The TV industry needs to collaborate more, and address the current “dysfunction” and “lack of cohesion”, Omnicom Media Group’s chief investment officer, Kristiaan Kroon, has told Mediaweek.

Kroon pointed to the “lack of cohesion” in measurement as one example, citing Foxtel’s partnership with Kantar Media, OzTam, and the approaches used by digital platforms such as YouTube and Netflix.

The spate of measurement approaches is “a function of highly competitive space. But it’s fragmenting, and fragmentation can lead to dysfunction, which is where we are now.”

“There is a future scenario where they could come together, but I will also say I am known as an optimist.”

His comments followed his appearance at the Future of TV Advertising conference, at which he said the TV industry was the “most dysfunctional” sector. More attention should have been paid to the discussion between TVNZ CEO Jodi O’Donnell and Liana Dubois, CMO of Nine Entertainment, according to Kroon.

O’Donnell and Dubois discussed the future of locally owned and operated TV, changes to how it is distributed and funded, and the shift from linear to digital. Kroon highlighted O’Donnell’s reflection on the challenges currently facing TVNZ in the market—job cuts, axing shows, and falling revenue—as a cautionary tale for the Australian industry.

“What that should have been was a rallying cry for more collaboration and less competition among the people in the room, which is what advertising agencies are looking for.”

“To borrow from Mark Coad – clients don’t give a shit about measurement. They care about selling more goods and services.”

He noted that linear could “be deprecated in New Zealand within a few years.”

Kroon added that the conference had “a little bit too much focus on internal issues rather than on collaboration as a stronger platform for client outcomes, which is ultimately what we’re all there to do.”

Last week, Foxtel announced its Video Futures Collective think tank, formed after it pulled out of ThinkTV last year. Its initial members include Foxtel Media, YouTube, Samsung Ads, Disney Advertising, and SBS.

Kroon applauded the collective for bringing industry players to the table for a conversation and called it “a positive step”.

He added that he hopes to see Seven, Nine, and Ten – still part of ThinkTV and its parent body, the Premium Content Alliance – follow SBS’ “market leadership” and join the council to be part of a conversation around standardising measurement and terminology.

Kroon said there would be interest in joining the Video Futures Collective if the opportunity is extended to media agencies such as OMG. But, he noted that having the buy and sell sides together around the same table can slow progress.

“We would be really interested in having the conversation about understanding the framework, the ambition, how we would achieve it, and whether we are adding value or just slowing things down. So, coming in too early could be disruptive.”

See also: Foxtel Media launches media industry think tank, Video Futures Collective

–

Top image: Kristiaan Kroon

Ben Latimer has been working as ABC head of audio content since the end of July 2023. The first radio ratings data for 2024 will be released tomorrow and will be used by some to judge his success so far.

Although ratings are important to the ABC, it is just one of the measures it uses to judge success. One thing Latimer won’t be doing is eight post-survey discussions a year with Mediaweek about every little bump in the audience data.

We took the opportunity of a pre-survey wrap of how he’s found the role so far.

New ABC local radio shows this year include Mark Gibson in Perth (left) and Sonya and Jules in Adelaide

Latimer noted the broadcaster didn’t have an incumbent director of radio he replaced. He was appointed not too long after his boss Chris Oliver-Taylor, ABC chief content officer, arrived to bring different ABC content heads together.

As part of that, radio was rebranded as audio bringing together on-demand and podcasts. Other content heads include head of screen, Jennifer Collins.

“One of the changes is how audio, screen and digital are now talking more to each other,” Latimer told Mediaweek.

As Latimer settled into his role, he looked at the internal structure to decide what other programming support was needed. “The teams were so big that I needed an opportunity to listen and then build out the structure.”

Mike Fitzpatrick was a recent hire as head of the capital city network and sport. Still to be filled within ABC audio are the roles of head of on-demand content and also head of music. Ben Latimer said: “They are the final two positions in the audio executive team. Both are really important roles.”

Scrutiny during change

There have been a number of minor changes at the broadcaster during the past few months in addition to breakfast show appointments. They include the Sydney departures of Josh Szeps and the arrival and even quicker departure of Antoinette Lattouf.

Commenting in general on coverage of the broadcaster in that time, Latimer said: “There is a lot of scrutiny on the ABC and rightfully so. The focus for me so far has been local radio, Triple J and on-demand podcasts.”

Craig Reucassel hosts local radio Sydney breakfast

Ben Latimer on local radio in 2024

Latimer certainly made his presence felt before the end of last year with breakfast shake-ups at three of the five mainland metro local radio shows. “We put Craig Reucassel into Sydney, teamed Sonya Feldhoff and Jules Schiller for Adelaide, and Mark Gibson got breakfast in Perth. It was certainly the most change in breakfast for some time.

“We also made changes to our playlist and changed the on-air imagery. Early indications from audiences have been very positive. One part of the strategy has been to get the presenters out into the community with outside broadcasts to start the year.

“ABC Listen app live streams for local radio have hit record highs. There has been a focus on the core audience and super-serving them.

Sammy J hosts local radio Melbourne breakfast

“There has been significant upheaval [in radio] outside of the ABC in some markets. It takes a while for audiences to settle into a relationship with a particular program or presenter.”

When asked about more music being a part of some local radio dayparts, Latimer indicated there had been a refresh of tunes.

“We added about 1,000 new songs to the database as part of a tailored music playlist for our 45+ audience. We were looking to make sure we had plenty of familiar artists. Music on our talk network really forms a small part of the listening experience.

“It does vary though. On average our metro market stations are playing about 1.5 songs an hour across the day. Perth and Brisbane are markets that play more music. Maybe two or three an hour.”

Craig Zonca and Loretta Ryan host local radio Brisbane breakfast

Former Triple M boss Mike Fitzpatrick arrives

Of the second appointment of a former commercial radio programmer, Ben Latimer explained: “It’s a new role. Sport is a huge driver to the ABC Listen app from a streaming point of view. We will now integrate sport more into our local radio network. He will also bed in all the changes we have made to the various metro local radio teams.”

Radio National

On-demand is the growth area. Latimer: “What we are seeing with RN is less appointment-driven linear listening, with the exception of breakfast with Patricia Karvelas. There is a huge appetite for RN specialist content in the podcasts arena.”

Triple J

At the time of Fitzpatrick’s appointment, Latimer also announced Phoebe Bennett as the new content director for Triple J and Double J.

“More than 70% of the 2.35m The Hottest 100 votes this year were from under 30-year-olds. But we can get caught up talking numbers with Triple J. That really diminishes Triple J which is leading the way as a multi-brand multi-platform offering.

“The Hottest 100 though is a great reminder of Triple J’s place in the Australian music scene.”

Triple J breakfast hosts Bryce and Concetta

ABC Listen app

As the popularity of the app continues to grow, Latimer said they will continue to use the platform for easy access to sporting events. “We used it for the Australian Open in January and it worked really well for us. We will also continue to co-host ARL, NRL, cricket and special event streams.”

Podcasts are a big part of the app experience, with Latimer overseeing the arrival of ABC Podcasts on the Australian Podcast Ranker last year. He acknowledged that part of the job with the ABC Listen app is to further educate listeners who may not be familiar with consuming all their audio through an app of the benefits associated with the change of habit.

“It’s great to finally be in the Podcast Ranker. We are the third-largest Australian podcast publisher. The data we are getting back is invaluable to us.”

Payment cap for music rights

The MEAA and Commercial Radio and Audio (CRA) have both made submissions to the Senate inquiry into the Private Member’s Bill Fair Pay for Radio Play ahead of public hearings.

If the bill passes, it would result in the removal of the cap on fees all radio stations pay to the Phonographic Performance Company of Australia (PPCA) to play music.

PPCA’s shareholders are three multinational record labels – Sony Music Entertainment, Universal Music, and Warner Music.

The ABC also pays for the rights to play music on its stations.

When asked about the ABC stance on the size of the payment ABC Radio makes to the music copyright holders, Latimer said: “ABC plays a critical role in supporting Australian music. The payment should be considered in the broader contribution to the Australian music sector.

“We pay millions of dollars each year to use music and sound recordings across our platforms. We also support music in other ways. Initiatives that fund, commission and record Australian music. Removing the radio cap will result in an increase in the licence fee paid by us. That will impact our budget and may affect ABC activities.”

State of tech at ABC

Latimer came to the ABC after most recently working for Nova Entertainment. A broadcaster with generally excellent studio facilities. How did he find the ABC facilities?

“The ABC is leading in a lot of areas from a tech perspective. There were certainly no surprises that we do have upgrade projects on the go. There is a big shopping list of things our teams are working on.

“The move of the Sydney radio HQ to Parramatta is one of the major infrastructure builds. There are some huge projects and quite a lot of them.”

See also: ABC appoints commercial radio sharpshooter Ben Latimer as head of audio content

For the first time, Spotify has handed over the marketing reins to its podcast talent, with the stars of The Inspired Unemployed Podcast launching a billboard battle, Mediaweek can reveal.

