Meta has claimed criticism of its recent decision to exit news deals shows a “misunderstanding of how news content works on Facebook”.

In a blog post, the tech giant said that news organisations have benefitted from its “free distribution”.

“Publishers keep 100% of the revenue from traffic and subscriptions derived from outbound links on Facebook. For example, in 2023 we estimate that Facebook Feed sent Australian publishers more than 2.3 billion free clicks — for no charge — driving an estimated (AUD) $115 million worth of value,” the company said.

The company also reacted to accusations of “taking” or “stealing” news content: “We don’t scrape or pull content from publisher websites, unlike other companies. We provide a free service which publishers voluntarily choose to use and can benefit from.”

Meta claimed that interest in news on Facebook and Instagram is declining, and audiences are engaging in different types of content across its family of apps. The company said links to news stories make up less than 3% of content seen on Facebook Feeds.

The tech giant, led by founder, chairman, and CEO Mark Zuckerberg, continued that news was not the reason why people were using platforms like Facebook and Instagram. It pointed to the recent end of news availability in Canada and noted that Canadians are still using Facebook, even without the news tab.

Last year, Canada introduced the Online News Act, which required social media companies to compensate media for content. Meta responded by pulling news from its platforms.

“Just as the number of people around the world using our technologies continues to grow, the number of daily and monthly active users on Facebook in Canada has increased since ending news availability,” Meta said.

Meta said it “hope[s] that the data and evidence we provide serves as useful reference points in this ongoing conversation.”

But Ben Shepherd, the new CEO of Schwartz Media – publisher of The Saturday Paper and The Monthly – pointed out that it’s “impossible to debunk anything when Meta is using data you’re using to build their case that is not sourced or even available to others.”

“Meta is really twisting itself into knots here with its claims trying to both assert it owes no one anything and also that its a humble servant to the news industry,” Shepherd said.

“It says that its users don’t use Meta platforms for news (despite Uni of Canberra research saying in 2023 50% of users regularly did), but then says same users sent 2.3 billion clicks to news sources in Australia in 2023 (which would mean 153 visits for every single Meta user every year).

“It also says the same users (who click on 153 news links on average every year, one every 2 days basically) wouldn’t really mind if it abolished news (which would be an incredible demonstration of power abuse).”

In the weeks since Meta announced its exit from the media deal, worth $70 million, leaders from Australia’s news media publishers have expressed their disappointment at the tech giant’s decision.

Writing for Mediaweek, Seven West Media CEO James Warburton said: “What’s the best way to deal with bullies? Stand up to them. Don’t flinch. Don’t blink. Stare them down.

“The Albanese Government needs to stand up to Meta, designate it and not waiver. Meta will fight back, hard. It will get very messy. But we are a sovereign nation that should not – and will not – be bullied by multinational tech behemoths.:

News Corp Australia executive chairman, Michael Miller, agrees, stating that the move shows “the company’s brazen indifference to regulations and the content creators that feed their platform.”

Miller and Warburton are among the big news businesses lobbying for the government to ‘designate’ Meta, which would force it into arbitration with publishers. However, small, independent outlets like The Daily Aus worry that Meta will respond by removing access to news on its platforms in Australia, just as it has done in Canada.

The Daily Aus co-founder Zara Seidler told Mediaweek that if Meta pulls news content from its platforms, “All we’ll see is moving from trust in brands, to young people looking at influencers or creators to give them news and commentary. That is going to be void of any fact-checking or any kind of evidence-based claims, and I think that it’s a huge issue that needs to be taken seriously.”

Chair of the Digital Publishers Alliance (DPA) Tim Duggan agreed the results would be “devastating”, telling Mediaweek that independent publishers need a seat at the table. This week, the DPA took out full-page ads in mainstream newspapers calling for Meta to think about the fact “Australia needs more diversity in our media, not less.”

“The impact of audiences not being able to read news would be terrible for our functioning democracy, and for publishers who rely on Facebook and Instagram to drive traffic audience and revenue. It would be a huge blow that a lot of small publishers might not be able to recover from.”

