado and editor-in-chief James Manning.
We want your comments, feedback and questions – [email protected].
You shouldn’t overlook the brilliant Mr Bates vs The Post Office (Seven & 7plus, series) which tells the tale of what is being called the worst miscarriage of justice ever in the British legal system. Also this week we look at the latest adaption of David Nicholls’ novel One Day (Netflix, series). Also the Australian feature film Five Blind Dates (Prime, movie) a romcom from Goalpost Pictures that is set in Townsville and Sydney.
The last time journalist Don Lemon sat down to film a TV segment in April, he perched on a stool in front of the glaring lights of a CNN studio. When he starts filming again after a nearly yearlong hiatus, Lemon will have a different backdrop – and he will be calling his own shots, reports Nine Publishing’s Kate Conger.
He will begin his next act, The Don Lemon Show, on X, the platform formerly known as Twitter. The former CNN anchor, who was fired by the network last year, is among several politicos, celebrities and reporters whom X has wooed recently as part of a plunge into original video content.
Google, whose work in artificial intelligence helped make AI-generated content far easier to create and spread, now wants to ensure that such content is traceable as well, reports The New York Times’ Tiffany Hsu.
The tech giant said on Thursday that it was joining an effort to develop credentials for digital content, a sort of “nutrition label” that identifies when and how a photograph, a video, an audio clip or another file was produced or altered — including with AI The company will collaborate with companies like Adobe, the BBC, Microsoft and Sony to fine-tune the technical standards.
Warner Music Group CEO Robert Kyncl said his company remains happy with their deal with TikTok and he believes the social media platform and Universal Music Group will also come to an agreement, reports The Hollywood Reporter’s Caitlin Huston.
“I’m always very confident in the deals that we do. We don’t follow other companies. We don’t do carbon copies of other deals, we do our own, which is why we did the one last year,” Kyncl said.
“Our deal was very difficult too, but we got there and, for us, it was fair, but it was a year ago. It was also a different time. So I don’t know what is driving Universal’s positions, but if there’s any way we can help them, we will, all of us, and I’m confident they’ll sort it out,” he continued.
Media company News Corp is “wooing, not suing” as it enters advanced negotiations to become a core content provider to AI companies, chief executive Robert Thomson says, reports The Australian’s Jared Lynch.
Thomson said News Corp aimed to set “meaningful precedents” with AI tech players, which rely on data and quality content, such as news articles and other media, to train their powerful engines.
Copyright has emerged as a key battlefield in the AI race. The New York Times is suing Microsoft and ChatGPT owner OpenAI over claims it used its content without permission, while Getty Images is taking Stability AI to court, alleging a similar breach.
Georgia Love has made a surprise comeback to Melbourne’s airwaves with the much-hyped Kyle and Jackie O takeover on hold. Chatter is Love has signed a three-month contract to read the news alongside KIIS FM Melbourne fill-in breakfast presenter Byron Cooke, reports News Corp.
Love’s return comes as Kyle and Jackie O’s expected expansion into Melbourne is put on ice again, despite the pair having been on air for a couple of weeks in Sydney this year.
The former Bachelorette has been in the wilderness for a couple of years after she was pulled off the Channel 7 airwaves as a reporter in 2022 for posting a “racist” post to social media.
Seven News presenter Michael Usher will exit late night programme The Latest as production relocates from Sydney, reports TV Tonight.
A Seven spokesperson said, “In March, 7NEWS will shift production and presentation of late-night news program The Latest to its Perth headquarters to streamline efficiencies. For viewers, the format, production quality and integrity of the program will not change.”
Usher has presented the show since its launch in 2018, frequently screening around 10:30pm, with Angela Cox more recently on alternate weeknights.
Brands are testing the limits of how many celebrities can be squeezed into a single Super Bowl ad break, reports The Wall Street Journal’s Suzanne Vranica and Nate Rattner.
More than 40% of commercials shown during last year’s game featured multiple celebrities, iSpot.tv data shows, a nearly sixfold increase from 2010.
This year is expected to be no different. Many star-studded commercials have already been released, including a Michelob Ultra spot featuring Lionel Messi, Jason Sudeikis and Dan Marino, and a BetMGM ad starring Tom Brady, Vince Vaughn and Wayne Gretzky.