The duo behind the podcast, Matt ‘Falcon’ Ford and Jack Steele, will take turns to take over a billboard to make fun of each other, playing off of in-jokes with listeners. The first billboard, unveiled this week, gives Steele the opportunity to take aim at Ford’s height. Ford will get his turn in two weeks as the billboards swap out. 

The whole process, from the ‘making of’ the billboards, to their unveiling and the story behind each, will be documented on social channels and the podcast itself. 

Spotify’s head of podcasts, Ben Watts, told Mediaweek: “The Inspired Unemployed Podcast is one of our most successful and we are invested in growing its audience to continue building on that success.

“At the core of that success is the mateship and playful ribbing the boys give each other. Those who are already tuned into the podcast regularly will be familiar with the ongoing joke taken at the expense of Matt’s height – something he hates.

“The idea was to use the billboard stunt to showcase their unique chemistry to find out what the podcast is all about to people who aren’t familiar.”

“It’s important to add that while the OOH site is the creative centre of this campaign, social amplification of the stunt is just as crucial as it brings the campaign to a much broader national audience,” Watts said.

“There’s one site in Taylor Square which we love for the clear visibility of those coming from the Eastern Suburbs into the city.

“This also happens to be in close proximity to where the boys are currently living which is important as we knew that being highly visible would raise the stakes for the campaign concept.”

Ford and Steele have partnered with Spotify since 2021, launching weekly episodes known for their banter and raw conversations.

The Inspired Unemployed Podcast made the top five most listened-to podcasts in Australia on Spotify in 2023, coming in behind Casefile True Crime, Huberman Lab, Call Her Daddy and The Joe Rogan Experience. 

See also: KFC sponsors Spotify Wrapped Top Australian Songs of 2023 Playlist

By Claire Fenner, CEO at Atomic 212º

Marketers around the world have kicked off 2024 running on their digital hamster wheels: an endless effort to keep up with the evolving artificial intelligence landscape.

While it’s indisputable that this innovation can deliver some incredible results, it’s important to remember that there is a dark side of AI which, if handled incorrectly, can spearhead distrust with consumers. That means finding your moral compass in AI innovation should be treated equally as important as the structures in place to implement the tech itself.

The latest Edelman Trust Barometer indicated that whether or not people embrace AI all comes down to one thing: how effectively regulated they perceive it to be. The vast majority of people worldwide believe innovation is mismanaged and feel their government regulators lack adequate understanding of emerging technologies to regulate them effectively.

As AI and machine learning experience increasing widespread adoption, it’s absolutely crucial that leaders can ensure their responsible development and implementation. But in order to realise this potential fully, regulators must focus on safeguarding users, organisations and society from the potential pitfalls.

Trust and transparency are everything.

So how does this apply to your business? 62% of people globally said they expect CEOs to manage changes occurring in society, not just those occurring in their business. 78% want their CEO to speak publicly about issues such as the impact of automation on jobs, and 79% want them to speak publicly about the ethical use of technology.

But overcoming ethical challenges with AI will be a constant exercise in diligence, collaboration and a willingness to address issues proactively. Rather than rushing large-scale deployment, leaders need to prioritise demonstrating value safely. One way to do this is to curate a multi-disciplinary team with expertise across technical, ethical and domain-specific matters to help balance competing priorities.

As the technology progresses, so too must research and standards. Prioritising education and discussion of AI risks and mitigations in the workplace can be genuinely empowering for employees. The Edelman Trust Barometer tells us that when people feel in control over how innovations affect their lives, they are more likely to embrace them, not resist them. Leaders should listen for concerns and be open to questions. With openness to new strategies and partnership across industries, businesses can stay on top of responsibilities as technologies continue to evolve rapidly.

Earning consumers’ trust is one thing; holding onto it in a digital world full of cybersecurity breaches is quite another. We’ve seen some catastrophic data breaches in the past year, emphasising just how important it is to establish robust data privacy and governance practices. According to IBM, a data breach in 2023 was worth an average of AUD$6.77 million – a 15.3% jump from 2020.

Once someone forks over their most sensitive information, the onus is on the organisation to ethically handle that data in the way they train staff as well as develop and deploy systems – a risky operation if protection controls are insufficient.

So how can organisations maintain governance and oversight of how user data is accessed and utilised? Techniques like anonymisation can help when sharing data is necessary; while access controls and auditing allow for monitoring who is using data and for what purposes. At the very least, having well-defined policies is a must to ensure data is only ever used as agreed and to benefit the organisation and its users.

Once trust is established and data security is well under control, it’s time to harness AI systems to create unique and personalised outputs. Sure, off-the-shelf solutions provide speed and ease of implementation but these copy-paste responses typically fail to capture an individual organisation’s distinct expertise, culture and customer relationships. This can lead to outputs that just don’t address user needs or queries appropriately, and homogeneous outcomes tend to undermine user trust or brand consistency when not properly tailored.

Make sure AI applications are customised with internal knowledge to produce results that hit the right notes. Test systems to evaluate how well outputs meet requirements and then refine approaches where needed.

Finding your moral compass in murky AI waters is challenging, but it’s not impossible. At the end of the day, it really just comes down to giving the people what they want: transparency and trust, data security and unique and personalised outputs. And for competitive CMOs, the outcome can be well worth the effort.

See also: APAC marketers see AI as more important to social media than international counterparts: Meltwater report

Mastercard has shifted 70% of its marketing budget into experiences, to combat human attention spans worse than that of a goldfish, Raja Rajamannar, chief marketing and communications officer, has revealed.

Marketers are facing a major problem, Rajamannar told the room at SXSW Austin, which included Mediaweek: there are too many ads and not enough cut through with consumers.

“Most of them don’t have a clue. They might have seen an ad, they don’t remember the brand. They might have not remembered even the ads, because they’re all it’s a sea of sameness. The bigger thing to the blame is the sheer quantum of the ads that are being bombarded at the consumers.”

Battling with this reality, Rajamannar poured the majority of Mastercard‘s marketing budget into experiences, focused on passion points: “As marketers, we are supposed to make people’s lives better, people’s experiences fantastic, and we have chief experience officers at many companies. Instead of giving a frictionless seamless experience, we’re actually messing up that experience with introducing friction into the experience, which is disastrous.”

The 10 passion points Mastercard focuses on include: Sport, music, culinary arts and culture, movies, philanthropy, entertainment, sustainability, fashion, health, and wellbeing.

“Our hypothesis is if you appeal to consumers in this passion point and connect them with experiences that money cannot buy, but only Mastercard can give you, our brand will do well and our products will do well. It’s a huge leap of faith.

“You don’t market your products, you don’t market your services, you don’t market your benefits. You appeal to consumers, to their needs, to their interests, and to their passions, your product and service is completely incidental to what the consumer should be desiring.”

Rajamannar explained that in the old world, marketing was predicated on logic and reason, assuming the consumer would follow a sensible set of actions. “That was the biggest myth that was there in the world of marketing for the longest time,” he said.

“Marketers have realised there is something called psychology, human psychology is such that people don’t act rationally. They don’t think logically, they are irrational and illogical. It is the feelings and emotions which drive decisions of people when they are buying products or services, or sticking with the products or services that you already have.”

See also:

SXSW Austin 2024: Delta, eos, and Pfizer CMOs on ‘aggressively’ embracing AI

SXSW Austin 2024: Creators lack professionalism, ‘don’t even understand what they are really selling’

SXSW Austin 2024: Paramount CTO on winning gen AI arms race

SXSW Austin 2024: Meghan Markle and Katie Couric on using your voice and sexism in TV

By Liam McCarten, VP of Sales APAC, StackAdapt

Programmatic advertising expenditure is earmarked for significant growth this year as marketers seek greater efficiencies and return on investment (ROI) in an uncertain economic environment. 

With marketing budgets under greater scrutiny, the need to make every dollar go further is shifting the focus to programmatic opportunities, with 40% of marketers planning to increase ad spend to drive ROI.

Research undertaken by independent media buying platform, StackAdapt, reveals that multi-channel advertising is a key factor to drive ROI success. By incorporating a multi-channel strategy across native, display video, connected TV, audio, in-game, and digital out-of-home, 50% of marketers reported achieving a better ROI.

As multi-channel programmatic options have widened, getting the right media mix has become more vital. Employing a programmatic campaign across multiple channels enables brands to connect with consumers across the entire purchase journey, but finding them is only part of the equation, according to Liam McCarten, StackAdapt’s VP of sales, APAC. 

“The modern consumer is now active across a variety of media channels—and devices—at any given time. Therefore, the ability to understand how they are behaving and, most importantly, how to effectively engage with them is a crucial component for campaign success.

“With cookie deprecation fast approaching, the ability to combine contextual targeting with a multi-channel campaign is giving marketers the right formula for ROI success,” McCarten said.

Context is everything

Contextual targeting, which uses contextual signals rather than third-party data, is rising in the ranks of audience targeting as marketers prepare for life without cookies. By removing the need for a single identifier that requires tracking across multiple environments and instead targeting consumer behaviours, contextual advertising enables brands to better understand consumers. 