Today marks the end of the third week since the launch of the ambitious new Seven West Media digital newspaper The Nightly.

Although early in its life, editor-in-chief Anthony De Ceglie spoke confidently about the outlook. He indicated its revenue base was secured and that initial audience numbers were encouraging.

That minor three-week milestone has coincided with a launch event held in Sydney for the publication.

The event was held at the offices of Seven West Media and co-hosted by the Kennedy Foundation and Telum Media.

An evening with The Nightly: Seven’s Neil Warren and Craig McPherson, The Nightly’s Sarah-Jane Tasker and James Warburton
Top: Warburton with Tasker, Anthony De Ceglie and Jeff Howard

The event space inside Seven was close to full as guests were welcomed by Seven West Media chief executive James Warburton. A number of guests also watched a live stream from inside Seven. “We have replaced Home and Away for the night,” smiled Warburton. He was joined by members of his management team including chief marketing and audience officer Mel Hopkins, CFO and CEO-in-waiting Jeff Howard, director of news and public affairs Craig McPherson, chief digital officer Gereurd Roberts, chief people and culture officer Lucinda Gemmell,  and chief content officer Angus Ross. Also in attendance were Seven Sydney news director Neil Warren, director of 7RED Kate Finney and head of Seven Network publicity Kate Amphlett. 

The West’s Maryna Fewster was unable to attend, but she received special thanks from De Ceglie for her support for the new project. Commercial director Bruce McWilliam was also absent, quite possibly attending an auction or open for inspection.

Seven’s Gemma Acton

Investment banker-turned-Seven finance editor Gemma Acton hosted the event and introduced the panel from The Nightly. Speaking about the launch and initial learnings at The Nightly were editor-in-chief Anthony De Ceglie, editor Sarah-Jane Tasker and chief correspondent Sarah Blake.

Mediaweek was lucky enough to be called on to pepper the panellists with a series of questions about the publication and its outlook.

The panel: Anthony De Ceglie, Sarah Blake and Sarah-Jane Tasker with Mediaweek’s James Manning

In less than three weeks The Nightly has delivered an impressive list of editorial features. Those features have included an interview with James Packer, and a launch week feature from Christopher Dore on the first two years of the Labor government with insiders rating the performance of the cabinet members.

Cover stories this week have included problems with green laws, a China-linked café selling coffee to Canberra’s top spies, and Sarah Blake on the likelihood of an Australian TikTok ban.

Some of the team from The Nightly including Sarah-Jane Tasker, Anthony De Ceglie, Sarah Blake, Matthew Quagliotto, Remy Varga and Christopher Dore

De Ceglie and Tasker explained how the small team was managing the workload. De Ceglie admitted that they were on the lookout for new contributors. He and Tasker were thrilled with the columns being provided by his Seven West colleagues including Michael Usher, Hugh Whitfeld, Gemma Acton, and Mark Riley.

East-coast-based Sarah Blake was joined by fellow Sydney-based staffers including Christopher Dore, Remy Varga, Matthew Quagliotto and Wenlei Ma.

The local journalism in The Nightly is supplemented by editorial from The New York Times, The Economist, Daily Mail and The (London) Telegraph.

Seven’s Angus Ross (left), Manning and Seven’s Gereurd Roberts

People who sign up for The Nightly not only also receive the daily edition for free at 6pm. They can also engage across the day via news alerts and there are regular posts across the socials X, Facebook, Instagram and LinkedIn.

When asked about the advertising, De Ceglie didn’t want to reveal too many details. He did indicate the title’s future has been secured by the initial partners. Yet he was also keen to see the advertiser base widened. When it was pointed out that some of Australia’s major newspapers don’t carry much display advertising, he said that confirms there is a massive opportunity for The Nightly.

See also: Launch day for The Nightly – Seven West Media’s daily paper aimed at “mainstream middle”

With a worth of $11.01 billion, chairman of Seven West Media, Kerry Stokes, has come ninth on The Australian’s 2024 edition of The List: Australia’s Richest 250.