“We know that having the right context can deliver a sizable boost in performance for advertising. Our historical analysis has shown that placing ads in the right context can significantly increase user engagement, McCarten said. 

“We developed our Page Context AI solution to provide marketers with an innovative way to reach a relevant audience that is currently reading about that topic. This approach allows for a brand to connect with a potential customer at the most relevant time and engage with a primed mindset.” 

Connected TV is the new frontier 

It’s not only the desktop web that is in flux. As the Internet has moved to TV, so have the audiences and the advertising landscape. Programmatic opportunities and solutions are expanding as consumer behaviours change and audiences shift away from linear TV to connected TV (CTV) platforms. 

When incorporated within a broader multi-channel strategy, along with contextual targeting, CTV can supercharge a marketer’s ability to effectively reach their desired audiences cost-effectively without compromising on quality.  

“We know that changing consumer behaviours, ongoing media fragmentation, cookie deprecation, and tougher market conditions are creating a more challenging brief for marketers. However, we are seeing the green shoots for ROI effectiveness through programmatic and contextual advertising within a broader multi-channel mix, McCarten said.

CTV ads are sold as impressions, the same way regular video ads or display ads would be sold through a programmatic platform. This means that you can apply the same targeting parameters that are available for those channels for CTV.  Since CTV ads work with streaming data, users can be tracked across platforms. If a potential customer sees your ad on their smart TV, you can now track them across other devices and retarget them. This gives you the potential to boost your customer conversion rates and create a well-rounded cross-device approach that will provide a full story to the viewer experience.

“Not only can these methods increase the size of the audience a brand can reach, it can also help create a compelling brand story to connect with consumers throughout the entire customer journey,” McCarten said.

This is a sponsored article by StackAdapt

Nine Entertainment-owned streaming platform Stan has detailed key programming for the remainder of 2024 and beyond. The details were released during a Showcase event at the Sydney Opera House.

Stan key announcements

• Stan announces 25 new and returning Originals, including 17 scripted, 7 documentaries, 1 entertainment series

• Five brand new Stan Originals – psychological crime series Critical Incident, darkly-comedic series Sunny Nights, thriller drama series Watching You, procedural comedic drama Good Cop / Bad Cop starring Leighton Meester and Clancy Brown, and festive Stan Original Film Nugget

• Five Stan Originals to return – Black Snow, Bump, Poker Face, Scrublands and Ten Pound Poms

• Drag Race Down Under returns with new host Michelle Visage

• Four new Stan Original Documentaries – Trailblazers, Revealed: Bribe, Inc., Revealed: KillJoy and Revealed: Malka Leifer

• The cast of the Stan Original Series Invisible Boys, including Joseph Zada, Aydan Calafiore, Zach Blampied, Joe Klocek, Pia Miranda and David Lyons

• The cast of the Stan Original Series Exposure, including Alice Englert and Essie Davis

• Eight Stan Originals still to premiere – Population 11, The Tattooist of Auschwitz, Windcatcher, The Surfer, Thou Shalt Not Steal, Revealed: Otto by Otto and Revealed: How to Poison A Planet and Revealed: Renee Gracie

• New acquisitions include action-packed thriller series Nightsleeper, Joan starring Sophie Turner, the return of Spartacus: House of Ashur, high-octane thriller Red Eye, and suspense thriller Hunting Wives

• Returning licensed series including Hacks, From, Bel Air and Twisted Metal and the final instalment of Yellowstone.

Left to right, top to bottom: Stan Original Series Invisible Boys, Critical Incident, Exposure and Thou Shalt Not Steal

The Stan slate includes fresh commissions Critical Incident, Watching You and Sunny Nights, as well Good Cop/Bad Cop starring Hollywood stars Leighton Meester and Clancy Brown.

The slate also sees the return of Black Snow with the return of Travis Fimmel, plus more Bump, Poker Face with Natasha Lyonne, Ten Pound Poms with Michelle Keegan and Scrublands.

Four brand new Original Documentaries, were announced, including Trailblazers, the journey of Australian women’s football. Also three documentaries from Stan’s investigatory Revealed slate – Revealed: Bribe, Inc., uncovering global corruption in the oil industry, Revealed: KillJoy, the story of a family homicide and Revealed: Malka Leifer, a harrowing abuse scandal in Melbourne. The Revealed slate is a collaboration with documentary filmmakers, including Nine’s award-winning journalists, from 60 Minutes, The Age and The Sydney Morning Herald.

Alice Englert, Essie Davis and Thomas Weatherill will star in the Stan Original Series, Exposure, a psychological thriller that follows a photographer who returns to her hometown after the death of her friend. The LGBTQIA+ Stan Original Series, Invisible Boys, currently filming in Western Australia will see emerging Australian Joseph Zada, Aydan Calafiore, Zach Blampied and Joe Klocek, alongside Pia Miranda and David Lyons.

90 Originals commissioned so far

Since launch, Stan has commissioned over 90 Originals across drama, reality, comedy, features and documentary. Stan has tripled its Australian content over the past three years and commissioned more Australian scripted content than any other streamer or commercial broadcaster in FY23.

Stan chief executive officer Martin Kugeler said: “Stan is exceptionally well positioned in an evolving SVOD landscape, with a clearly differentiated strategy focusing on profitable growth. Our significant investment in Australian premium Stan Originals is a key part of our success and we continue to acquire global hits like Yellowstone and The Walking Dead for Australian audiences. This year, for the first time, we will also stream the Olympic and Paralympic Games live and on-demand on Stan.

“The breadth and depth of our premium exclusive content, and the way in which we market them, supported by the reach of the Nine Group, allows us to compete with international streamers and solidifies our position as one of the most successful single territory SVOD streamers in the world.”

Stan’s Cailah Scobie

Stan chief content officer Cailah Scobie added: “Stan has always championed exceptional storytelling and premium Australian content across all genres, and this world-class slate of 25 titles exemplifies this. We remain steadfast in our commitment to championing fresh and established creatives, and elevating Australian storytelling through our collaborations with the best local and international talent.

“While our focus is always on Australian audiences, Stan continues to showcase our original productions on a global stage through our international partnerships with the world’s biggest studios and distributors. Stan Originals connect with Australians, and with this diverse and consequential line-up, we continue to deliver what audiences have told us they want on their screens.”

Stan Head of Originals Amanda Duthie continued: “Curating, developing and commissioning a slate of such diverse magnificence relies on the daring, passion and enormous will of a range of screen creatives. Luckily for Stan, this is in abundance with all our collaborators. The Stan Originals slate nurtures the bold and the fearless, drawing across experienced and new talent, and delving into screen stories – documentaries, features and series – that don’t tell us what we think we know, but what we need to know.”

Harvey Keitel in The Tattooist of Auschwitz

Existing Stan Originals

The new productions join an existing suite of Stan Originals still to premiere, including comedy crime thriller Population 11 starring Ben Feldman premiering Thursday; all episodes will drop at once. A co-production with Sky, the Stan Original Series The Tattooist of Auschwitz, premieres 2 May, and stars Harvey Keitel, Melanie Lynskey, Jonah Hauer-King, Anna Próchniak and Jonas Nay.

Family feature Windcatcher starring Jessica Mauboy in her first film role in 12 years premieres 28 March. Also premiering on Stan will be psychological thriller The Surfer led by Hollywood actor and Academy Award winner Nicolas Cage, and road trip series Thou Shalt Not Steal from director and co-creator Dylan River.

Stan international deals

Stan continues to partner with Hollywood studios and the world’s biggest international distributors including All3Media, AMC, Banijay, BBC, Fremantle, ITV, Lionsgate, NBCUniversal, Paramount, Sony and Warner Bros Discovery to bring exclusive premium content from around the world to Australian audiences.

New Stan acquisitions

Alongside the existing slate of global drama, Stan announced it is the home of a slate of new acquisitions. These include action-packed thriller Nightsleeper, a high-octane series following the hacking of a train from Fremantle. Joan starring Sophie Turner as real-life criminal mastermind Joan Hannington from All3Media. A history-bending drama series Spartacus: House of Ashur, a sequel series from STARZ/Lionsgate that arrives more than a decade after the original series’ conclusion. Red Eye from Sony Pictures Television, a high-octane thriller set on a red-eye flight with Richard Armitage and Jing Lusi in lead roles. Suspense drama Hunting Wives from Lionsgate, based on the bestselling novel.

Stan is also the home of three new series in the Walking Dead Universe – Dead City, Daryl Dixon and The Ones Who Live, with Dead City and Daryl Dixon already confirmed for a second season. Other highlights from Stan’s exclusive slate include A Good Girl’s Guide to Murder, as well as returning favourites such as Hacks, All American, Sullivan’s Crossing, Ru Paul’s Drag Race All Stars, Bel Air, From, Power Book II: Ghost, Power Book IV: Force and Twisted Metal.

Kevin Costner in Yellowstone

Finally…more Yellowstone

This November, the final season of the global phenomenon Yellowstone starring Oscar-winner Kevin Costner will premiere exclusively on Stan, seeing the conclusion of a series that became a worldwide hit and the #1 drama on US cable television.

Stan announces five new Stan Originals.

CRITICAL INCIDENT

From creator Sarah Bassiuoni, psychological drama series Critical Incident follows a police officer who, in pursuit of a teenage suspect onto a busy train platform, knocks a bystander onto the train tracks, critically injuring him. As an intense investigation commences, the lives of the pursued and the pursuer are thrown into turmoil. Premiering in 2024 and starring Akshay Khanna, Zoë Boe, Roxie Mohebbi, Hunter Page-Lochard, Jai Waetford, Jackson Heywood and Zindzi Okenyo, with Simone Kessell and Erik Thomson. Directed by Neil Sharma and Daniel Nettheim, the series is produced by Matchbox Pictures, which is part of Universal International Studios, a division of Universal Studio Group. Major production investment from Screen Australia and Stan. Financed with support from Screen NSW. International sales by All3Media International. Post, digital and visual effects supported by Screen NSW. Developed with assistance of Screen Australia.

SUNNY NIGHTS

Starting production in 2024, darkly-comedic series Sunny Nights is about how a little bit of sun, a change of scenery, and a touch of violent crime can help a person find their true self. The series follows two siblings who venture to Sydney determined to grow their struggling spray tan business, but when they get caught up in the city’s criminal underworld, they must figure out how to stay alive, out of prison, and in the black. Directed by Trent O’Donnell, with writers Marieke Hardy, Lally Katz, Clare Sladden, Niki Aken, Ty Freer and Nick Keetch. A Jungle Entertainment and Echo Lake Entertainment Production, with major production investment from Stan in association with Screen Australia. Additional finance provided by Screen NSW through the Made in NSW Fund. International sales by Cineflix and Echo Lake Entertainment.

WATCHING YOU

Based on J.P Pomare’s novel The Last Guests, the Stan Original Series Watching You is a psychological thriller. After her passionate one-night stand is captured by hidden cameras, Lina sets out to unmask an insidious voyeur who threatens to destroy her life. Watching You is adapted for television by creators Alexei Mizin and Ryan van Dijk and produced by Lingo Pictures’ Jason Stephens and executive produced by Lingo Pictures’ Helen Bowden. Produced in association with ITV Studios, who will manage international distribution.

GOOD COP/BAD COP

Stan continues its international collaboration with global content leaders, with procedural comedic drama Good Cop/Bad Cop co-commissioned with The CW and Roku and starring Leighton Meester (Gossip Girl) and Clancy Brown (Billions). The series follows Lou (Meester) and Henry, a sister and brother detective team in a small Pacific Northwest police force who must contend with colourful residents, a serious lack of resources, and their very complicated dynamic with each other and their police chief, Big Hank (Brown) – who happens to be their father. From Will & Grace writer John Quaintance, with Stan Original Series Population 11 creator Phil Lloyd as co-executive producer, production for the eight-part series is due to commence this year in Queensland. Director and Executive Producer Trent O’Donnell will set up the series, alongside Natalie Bailey, Gracie Otto and Corrie Chen. Joining John Quaintance and Phil Lloyd are writers Steve Joe, Julie de Fina, Steve Toltz, Clare Sladden and Sarinah Masukor. A Jungle Entertainment and Future Shack Entertainment, supported by the Queensland Government through Screen Queensland’s Production Attraction Strategy. Good Cop / Bad Cop is produced in association with and distributed by ITV Studios.

NUGGET (WT)

Stan continues its slate of homegrown Christmas productions in 2024, with the Stan Original Film Nugget entering production later this year. When her beloved family dog Nugget falls sick over Christmas, a city dermatologist must return home to confront both her dysfunctional family, and the mortality of the one family member that brings them all together. Principal production funding from Screen NSW. Filmed and post-produced in NSW with the assistance of Screen NSW. Directed by Imogen McCluskey, produced by Naomi Just, executive produced by Rob Gibson and Ian Collie, and written by Vic Zerbst and Jenna Owen.

Stan announces the cast of two new Stan Originals.

EXPOSURE

Alice Englert, Essie Davis, Mia Artemis, Thomas Weatherall, and Sean Keenan lead the cast of the Stan Original Series Exposure. A psychological thriller filmed in Sydney and Port Kembla, Exposure follows a photographer returning to her hometown after the death of her best friend, who discovers the hidden secrets of their relationship and the truth of the tragedy. Created by screenwriter Lucy Coleman (Hot Mess) and directed by Bonnie Moir (Love Me), Exposure is produced through Thirdborn by executive producers Nicole O’Donohue, with Shaun Grant and Justin Kurzel. Major production investment from Screen Australia and Stan. Financed with support from Screen NSW. International sales by All3Media International. Post, digital and visual effects supported by Screen NSW.

INVISIBLE BOYS

From Logie and AACTA award-winning creator/director Nicholas Verso, the Stan Original Series Invisible Boys will complete production this month in Perth and Geraldton, WA. Based on Holden Sheppard’s multi-award winning LGBTQIA+ novel, Invisible Boys is a 10-episode LGBTQIA+ drama starring Joseph Zada, Aydan Calafiore, Zach Blampied, Joe Klocek, Pia Miranda and David Lyons, produced by Tania Chambers for Feisty Dame Productions and Nicholas Verso for Asphodel Films. Major production investment from Screen Australia in association with Stan. Financed with support from Screenwest, Lotterywest, and the WA Regional Screen Fund. Distributed internationally by Banijay Rights. Developed with assistance of Screen Australia.

Black Snow S1: One of Stan’s recent hit originals

Five breakout Originals returning, exclusive to Stan.

BLACK SNOW S2

With production commencing in Queensland, the second season of the Stan Original Series Black Snow, produced by Goalpost Pictures, will see Travis Fimmel reprise his role as Detective Cormack, as he tackles two separate missing persons cases. One is professional, as he investigates the disappearance of Zoe Jacobs, who disappeared from her own 21st birthday party in 2003. The other is personal, as Cormack searches desperately for his own younger brother, who went missing when they were children. After a smash-hit first season, Director Sian Davies, Executive Producer Rosemary Blight and Series Creator Lucas Taylor return to the series and Helena Brooks joins as Director. Black Snow season two is produced in association with All3Media International and Sundance Now and with financial support from Screen Queensland, Screen NSW and City of Gold Coast.

BUMP S5

Australia’s favourite family will return, with the Stan Original Series Bump confirmed for a fifth season. One of Stan’s most beloved Originals since 2021, Nathalie Morris, Carlos Sanson Jr, Claudia Karvan and Angus Sampson will reprise their roles. Produced by Roadshow Rough Diamond and its founders Dan Edwards and John Edwards, along with co-creators Claudia Karvan and Kelsey Munro. Financed with support from Screen NSW. ITV is managing international sales.

SCRUBLANDS S2

Stan Original Series Scrublands is returning with an adaptation of Chris Hammer’s best-selling second novel Silver, to be filmed in Western Australia, Martin Scarsden has returned to his coastal hometown, Port Silver, to set up a new life with partner Mandy Bond. When he arrives to find his childhood friend Jasper brutally murdered and Mandy the prime suspect, Martin makes it his duty to find the real murderer and absolve Mandy. In the process, he confronts hidden truths about Port Silver and his own long-buried past. Directed by Ben Young, with writers Felicity Packard, Jock Serong and Fiona Kelly. Co-commissioned by Stan and the 9Network, from Easy Tiger and Third Act Stories, produced by Ian Collie, Rob Gibson, Martha Coleman and Felicity Packard. Executive Producers Michael Healy and Andy Ryan from the 9Network and Cailah Scobie and Alicia Brown for Stan. Major production investment from Screenwest, Lotterywest and the WA Regional Screen Fund. Developed and Produced with the assistance of Screenwest and Lotterywest. International sales are handled by Abacus Media Rights.

Scrublands S1 director Greg McLean and cast Luke Arnold, Bella Heathcote and Jay Ryan

POKER FACE S2

After a star-studded, addictive first season, Rian Johnson’s Stan Original Series Poker Face will return. Starring Natasha Lyonne, the mystery-of-the-week series follows Charlie Cale, who has an extraordinary ability to determine when someone is lying. She hits the road with her Plymouth Barracuda and with every stop encounters a new cast of characters and strange crimes she can’t help but solve. The first season featured an all-star guest cast including Adrien Brody, Chloë Sevigny, Benjamin Bratt and Nick Nolte.

TEN POUND POMS S2

The smash hit Stan Original Series Ten Pound Poms will return for a second series, with Michelle Keegan, Warren Brown and Faye Marsay all set to reprise their roles alongside Australian actors Rob Collins, Leon Ford and Stephen Curry. A co-production between Stan and the BBC, Ten Pound Poms is produced by Eleven and written and created by the BAFTA award-winning Danny Brocklehurst, who also executive produces. Joining Danny on the writing team is Australia’s Ryan Griffen alongside Smita Bhide. Season two is directed by Australia’s Ana Kokkinos and the UK’s Tom McKay. The series is supported by Screen NSW through the Made in NSW Fund.