The list of affluent people was published on Friday in The Australian in a gloss large-format magazine, as well as at richest250.com.au.

From the media world,  James Packer comes in at #25 with a worth of $4.20bn, Lachlan Murdoch at #33 with $3.70bn, and Bruce Gordon at #154 with a worth of $1.03bn.

Atlassian’s Mike Cannon-Brookes and Scott Farquhar come in at #6 and #7, worth $22.92bn and $22.65bn respectively.

From Canva, Cliff Obrecht and Melanie Perkins take out #10 and #11 with a combined worth of $10.92bn.

Philanthropist Judith Neilson, who champions journalism and storytelling via the  Judith Neilson Institute for Journalism and Ideas, comes in at #124 with a worth of $1.20bn.

Topping the list, unsurprisingly, is Gina Rinehart. The top five are rounded out by Fortescue Metals Group and Tattarang Capital’s Andrew Forrest and Nicola Forrest, Visy executive chairman and owner of Pratt Industries, Anthony Pratt, and Harry Triguboff founder and owner of Meriton.

Now in its sixth year, the Richest 250 has been curated by an advisory panel assembled by The Australian. Business journalist and editor of The List, John Stensholt, has overseen the editorial development. 

Included in The List are 159 billionaires (up from 139 last year), 23 newcomers, and 20 people aged 40 and younger. The average age of members is 64, and almost 45 per cent of richest Aussies reside in NSW with the most popular suburbs being Point Piper, Vaucluse, Hunters Hill, and Mosman.

The List: Australia’s Richest 250 – Top 20 2024

1. Gina Rinehart – $50.48 billion
2. Andrew Forrest – $37.17 billion
3. Nicola Forrest – $37.17 billion
4. Anthony Pratt & family – $27.66 billion
5. Harry Triguboff – $26.01 billion
6. Mike Cannon-Brookes – $22.92 billion
7. Scott Farquhar – $22.65 billion
8. Clive Palmer – $21.92 billion
9. Kerry Stokes – $11.01 billion
10. Cliff Obrecht – $10.92 billion
11. Melanie Perkins – $10.92 billion
12. Frank Lowy – $10.26 billion
13. Richard White – $9.72 billion
14. Ivan Glasenberg – $9.42 billion
15. Alan Wilson & family – $9.07 billion
16. Vivek Sehgal – $6.52 billion
17. The Lang Walker family – $6.01 billion
18. John Gandel – $5.53 billion
19. Lindsay Fox – $4.95 billion
20. Len Ainsworth & family – $4.92 billion

By Hayley Cochrane, global chief business officer, WeAre8

Last year’s alarming headline from the queen of attention, Dr. Karen Nelson Field, says it all: “85% of 130,000 digital ad views didn’t achieve the 2.5 seconds or more of active attention necessary to impact brand memories.”

It’s a headline that hits home, illustrating just how challenging it is to capture people’s attention. This often leads to conversations between clients and agencies that put creatives in the hot seat: “You need to get better at short form,” “Hit them hard with our branding in the first frame,” or, “It’s social media’s fault; people just don’t have the mental capacity anymore.”

While some of this may be true, when we’re talking about only 2.5 seconds, have we let the creatives bear the blame for too long? It’s time we confronted the root of the problem – the ad format – and explored new ways of serving up brand stories.

At WeAre8, for example, we found that connections between people and brands has little to do with the length of the creative and more to do with the way it’s being served.

Active engagement over passive consumption = I feel valued by brands

The digital ecosystem serves up approximately 10,000 ad units per user every single day, some highly relevant, many not so, all pretty much forced upon you and vying for your attention while you scroll, click, and watch.

Imagine if you invited people to come and watch and valued them for their time instead? WeAre8’s value exchange – opt in, a micropayment shared with people and a charity every time they watch – ensures a brand gets people’s full attention. We don’t just pay someone for every ad view but also give a guaranteed donation to charity and climate change too. People can also do the same with the money they earn, rather than keep it for themselves, which we see 54% of people do.