Stan Originals UNSCRIPTED

DRAG RACE DOWN UNDER

The Stan Original Series Drag Race Down Under will return later this year for a fourth season, with international icon Michelle Visage confirmed as the new host. Also announced is the return of Aussie comedian Rhys Nicholson, who will be joined on the main stage by Down Under’s glittering drag royalty. This is the first time Down Under queens have been enlisted for their expertise to judge and mentor a new cast of fierce local queens all vying to be Down Under’s next Drag Race Superstar. A World of Wonder production in collaboration with Warner Bros. NZ for Stan Originals in Australia, WOW Presents Plus everywhere else.

TRAILBLAZERS

Showcasing the transformational journey of the Matildas, Australia’s beloved national Women’s Football team, the Stan Original Documentary Trailblazers will premiere on Stan ahead of the Olympic Games Paris 2024. Created by an all-female production team, the Stan Original Documentary Trailblazers features past Matildas legends including first captain Julie Dolan, and current stars: Captain Sam Kerr, Vice-Captain Steph Catley, Mary Fowler, Ellie Carpenter, Teagan Micah, Melissa Barbieri, Kate Gill and Moya Dodd. Trailblazers also features contributions from ex-Socceroos Captain and Stan Sport commentator Craig Foster, coach Tommy Sermanni and the first Indigenous female player Karen Menzies. Trailblazers is a Savage Films, Milestone Films and LM Films Production. Principal Production Funding from Mecca M-Power in association with Screen Australia and VicScreen. Developed with the assistance of VicScreen.

Nick McKenzie

Stan also announces three brand new Original Documentaries in its investigatory Revealed slate.

REVEALED: BRIBE, INC.

Highly acclaimed The Age and 60 Minutes journalist Nick McKenzie uncovers global corruption in the oil industry in the Stan Original Documentary Revealed: Bribe, Inc. Examining Monaco-based business Unaoil’s global bribery scandal and exclusively featuring the whistleblower who brought the crimes into the open, Bribe, Inc. details the company’s audacious corruption and resulting widespread damage, investigating a slew of multi-million dollar bribes paid on behalf of some of the biggest companies in the world. An Australian Canadian collaboration, produced by 1441 Productions, directed by Peter Klein, written and produced by Peter Klein and Calyn Shaw.

REVEALED: KILLJOY

The story of a family homicide, Revealed: KillJoy offers the unique view of family violence from the perspective of the child. Kathryn Joy, whose father killed their mother when they were three months old, embarks on a journey to uncover their mother’s buried story. Produced by Lisa Albert, with associate producers Kathryn Joy and Jess Hill (See What You Made Me Do). Project Advisor Ivan O’Mahoney (Firestarter: The Story of Bangarra, Folau). Directed by Vincenzo Lamberti (Intervention: Stories from the Inside). A Fringe Dweller Films production for Stan. Principal production funding from Screen Australia in association with The Post Lounge, VicScreen and Shark Island Foundation. Developed with assistance from Shark Island Foundation, VicScreen and Screen Australia.

REVEALED: MALKA LEIFER

Revealed: Malka Leifer explores a harrowing abuse scandal in Melbourne. After years of unspeakable abuse at the hands of their headmistress, three sisters near the end of a quest for justice two decades in the making. Raised in an isolated ultra-orthodox Jewish community, hidden in plain sight in Melbourne’s southeast, the sisters are finally set to face their tormentor in court. It marks the culmination of a saga of betrayal, conspiracy, international intrigue and deep trauma that has taken a huge personal toll. Will the sisters get justice and if so, at what price? Principal production funding from Screen Australia in association with Stan. Financed with support from Screen NSW, VicScreen and philanthropy via Documentary Australia. The film is produced by Ivan O’Mahoney for In Films, Joel Pearlman and Edwina Waddy Roadshow Films, and directed by Adam Kamien, in association with Fremantle, who will also handle international distribution of the series.

Population 11

Stan Originals STILL TO PREMIERE

POPULATION 11

Premiering Thursday, American actor and executive producer Ben Feldman leads the Stan Original Series Population 11, a comedy crime thriller filmed in Western Australia’s Kimberley Region. Inspired by true events, Population 11 is about a man who goes missing from a tiny outback town of only twelve residents, and his estranged son, who journeys from the U.S. to find him. The second series to be co-commissioned by Stan and Lionsgate, Trent O’Donnell (New Girl, Hacks) directs and executive produces the series from Jungle Entertainment.

THE TATTOOIST OF AUSCHWITZ

Premiering May 2, and starring Harvey Keitel and Melanie Lynskey, the Stan Original Series The Tattooist of Auschwitz is a six-part limited drama series based on the international best-selling novel by Heather Morris, and inspired by the real-life story of Lali and Gita Sokolov, who met while prisoners in the Auschwitz concentration camp during the Holocaust of World War II.

WINDCATCHER

After 12 years, Jessica Mauboy returns to the screen in her first film since The Sapphires. A family feature, the Stan Original Film Windcatcher premieres March 28 and follows the unlikely friendship between Percy Boy and his two friends as they band together to take the local school sports day title from a group of grade five bullies. Stan’s first co-commission with the Australian Children’s Television Foundation.

THE SURFER

A psychological thriller starring Nicolas Cage, Julian McMahon and Miranda Tapsell, the Stan Original Film The Surfer is an intensely unnerving feature film shot in Yallingup, WA. When a man returns to Australia to buy back his family home after many years in the US he is humiliated in front of his teenage son by a group of local surfers. Wounded, he defies them and remains at the beach. Conflict escalates and he is brought to the edge of his sanity.

THOU SHALT NOT STEAL

Directed by AACTA Award-winning filmmaker Dylan River, the Stan Original Series Thou Shalt Not Steal stars Sherry-Lee Watson, Will McDonald, Miranda Otto and Noah Taylor. An eight-episode road series set in Central and South Australia during the 1980s, the series follows a young Aboriginal delinquent searching for the truth behind a mysterious family secret, who escapes from detention and reluctantly teams up with an awkward teenager. Together they flee her small central desert community on a perilous journey across the outback.

REVEALED: OTTO BY OTTO

Inspired to make an intimate family portrait, Gracie Otto directs this feature-length Stan Original Documentary Revealed: Otto by Otto about her father, Barry Otto, whose career in Australian theatre, film and television has spanned more than 50 years. Featuring interviews with Barry’s collaborators, Revealed: Otto on Otto takes audiences on a journey through Australia’s theatre industry in the 70s and 80s.

REVEALED: HOW TO POISON A PLANET

Revealed: How To Poison A Planet, (previously titled Safe To Drink), exposes the shocking contamination of toxic chemicals that sparked an international environmental catastrophe and tells the story of the devastating impacts on contaminated communities who are fighting for justice. In collaboration with Walkley Award-winning journalist Carrie Fellner and The Sydney Morning Herald, spanning from the US to a small Aboriginal community in Australia, taking on its own David and Goliath battle, Revealed: How to Poison A Planet investigates how the use of a product as seemingly harmless as firefighting foam, has resulted in contamination of communities all over the world.

Revealed: How to Poison A Planet is produced by iKandy Films in association with Screen Australia, Shark Island Foundation and Screen NSW.

REVEALED: RENEE GRACIE

Revealed: Renee Gracie follows Australia’s first female race car driver as she attempts to re-enter V8 racing after being pushed out of the sport and becoming a multi-millionaire through online adult entertainment. Written and directed by Frances Elliott and Samantha Marlowe, produced by Cody Greenwood, and executive produced by Nick Batzias and Charlotte Wheaton. Produced by Rush Films. International sales by Rush Films.

See also: First look – Harvey Keitel stars in Stan Original series The Tattooist of Auschwitz

With household budgets tightening, Australians are becoming less swayed by environmental, social and governance (ESG) issues such as sustainability when it comes to their food purchasing behaviour.

Claims of progress towards a net-zero emissions goal – such as Coles’ Together to Zero platform – have almost no influence on purchasing behaviour, according to a study from strategic comms company Porter Novelli Australia and research agency Quantum Market Research.

According to Food for Thought: ESG and Consumer Behaviour in Agriculture, 80 per cent of Australians say carbon reduction and net zero has “little to no influence on their food choices.”

However, Porter Novelli’s chief executive officer Rhys Ryan says that the increasing cost of running more responsible businesses is only sustainable if it is offset by efficiency gains and increased sales.

“Australians have always been pragmatic, but nothing sharpens your focus at the supermarket like 13 interest rate rises,” says Ryan.

The research comes in the wake of greenwashing crackdowns from the Australian Competition and Consumer Commission (ACCC) and Australian Securities and Investments Commission (ASIC).

In November last year, ASIC confirmed its intensified efforts would be geared towards advertising claims made by investment and superannuation funds.

Earlier this year,  the ACCC published its draft guidance to improve businesses’ environmental claims.

In response, the national industry body for advertisers, the Australian Association of National Advertisers (AANA), created and released an exposure draft of its own Environmental Claims Code for public comment, aimed at advancing the advertising industry towards a sustainable future.

See also: Josh Faulks: Industry needs to work with government and consumers to overcome greenwashing

Ryan states that “responding to increasing pressure from employees, consumers and activists – and  institutional capital – always comes with a cost, which marketers often hope to offset through  increased sales as discerning consumers pay a premium for ‘purpose.’”

Yet the majority of Australian consumers aren’t willing to pay for or able to afford this premium, the data shows. 

More than half of respondents in the Food for Thought study said they felt no increasing pressure to purchase food produced more responsibly. 

“Faced with rising costs and culture wars, pragmatic Australians seem to pick and choose which ‘cause’ they will spend more on,” said Ryan. 

“Either way, ESG is here to stay,” Ryan continued, alleging that institutional capital will only see stakes pertaining to issues “like climate and diversity” rise over time. 

He maintains the only choice food brands have is to offset growing costs with more revenue.

“If you want that, you must communicate your organisation’s  initiatives in a way that actually resonates with Australians,” said Ryan.  

According to the report, what will capture the attention of Australians are the pragmatic, local, and specific actions of food brands, rather than abstract and intangible claims of net zero and emissions.

When it comes to their food buying, Australians are foremost concerned about animal welfare  (47%), locally-grown and processed food (45%), followed by fair pay for farmers (43%).

“Less tangible actions – while valuable in lots of ways – do not seem to translate into consumers’ purchase intent,” said Ryan.

“Net zero can sound like a buzzwordy pipe dream, but a pilot program to electrify your organisation’s fleet of delivery trucks – with solar and batteries to  fuel them – sounds much more real, even though it is smaller in scope.”

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Top Image: Rhys Ryan

Independent advertising agency The Hallway has partnered with Sydney-based Wholegreen Bakery in a bid to make gluten-free sceptics “eat their words” with the launch of a Coeliac-Australia-accredited Cardboard Cake.

The Hallway led the design process, including developing a bespoke baking tray imitating the appearance of corrugated cardboard, a tongue-in-cheek play on stereotypes of gluten-free food.

Simon Lee chief creative officer and partner at The Hallway described the cake as a point-proving symbol: gluten-free diets aren’t a death sentence against delicious baked goods.

“It’s been an extraordinary collaboration that’s taken our design and production smarts out of the studio and into the kitchen.”

Founder of Wholegreen Bakery, Cherie Lyden, who established the bakery in 2014 after she and her daughter were diagnosed with Coeliac Disease, said her creations have long been proving naysayers wrong.

“With The Cardboard Cake we’re taking it to the next level and tackling the misconceptions head on,” said Lyden.

Cardboard in appearance but not in taste, the cake includes ingredients such as butterscotch, coffee, cocoa powder, pastry, caramel, and brown rice flour. It will be available from Wholegreen Bakery’s three Sydney storefronts from 13-17 March 2024.

The campaign follows the agency’s recent B Corp certification, which serves as a global standard for businesses that uphold high levels of social and environmental responsibility, accountability, and transparency.

See also: The Hallway earns B Corp certification, commits to “people and planet as well as profit”

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. 

Credits
Public Relations Partner: Alt/Shift/
Andie Crawford – Managing director, Sydney 
Nicole Baumli – Senior account director
Bronte Mather – Account manager 

Metal Fabrication:  Metal-Tech Industries

Packaging: Premier Northpak

Photographer: Andy Lewis

Cinematographer: Milos Mlynarik

Editor: Adrian Barac

Colourist: Fergus Hally

Sound: Rumble
Sound engineers: Daniel William and Sean Wilkinson
Sound producer: Michael Gie

Website Developer: Tye Brown

See also: The Hallway announces appointment of Kent Boswell as creative tech and innovation director

Imagine you’re standing in the middle of Times Square as an unending rush of bright, flashy billboards vie for your attention. Each one is louder and more insistent than the last. The intensity of the lights, sounds, and movement overwhelms your senses with an onslaught of information from every direction.

The reality is you don’t need to go all the way to New York to experience that, you just need to have a phone and a laptop. There’s a ceaseless onslaught of information bombarding us from every corner of our digital lives, 24/7.

We’re all living in Times Square.

And this “content overload” is only going to get more intense in the years to come, as it becomes technologically possible for more brands to reach bigger audiences, and as more and more people (and machines!) clamour for our attention. As a result, our ability to retain volumes of information is diminishing as so much of it is coming our way each day.

This is important to keep in mind as we are building a presence that is visible to more people. Simply being aware that your message is likely mixed in with thousands of other messages coming at them simultaneously is essential.

Regardless of where your audience is located, there isn’t a place on earth that hasn’t been turned upside down in the last few years. People in general are cynical about many of the old ways of becoming visible, especially when it comes to content and messaging, and they remember less of what they see and hear. Therefore, our approach needs to change, as messaging precision and emotional connection become vital ingredients in being seen, heard, and remembered.

So, what does this mean when it comes to marketing?

Whether you’re an enterprise, small business, or personal brand “Adding value” is no longer the gold standard, especially when it comes to content creation.

(If you skimmed over that previous line, I’ll repeat it, it’s important!)

“ADDING VALUE” IS NO LONGER THE GOLD STANDARD

We are now in an era where there is “value” everywhere we look – Google, YouTube, infographics in your social feed – heck, even the local library! Free valuable information on every topic imaginable is widely available and no longer hard to find, there is more than you could ever consume in a lifetime. What is lacking is the ability to interpret that information and break down which of the gazillion ideas is worth applying, and what is genuinely helpful to an individual’s unique situation at a particular point of time.

On top of that, making this accessible and actionable for the average person with a business, or a job, kids or pets, who values self-care, relationships, and their sanity, is an even bigger challenge. The volume of information we desire to be aware of increases, but our mental bandwidth to process it diminishes due to the myriad of things competing for our attention.

When people are tuning out because of too much on their mind, despite what so many marketing “gurus” may be purporting, it’s pointless to play the volume game. If your content isn’t landing, isn’t connecting and isn’t effective – creating more of it isn’t the solution. That just causes people to tune out and glaze over and will leave you feeling like you’re spinning your wheels with no tangible outcome.

So what’s the solution?

Think about putting yourself in your audience’s shoes, regardless of what industry you’re in – technology, advertising, media, wellness, professional services – think of the people who are engaging with your content and marketing messaging.

People are craving hope, optimism, and, quite simply, the need to “feel good” and “feel seen” in the face of a million things trying to get them down. If your brand can play that role – you will be one that’s remembered.

Walk a mile in their shoes, or rather, sit for an hour in their inbox or news feed. What’s on their mind? What’s the big goal they’re currently trying to nail? Why? Where are they looking for answers? Why is what they’re doing not working? And how does what you are sharing help them alleviate that?

In a world where so much marketing messaging is purporting subtle messaging of “do more” and “get this” and “be that”, if you want to go beyond just communicating, and truly connect, relieving anxiety with the content we create, not creating more of it, should be the goal.

So that instead of that feeling of being a constant stream of paparazzi flashes in the eyes of our audience, who are struggling to take it all in, our content is more akin to the trusted lamp of an air traffic controller in the night, clearly visible and showing the way to the runway and helping them take off and get to where they want to go faster, and safely.

In a world that’s obsessed with value and volume, audiences just want to be shown the way.

See Also: Nina Christian: Creating an elegant personal brand, the butterfly way

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Nina Christian is a Marketing Futurist, & Global Marketing Mentor who helps people do their marketing in a more human way. 

She is a Certified Practicing Marketer (CPM), Life Member and Fellow of the Australian Marketing Institute & AMI State Chair (Vic) and for 20 years was director of marketing agency Braveda (Winner, Best Marketing Agency, Australian Marketing Excellence Awards).

Several years ago Nina saw the world of marketing shifting – this time as people became their own brands.  With this, she created a new business as a thought leader, combining her expertise in brand building with personal positioning, resulting in a breakthrough praxis known as Marketing Me® which she delivers globally to business leaders, professionals and entrepreneurs.

She is the author of the book Marketing Me: Take Charge of Your Personal Brand and Make Your Mark on the World which helps professionals who want to market themselves authentically, but don’t understand what makes them truly unique and significant or have the confidence to express their value in a way that feels good.

Being a hands-on mum of five children, Nina has developed a knack for simplifying complexity. As a result, her systems and processes are practical, accessible and impactful.

February’s Podcast Ranker data has rolled in, with ARN’s Casefile True Crime returning to its previous home of top spot.

According to Triton Digital, Casefile was downloaded 2,212,055 times across the month, and recorded 878,248 monthly listeners.

Spinoff podcast Casefile Presents: The Easey Street Murders debuted at #104.

January’s number one podcast Shameless dipped a place to come in second, and Mamamia Out Loud rounded out the top three.

In fourth place was The Kyle & Jackie O Show podcast, up two places as the duo announced the date for their expansion into the Melbourne market. 

See Also: Confirmed: When Kyle and Jackie O will launch in Melbourne

Nine new podcasts debuted in February. The highest debut came from Happy Hour with Lucy & Nikki at #16, in the first ranker since the pair made the jump over from Spotify to LiSTNR.