In a world that has become obsessed with 1:1 entertainment on mobile devices, we believe this is the secret to heightened levels of attention, by making people feel part of something bigger.

Active, opt-in engagement is far more valuable than passive exposure to advertising.

From Costa, to John Lewis, Boots, Virgin, Citroen, and many more, the results are astounding, and we aren’t just talking about short-form 6-second ads; we are seeing results for brands placing cinematic storytelling up to two minutes long, achieving a 100% view-through rate, an average CTR of 5%, and brand recall and awareness well above industry norms.

This isn’t too good to be true, it’s a formula for how advertising should have always been done. It puts the value back with the people, something we forgot long ago when building the digital world.

A recent study by GWI in partnership with WeAre8 explored this, and the halo affect it has on brands: 65% of respondents said they felt more positive about brands advertising on social media platforms that have a positive impact on the community, with 64% quoting they are more attuned to advertising on platforms where they feel heard and can provide feedback.

The Future of attention is value-driven

Capturing people’s attention is not just about serving up the best creative, being the loudest, or most visible. It’s about redefining how brands show up and creating a value exchange.

It’s time we stop putting the blame on creativity and start exploring new ways of serving up incredible brand stories.

—

Top image: Hayley Cochrane

Creative agency Thinkerbell has launched a countdown campaign to St Patrick’s Day in partnership with Guinness, part of the Lion portfolio. Developed with UM and Reprise Digital, the campaign portrays the dark stout changing shape as the celebrations approach.

With an estimated 2.4 million pints of Guinness expected to be downed across Australia during the festivities, the work aims to heighten anticipation for the occasion.

Albertus Lombard, Lion’s brand director of premium beer, said St. Patrick’s Day is a pivotal seasonal event for the brand, labelling it a “big deal” for Guinness lovers and beer enthusiasts alike.

“It deserves its own countdown to the big day. It’s a bit like counting down the sleeps ’til Christmas,” said Lombard.

The campaign will be rolled out across socials and out-of-home (OOH) in New South Wales and Victoria.

The launch follows Thinkerbell and Lion’s recently winning Australia’s first-ever Programmatic Campaign of the Year award in late February. The accolade, presented by JCDecaux, recognised their ‘Guinness Brewery of Meteorology’ digital OOH campaign.

See also:Lion and UM win JCDecaux Programmatic Campaign of the Year award

The ‘Guinness Brewery of Meteorology’ leveraged weather data to identify “optimal” conditions for enjoying a pint of Guinness during the Australian winter. The campaign featured ads that dynamically adjusted the creative content based on weather conditions.

Gai Le Roy, CEO of IAB Australia and a judge for the award, commended the campaign’s ability to capture the essence of the Guinness brand while delivering tangible results.

“They’re bringing it to a new format, and they’re also closing it from a performance point of view,” said Le Roy at the time.

“You’ve got a cheeky brand, you’ve got new trial, and you’ve got immediate results. What’s not to love there?”

In February, the Outdoor Media Association (OMA) reported significant growth in the OOH industry.

See also: OMA: Out of Home industry revenue up 12.2% for 2023

The sector experienced a 12.2% increase in net media revenue for 2023, totaling $1.19 million, compared to the adjusted figure of $1.064 million recorded in 2022.

Additionally, the fourth quarter of 2023 saw a year-on-year increase of 10.9% in net media revenue, reaching $366.6 million compared to $330.7 million in Q4 2022.

The findings also showed the growing dominance of digital out-of-home (DOOH) revenue, which accounted for 73.9% of total net media revenue year-to-date. This marked an increase from the 64.5% recorded for the same period in the previous year.

See also: How Thinkerbell is building a new mindset with its latest campaign

Commonwealth Bank of Australia (CommBank) has launched a campaign via M&C Saatchi to hero home-lenders as it underscores its dedication to supporting Australians in their home buying journey.