Other debuts include Wondery’s MrBallen Podcast: Strange, Dark & Mysterious Stories at #73 and SiriusXM’s The Megyn Kelly Show at #149. 

It was a big month for ABC’s podcasting division, with two major spikes. ABC News Daily lifted 46 places to #10, and If You’re Listening with Matt Bevan shot up a staggering 159 places to #35.

ARN remains in the top spot for Publishers, with ARN’s head of digital audio, Corey Layton, saying: “With 3 out of 4 Australians that listen to podcasts each month selecting an iHeart show, the engagement of our incredible slate can’t be beaten. Combined iHeart delivers more podcast hits that drive over 1 million downloads per month, more than any other publisher.”

Topping the list for sales representation was LiSTNR. SCA chief commercial officer, Seb Rennie, said: “Today’s Australian Podcast Ranker results are a strong demonstration of LiSTNR’s audience growth and listener engagement. With the launch of LiSTNR’s AdTech Hub this month providing deep insights and a privacy first environment, and a new, improved user experience on the refreshed LiSTNR app, there are even more compelling reasons for advertisers to take advantage of the unique benefits that podcast advertising brings and engage with listeners on a deeper level.”

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Crowded House and Angus & Julia Stone are set to perform at the 2024 Shure Rolling Stone Australia Awards, which return to Sydney on Tuesday, March 26.

Crowded House have been staples of the Australian and New Zealand music scene since forming in 1985, going on to become one of our most successful musical exports. The band have won 12 ARIA Awards and eight APRA Awards, achieving chart success in the US, UK, Europe and South Africa, and being inducted into the ARIA Hall Of Fame in 2016.

Angus & Julia Stone are set to release their sixth studio album Cape Forestier in May. In the awards, Angus is nominated in the Best Record category for his Dope Lemon project’s release Kimosabè. 

The evening will again be hosted by former triple j breakfast presenter turned host of the daily Matt & Alex – All Day Breakfast podcast, Alex Dyson.

Speaking of his hosting role, Dyson said he was “extremely honoured to be invited back.”

“Sure, I wish it was because my experimental spoken word psy-jazz record was nominated for Best Album, but until that gets the traction it deserves I’m still thrilled to be involved in the capacity of host,” Dyson joked.

The annual awards will also welcome multiple new and returning sponsors in 2024, with headline partner Shure returning alongside American Apparel, JMC Academy, and Largo Brewing.

Poppy Reid, editor-in-chief at Rolling Stone Australia publisher The Brag Media, said:

“With this year’s awards taking place at our new home of Ivy in Sydney, we wanted to really step up our performer lineup in 2024. I’m looking forward to hearing Angus & Julia Stone’s incredible vocal harmonies ringing through the venue. Of course, it’s also an absolute privilege to reveal that Crowded House will also take the stage at the awards, and we all can’t wait to hear these genuine icons of our industry.”

Australia has placed #6 in WARC’s Creative 100 rankings, coming in behind the US, France, UK, Canada, and Brazil.

The ‘most creative’ local campaign was The First Digital Nation for the Government of Tuvalu via The Monkeys Sydney, which placed fifth.

No Australian shops scraped into the world’s top 10 most-awarded agencies for creativity.

The WARC’s Creative 100 stands as an independent global benchmark of the world’s most celebrated advertising campaigns, collecting and consolidating work as awarded by major global and regional creative shows throughout 2023.

The league tables are determined through a yearly global panel survey and consultation with the WARC Rankings Advisory Board.

According to WARC, this year’s top-ranking campaigns showcased a prevalent use of digital technology and a focus on women’s rights.

 “They provide the ideal opportunity for the industry to reflect and be inspired by the great body of work produced and how creativity is a driver, not only of differentiation, but for change,” said Amy Rodgers, head of content at WARC Creative.

Ogilvy Tegucigalpa’s Morning After Island campaign for Grupo Estratégico PAE took out the top position for work. Behind Ogilvy’s campaign in second place was BBDO Toronto’s Missing Matoaka for Indigenous arts and culture magazine Muskrat, which told the true story of Pocahontas.

McCann Warsaw’s ‘Where to Settle’ for Mastercard came in third – a digital platform for client Mastercard that helps Ukrainians find places of refuge outside of big cities.

The United Stated retained its status as the most awarded country for creativity, while the United Kingdom relinquished its second-place position to France for the first time in a decade.

In addition to campaigns, WARC listed top-performing agencies, networks, holding companies, brands, advertisers, and countries on the basis of creativity.

BETC Paris secured the top agency position, while Ogilvy maintained its dominance as the leading network for creativity for the fourth consecutive year. WPP emerged as the top holding company, and Burger King retained its position as the most creative brand.

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Top Image: The First Digital Nation for the Government of Tuvalu via The Monkeys Sydney

See also: Ogilvy PR reveals new corporate leadership structure as Jacquie Potter departs for ALDI

SLIK will support Paralympics Australia in its fundraising goals with a unique virtual experience to be launched before the Paris 2024 Games. 

The independent creative agency will develop a platform for the sports body that provides a virtual gateway to raising funds to help current and aspiring Paralympians chase their sporting dreams. 

SLIK co-founder and head of technology, Kyle Bennett, said the agency is working with Paralympics Australia to gain vital insights from Australia’s Para-athletes.

He also noted that the creative agency is working with usability and accessibility consultants to ensure that accessibility is a priority.

“We’re excited about working on such an iconic event in the global sports calendar and feel the challenge ahead is a perfect fit for SLIK’s strategic combination of creativity and technology,” Bennett added.

Paralympics Australia’s head of commercial, communications and brand, Cameron Murray, said the partnership with SLIK is vital to the sustainability of para-sport in Australia to build on the success of existing fundraising programs.

“This innovative solution will deliver a new experience that will bring messages of support to athletes and engage audiences through content and a unique virtual experience – all while delivering essential funding for our organisation,” Murray added.

SLIK has had success with an expanded portfolio across categories including telco, insurance, and FMCG, with key clients such as Qantas, Nine, nib and TPG Telecom.

Last year, the creative agency was registered as an Indigenous business with Supply Nation, a non-profit organisation that aims to grow the Aboriginal and Torres Strait Islander business sector through the promotion of supplier diversity.

At the time, Bennett, a Wiradjuri man, said it’s an important step towards driving real impact for Indigenous communities, businesses and individuals across the country.

See also: SLIK registers with Supply Nation and partners with First Nations Foundation

Skims, the fashion apparel brand co-founded by Kim Kardashian, has launched its first national television campaign: a futuristic film created by Wieden+Kennedy Portland. 

Set in the fictitious Skims outer-space test lab, the film is a panoramic shot across a series of video monitors, where the business mogul herself assumes the role of her ‘Klones’ to the backdrop of Gary Wright’s 1975 track Dream Weaver. 

From chief engineer to test subjects, Kardashian’s portrayal is a humorously hyperbolic personification of the film’s tagline: “Where the next generation of underwear and shape-wear are tested and engineered to perfection.”

The 60-second feature, directed by Frank LeBon, balances avant-garde mid-century modularity with Kim’s signature minimalist nude aesthetic, also a cornerstone of the Skims brand identity. 

Heidi Bivens, known for her work on HBO series Euphoria, handled the costume design.

The ad made its debut with spots leading up to the 96th Academy Awards, broadcast on the American Broadcasting Company (ABC)’s Countdown and E!’s Oscars Red Carpet. 

See also: TV Guide: The 96th Oscars on Seven and 7plus

Azsa West, co-chief creative officer at W+K Portland, described the film to Muse by Cleo as an exaggerated launch story for Skims, aimed at introducing the brand to a wider audience. 

“The only way to accurately portray Skims as a brand is with an equally unbelievable, hilariously extravagant story of the company’s founding – a secret lab in outer space staffed entirely by Kim and her Klones,” said West. 

“They work tirelessly, going to extreme lengths to test the products, ensuring every Skims product is tested to perfection and ‘out of this world’.”

The work follows the creative agency‘s successful pitch securing the Skims account last year.

In addition to the TVC, slated to air across broadcast channels in the US and online until the end of April, the campaign is supported by an omnichannel approach encompassing socials as well as prominent out-of-home placements in Los Angeles and New York.

The move comes as Skims continues to experience notable growth since its establishment in 2018, recently garnering a valuation of $4 billion. The brand has now announced plans to expand into physical retail, with flagship stores set for Los Angeles and New York later this year.

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Top Image: Kim Kardashian

Vista Group’s cinema and streaming guide Flicks has announced a premium content partnership with Prime Video in New Zealand. 

Beginning from the start of this month, the year-long partnership will see Prime Video’s brand and titles gain premium visibility across Flicks’ website and app. 

Flicks will introduce a bespoke hub exclusively for Prime Video content, as well as regular editorial coverage and monthly high-impact ad campaigns for Prime Video.

Dan Michelle, commercial director at Flicks, said that Prime Video’s library aligns with its mission to provide the best entertainment recommendations and content for its audience.