The 15s and 30s TVCs shows different perspectives on home-lending, including sibling investors, a small business owner, and a family deciding between buying or selling first.

Set to Australian jazz/funk band, The Cat Empire’s song “Hello,” the campaign also highlights CommBank’s digital tools like Home Hub (located in the CommBank app), aiming to respond to The campaign seeks to address some of the common customer demands1 – including the desire for tailored tools and  support.

The campaign has been rolled across TV, out-of-home (OOH), radio, social, digital display, and print.

Jo Boundy, CommBank’s chief marketing officer, said the bank wanted to shine the spotlight on some of its market strengths through its latest campaign efforts, including its network of home lenders.

“Through our campaign, we’ve been able to truly hero some of our amazing real-life home lenders and the wonderful support they provide to our customers every single day,” said Boundy.

This initiative is part of CBA’s broader strategy to address financial needs across different age groups.

Last year, Commbank expressed its interest in improving  financial literacy and capabilities for young Australian with a new app targeting children and adolescents aged four to 14 years. 

Claire McIntyre, CMO at Kit, a CBA subsidiary, emphasized the importance of financial literacy, with Kit targeting children aged four to 14. McIntyre’s remarks underscore CBA’s commitment to financial education.

Kit, the CommBank’s kids’ money app, aims to help foster a generation of financially savvy young people in the way the bank’s iconic Dollarmites banking program did during its 90-year run. 

Claire McIntyre, CMO at Kit, told Mediaweek the app, which launched in May 2022 and is aimed at the five to 14-year-old market, builds on the legacy of Dollarmites program, which ran from 1931 to the end of 2021. 

See also: Kit CMO Claire McIntyre on fostering a new generation of CommBank customers

GFK Radio Ratings Survey 1, 2024

Sydney

• 2GB #1, Fitzy & Wippa with Kate lifts, Here comes 2UE, WSFM dips

See Also: Sydney Radio Ratings 2024 Survey 1: 2UE jumps to its highest share in nearly a decade

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Melbourne

• Ross, Russ and Christian again in charge, KIIS tumbles, Nova spike

See Also: Melbourne Radio Ratings 2024 Survey 1: Ross, Russ and Christian again in charge, KIIS tumbles

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Brisbane

• SCA owns market as B105 and Triple M boom, Nova and KIIS back off

See Also: Brisbane Radio Ratings 2024, Survey 1: B105 and Triple M take top spots for SCA

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Adelaide

• MIX back at #1 overall, Triple M still #1 brekky, David and Will climb

See Also: Adelaide Radio Ratings 2024, Survey 1: MIX 102.3 back at #1 to start the year

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Perth

• MIX catches Nova, Nathan, Nat & Shaun still brekky #1, Triple M & 96FM dip

See Also: Perth Radio Ratings 2024, Survey 1: Nova drops to #2 as Mix 94.5 rises to #1

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The first radio ratings survey of 2024 has been released, with a number of major moves across the board.

For SCA, Melbourne’s The Fox came in third in a competitive market, and while breakfast team Fifi, Fev and Nick had to give up #1 FM spot, their start to 2024 is better than any survey result last year.

See Also: Melbourne Radio Ratings 2024 Survey 1: Ross, Russ and Christian again in charge, KIIS tumbles

In Brisbane, B105 and Triple M went back to back for #1 and #2, making SCA the biggest platform in the market.

See Also: Brisbane Radio Ratings 2024, Survey 1: B105 and Triple M take top spots for SCA

In Perth Mix 94.5 leapfrogged Nova to become to the outright number one station in the market.

See Also: Perth Radio Ratings 2024, Survey 1: Nova drops to #2 as Mix 94.5 rises to #1

Reflecting on the results, SCA Chief Content Officer, Dave Cameron, said:

“Again, the powerful combination of the Hit and Triple M networks together has delivered an outstanding No.1 10+ share result nationally, with SCA continuing to also convincingly win the key buying demographic of 25-54 for a record 21 surveys in a row.

“SCA dominates Brisbane with outright #1 and #2 radio stations, with B105 taking out the overall win, driven by the Stav, Abby and Matt Breakfast show. Likewise, our Triple M Adelaide Breakfast show, Roo, Ditts and Loz, celebrate their eleventh #1 Breakfast show win, and we’re excited to see Mix 94.5 return to the outright number one station in Perth. 

“In Melbourne, The Fox has delivered another strong increase in Breakfast with Fifi, Fev and Nick the most listened to Breakfast show in the city, alongside Triple M Melbourne, led by The Marty Sheargold Show, delivering its best result since 2016.

“These results reinforce that the Hit Network and the Triple M network together remain an unbeatable partnership that leads in overall national audience share and key commercial buying demographics. My sincere congratulations to all our content teams and powerhouse shows around the country to deliver these spectacular results today to kick off an exciting year ahead for SCA.”

Australia has “no plans” to block Chinese-owned app TikTok, Prime Minister Anthony Albanese has confirmed.

“We’ll take advice, but we have no plans to do that. I think you’ve got to be pretty cautious,” he said during an interview with WSFM’s Jonesy and Amanda on Thursday.

“You’ve always got to have national security concerns front and centre, but you also need to acknowledge that for a whole lot of people, this provides a way of them communicating. And so, we haven’t got advice at this stage to do that.”

The short-form video app has more than 170 million users in the US and 8.5 million in Australia.

Albanese’s response comes after the US House of Representatives passed a law giving ByteDance, the platform’s parent company, six months to divest or sell its stake in TikTok. If ByteDance does not comply, it will be illegal for app stores such as Apple’s App Store and Google Play to host the platform.

In a statement to Mediaweek, a TikTok spokesperson said the prime minister’s position on the matter was welcomed.

“Any changes to TikTok in Australia would have a significant impact on the 350,000 businesses and more than 8.5 million Australians who use the app to connect and grow their businesses. 

“Action being taken in the US is not based on fact, and we are hopeful that the US Senate will consider the impact on the millions of small businesses and 170 million Americans who use the service.”

Meanwhile, opposition leader Peter Dutton told Sky News Australia’s The Kenny Report that the prime minister “has a responsibility to act”.

“If photos of young kids are being scraped from their accounts and stored by a third party, whether it’s a country or state actor or whether it’s an organised crime group, then the prime minister has to act,” Dutton said.

“If data is being scraped by the terabytes off these accounts and young people are exposed to extortion at some point, or if their personal data is being collected, if it’s not a safe platform, the prime minister has a responsibility to act.”

“So far, I don’t think he’s shown the leadership or the strength of leadership to be able to make the decision that’s in our country’s best interest.”

The inaugural Australian Recording Industry Association (ARIA) Award for Best Use of Australian Music in Advertising (over two minutes) has been officially presented to agency network Innocean alongside Australian folk singer John Williamson.

Innocean and Williamson were recognised for their ‘Voice of the Sea’ campaign for the Australian Marine Conservation Society (AMCS), which featured Williamson’s titular bespoke song.

The award ceremony, presented in-person by ARIA CEO Annabelle Herd at the Warner Music offices in Pyrmont on Wednesday, was a holdover from last year’s event that Innocean Australia was unable to attend.

During the ceremony, Herd also announced the Award for Best Use of Australian Music in Advertising (for both up to, and over two minutes) would make its return for a second consecutive year, and that applications are now open for participation in the judging panel.

“Musicians and advertisers both have a critical role in telling our nation’s stories and defining our culture.” said Herd.

“We are so thrilled to welcome back a very important strategic addition to last year’s ARIA Awards and continue to celebrate the pivotal role advertising and the broader media and marketing industry can play in spotlighting Australian talent and creativity.”

See also: Different license rates for metro vs regional? What happens if Fair Pay for Radio Play passes?

–

Top Image: L-R Top: Emily Crews, Imogen Scott, John Williamson, Annabelle Herd, Dan Rosen, Carolyn Cho, Charlotte Berry, Meg Doyle. L-R Bottom: Brii Jamieson, Eliza Millet, Wes Hawes.