“This strategic collaboration is set to elevate the streaming experience for our users, and further position Prime Video as a must-have service for Kiwi streamers,” he said.

Flicks was launched in 2005 and is available in New Zealand, Australia and the UK. The service reaches over 22.5 million unique users globally each year and provides users with cinema listings, streaming guides, reviews, and topical editorial content. 

While the partnership is aimed at Kiwi content consumers, Prime Video states its global reach ensures relevancy across Flicks’ additional territories. 

The Flicks and Prime Video partnership comes as media buyers are calling on streaming services to provide greater insights into their audiences to help increase spend. 

Josh Greive, trading director at UM Australia, told Mediaweek, “With client budgets tightening in 2024, investment decisions are receiving greater levels of scrutiny, and so it’s vital that agencies can interrogate data beyond rate to help inform their planning decisions.

“If the focus is to go all in on selling ads, they need to adapt by providing agencies and clients with a greater understanding of their audience data as this will help drive take-up of their services such as incremental reach.” 

With market competition set to increase further with the mid-year launch of Prime Video’s ad tier and the anticipated launch of a Disney+ ad product later this year, Greive believes there is a need for greater improvements. 

“Initially, there were challenges in allocating significant portions of screen budgets to SVOD services that have launched ad-funded tiers due to their limited scale,” he said. “Over time, this has improved dramatically.”

See also: Streaming services need to share audience data and insights to grow ad investment

Lauren Phillips upset Captain Richard de Crespigny this morning, by suggesting that pilots “don’t need to do anything” to fly a plane, following news that two pilots had been caught falling asleep in the cockpit as their aircraft flew off course in Indonesia. 

On Nova 100’s Jase & Lauren breakfast show, de Crespigny said: “I mean, you have a responsibility as a pilot to protect the lives of all your passengers and you do not make that subservient to looking after a baby. If that’s the problem, you do not go to work.”

Phillips: “But Captain Richard, the planes fly on like autopilot, right? Are the pilots, are they doing much up there … for half an hour, they were asleep and the plane just cruised.”

de Crespigny: “Yeah, just like the radio station. It all goes on automatic doesn’t it? You don’t need to do anything.”

Phillips’ co-host Jase Hawkins went on to ask de Crespigny whether pilots get first choice of the plane meals before they are distributed to passengers.

de Crespigny replied: “You don’t want everyone to eat fish in the cockpit. So pilots must eat separate meals and in fact they load separate meals for the crew because the most risky food to eat on an aircraft is a first class food and now the reason for that is because they have salads, they have oysters, cold seafood, salad. These are things that, well certainly cold seafood is a great risk.”

The Jase & Lauren show began on Nova last week, after they were booted from the KIIS breakfast slot to make way for Kyle and Jackie O in Melbourne.

“It really sucked. The show was starting to get some momentum and the rug was pulled from under us,” Hawkins said of their departure from KIIS on the pair’s first day broadcasting for Nova.

“We are not naïve, this is the entertainment industry and people lose their jobs all the time.”

Today, it was revealed Kyle and Jackie O will start broadcasting in Melbourne on 29 April.

“We’re just going to give you a very different type of radio show,” Sandilands told Byron Cooke, who’s been holding down the breakfast slot until they start.

“I’m not saying the other ones are the worst shows in the world because they’re not. They’ve been great, but we just offer something different.”

He had previously called Jase and Lauren’s new show the “sh***est in Melbourne”.

“Melbourne, I can’t wait to go there. I can’t wait for the whole show to go completely national live,” Sandilands said.

“All the Melbourne stations, they are all circling the wagons.

“They keep telling everyone in the press, ‘Aw yeah, we are not worried.’ They are sh***ing themselves and I don’t blame them. I am not here to come second.”

Westfield and The Walt Disney Company will collaborate for a second year to bring to life the magic of Disney storytelling across Australia and New Zealand.

Customers and fans are invited to join in on events and activations throughout 2024, designed to ‘Spark Joy in the Everyday at Westfield’ in a distinctively Disney way.

This year, Disney and Westfield will celebrate three beloved Disney universes: Star Wars (‘Spark Excitement’), Marvel (‘Spark Adventure’), and Disney Princess (‘Spark Magic’).

Lillian Fadel, Scentre Group’s director customer, community and destinations, said Scentre was looking forward to extending its collaboration with Disney to deliver more events and activations that celebrate the brand’s “famous storytelling and innovation.”

“Our customers have told us they value and enjoy these experiences, and we’re looking forward to sharing more memorable moments with them over the coming months.”

Tim Everett, The Walt Disney Company Australia & New Zealand, vice president and general manager of consumer products, said: “We are so thrilled to continue our partnership with Westfield, sparking excitement, adventure and bringing the Disney magic to their customers and our fans throughout 2024.”
 
The 2024 program follows a year of activations when both brands first came together to celebrate Disney100 in 2023 for Disney’s 100th anniversary.
 
This included experiential Disney retail pop-ups, immersive shopping photo opportunities that celebrate iconic Disney moments, inviting in-person access to shop exclusive Disney Store merchandise, larger-than-life LEGO installations, customer competitions and augmented reality experiences.
 
At the time, Elliott Rusanow, chief executive officer, Scentre Group, said: “We create destinations our customers choose to visit more often and for longer. We’re pleased to be collaborating with Disney in 2023 to celebrate its timeless storytelling across all 42 of our Westfield centres.
 
“We know the intergenerational appeal of Disney will resonate deeply with our customers and we look forward to welcoming fans of all ages to our destinations from this month.” 

See also: Westfield announces year-long collaboration with Disney to celebrate its 100th anniversary

TV Report March 12, 2024:

Nine TV Report

Married at First Sight

Nine’s evening began with an early wake up for one couple on Married at First Sight. 

Lauren must unexpectedly temporarily leave the experiment. She’s sad to miss out on a week with her husband Jonathan, and he’s not sure how he’s going to handle being all alone.

Meanwhile, as Feedback Week continues, Cassandra and Tristan are writing a feedback letter to Jade and Ridge. They think Ridge needs to grow up, so they have treated “Jade Day” where he must do all the chores and cooking and Jade can put her feet up. He cleans the bathroom for the first time ever and makes Jade tuna and rice.

Timothy and Lucinda provide disconnected couple Andrea and Richard with a task; to relive their wedding vows and first dance, in the hopes of reviving their lost spark. As Andrea and Richard re-do their wedding day, they’re taken back to their perfect first moment. 

Sara is doing her best to win back Tim’s trust with a picnic by the harbour and lists all the things she likes about Tim. He admits to Sara he wanted to see her fight for him and is feeling the warmth. 

Next, the Experts have paired up Ridge with Andrea to give a fresh perspective on her relationship. He tells Andrea she wears the pants in the relationship. Andrea finds Ridge’s perspective unsettling and now feels like she’s questioning everything. When Andrea relays their conversation to Richard, things become tense as he says there is some truth to this claim, and she’s putting walls up as an excuse for something else. Richard wants Andrea to admit that she’s not into him anymore and Andrea feels unheard.

A Current Affair

Over on A Current Affair, teachers were busted vaping and smoking in school toilets amid a calendar scandal and highlighted a family’s 10-year search for the killer of a Melbourne grandmother.

Seven TV Report

The Roast of John Cleese

Over on Seven, some of Australia’s funniest performers paid homage to international comedy legend, John Cleese, firing good-natured insults and jokes at the guest of honour and themselves. 

Home & Away

Before John Cleese was Home & Away as Remi pushes himself to the limit, Stevie’s stalker gets too close and Eden calls for help. 

10 TV Report

The Project

The Project on 10 reported on Kate Middleton’s statement over the Royal edited photo, looked into the aged care wealth debate and welcomed Tommy Little to the desk.

Australian Survivor

On 10’s Australian Survivor, Kirby, feeling betrayed and vulnerable after Rianna’s exit, is on a mission for Immunity, while the tribe scatters in search of Idols. Kitty’s overeager damage control and bold claims of unbeatable endurance further alienate her from Kirby and Feras.

Whilst Carlone, driven to make bold moves to add to her resume, discovers an Idol, stirring up the game. Tribal Council ends up being fraught with tension. 

ABC

7:30

On 7:30, Sarah Ferguson interviewed Shadow Minister for Climate Change and Energy Ted O’Brien about the Coalition’s push for nuclear energy and also looked into evidence suggesting products called toddler milk are at best unnecessary and at worst, harmful.

Back Roads

Back Roads saw Rae Johnston continuing her journey to East Arnhem Land where two very remote communities are located – Gapuwiyak and Galiwin’ku – where the Yolngu people’s lives are deeply connected to their culture.

SBS

Who Do You Think You Are? Aus

Last night’s episode of Who Do You Think You Are? Aus welcomed Dr Who and Broadchurch actor Jodie Whittaker as she investigated her family history. On her dad’s side, she looks into a romantic story she’s been told about how her grandmother Greta came to be given the middle name of ‘Verdun’. 

See also: TV Report March 11, 2024: Feedback Week provides hard truths for the MAFS couples