Enigma has launched the third instalment in its ‘Ken Oath’ multi-channel campaign series for Kennards Hire.

The independent agency’s campaign launched in 2020 and includes a 2022 campaign that went behind-the-scenes as a group of ‘Kens’ were inducted with the ‘Ken Oath’ customer service promise. The latest work commits to the brand’s exceptional customer service for all types of projects.

For this latest campaign, Enigma tapped into the feeling customers get when a job is made easy, using relatable characters and larrikin humour from previous campaigns.

Jack Mason, Enigma’s managing director, said that for this campaign, they wanted to emphasise the customer benefit of using Kennards Hire and showcase the satisfaction that comes from a job well done.

“We wanted to tap into Kennards Hire’s diverse customer base—from large-scale infrastructure development to DIY projects—and dive deeper into the brand promise of ‘Kennards Hire Makes Your Job Easy.’ The campaign keeps all the fun and likeable sentiments of the previous campaigns but really places the customer at the heart of the story.

“Our creative team has thoroughly enjoyed the opportunity to build on the success of the previous campaigns and continue to build meaning around the Ken Oath promise,” Mason added of Enigma’s work.

The campaign is part of Enigma’s long-term partnership with the Kennards Hire team and also pays homage to the long-standing Kennards Hire brand, which was established in the 1940s. It is now the largest family-owned equipment hire business in Australia and New Zealand. It has more than 200 sites and 1,900 staff and celebrated its 75^th anniversary in 2023.

Manelle Merhi, Kennards Hire general manager marketing and customer experience, said: “While previous ‘Ken Oath’ campaigns spoke to our core audiences, this campaign – the third instalment of ‘Ken Oath’ – celebrates our commitment to delivering exceptional customer experiences to all of our audiences, from DIY to trade, commercial – and their customers.

“During the creative process, we knew our trade and commercial customers have clients they deliver projects for, who rely on quality service and equipment.

“Enigma helped bring to life our brand promise, ‘Make Your Job Easy’, for not only our customers, but our customers’ customers, without losing any of the likeability and fun nature of the brand which has resonated with our customers so well in previous campaigns.”

The campaign is now live across broadcast, digital, transport and social channels in Australia and New Zealand.

Credits

Client: Kennards Hire
Creative agency: Enigma
Media agency, Australia & New Zealand: Hatched
PR: Herd MSL
Production:
– Director: Grantley Smith
– Producer: Alan Robinson
– DOP: Jason White
– Gaffer: Matt Willis
– Grip: Paul Micallef
– Art Director: Jamie Morris
– Stylist: Suzanne King
– Stills: Paul K Robbins
– Offline edit: Mark Bennett
– Online: White Chocolate
– Audio: RanRun

High Country (Foxtel/Binge) is a stunning new Aussie drama and based on the first two episodes, it’s right up there with Boy Swallows Universe (Netflix) as one of the best new Aussie series.

From the creative team behind Wentworth, Marcia Gardner and John Ridley, this one goes beyond the prison walls into the great outdoors. Filmed in the Victorian Alps during autumn when the leaves are changing colour, it is beautiful to look at. And the cracking mystery storyline, with its multiple strands unravelling, is compelling.

The cast includes Leah Purcell, Sara Wiseman, Henry Nixon, Aaron Pedersen, Linda Cropper, Nathaniel Dean, Geoff Morrell and Irish actor Ian McElhinney who seems right at home.

High Country is brilliant, and it’s nice to see an Aussie country town that comes across as real, instead of being wildly exaggerated for TV.

Leah Purcell

See also: High Country’s Leah Purcell on funding local TV to ‘compete’ and riding on Deadloch’s ‘coat tails’

Also this week: Population 11 and Apples Never Fall

Population 11 (Stan) is inspired by story in Last Stop Larrimah (Netflix), a gobsmacking documentary that didn’t really need a remake. It’s also too similar to other quirky series like The Tourist, and it takes an entire sequence from the movie Welcome To Woop Woop.

Ben Feldman is the American blow-in so he has to go through all the usual cliched stuff involving pub drinking and local wildlife. Katrina Milsevic, Stephen Curry, Genevieve Lemon, Rick Donald, Darren Gilshernan, Fiona Choi, Pippa Grandison and Steve Le Marquand play the town weirdos, but why are they all so crazy?

Bay Of Fires and Deadloch, two series with similar premises, both had clever and valid reasons to explain why so many people in town were eccentric. By comparison, Population 11 just dials it up to 11 and then throws in a UFO storyline.

Apples Never Fall (Foxtel/Binge) is the latest series from author Lianne Moriarty and the formula could be starting to wear thin. Annette Bening and Sam Neill play a retired couple with four grown children. They’re rich and have issues, but nobody is particularly likeable.

Cast of Apples Never Fall

When the mother goes missing, all clues point to the father who is acting suspicious and has a scratch on his face. It’s so obvious, I can’t even be bothered to hang around for the twist ending where I fully expect Annette Bening to turn up alive just before the credits roll.

Set in Palm Beach in the US, but filmed on the Gold Coast, there are few Aussies in supporting roles. It is great though to see Georgia Flood playing a mysterious stranger. I just wished I cared more.

Welcome to TV Gold: Mediaweek’s weekly TV podcast

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].

This week: Apples Never Fall, Population 11 and High Country

Three series we are calling Australian dramas this week. Starting with Apples Never Fall (Binge/Foxtel series, 7 episodes). Filmed in Queensland from an Australian author’s book is enough for us to claim it. Sam Neill and Annette Bening star in this family drama set in West Palm Beach, Florida.

Next up is Population 11 (Stan, series 12 episodes) which is another quirky comedy/thriller set in outback Australia. Filmed in Derby, WA, it tells the story of the US son of the local tour guide returning home to discover his dad has gone missing.

Finally, another powerhouse performance from Leah Purcell. This time in High Country (Binge/Foxtel series, 8 episodes) as a country police officer thrown into a missing person investigation.

Listen online here, or on your favourite podcast platform.

Whether it’s a childhood jingle that you can still sing word for word, or a campaign that influences the way you work today, everyone has an ad that has really stuck with them.

Mediaweek has been asking the industry to take a trip down memory lane, to find out all about the ads that made us.

Brooke Tunbridge – Media Manager, Enigma

McCain’s Super Juicy Corn

“Comedian and former Triple J presenter Gen Fricker unlocked a core memory when she referenced this ad in her set a few years ago. It was the first ad I remember seeing that wasn’t a yelling man in a car yard who had gone “crazy after overordering stock”. It was refreshing, and showed that ads can be a form of storytelling.

“I sometimes still have to fight the temptation of yelling ‘Marge, the rains are here’ when I see storm clouds/I’m eating corn. Ah McCain, you’ve done it again.”

Daniel O’Brien – Managing Director, Frontier Australia

RTA’s Go to Bed Jessica campaign, 1998

“You would be hard pressed to find anyone over the age of 35 that couldn’t recall this commercial. Even more so, I would say many of them could still tell you what the key message was, all these years later. Is that not the primary goal of any commercial?

“I was only 13 when this aired but it certainly left its mark on me. It was hard hitting and tugged on the heart strings, drawing attention to a very real problem. While certainly memorable via the line “Go to bed Jessica”, I think this ad would have also made a few people think twice before jumping behind the wheel after a few… mission accomplished and bravo RTA.”

Bridget Wilkes – Head of Accounts, Melbourne Social Co

The Reading Writing Hotline

“I’m positive the Reading Writing Hotline number was the first number I ever remembered (and still remember to this day!) The fact that I, and I’m sure many others, can still recite the number off by heart is a testament to how catchy the jingle was.”

See Also: The Ads That Made Us: The Guardian, T Mobile, Qantas’ safety video

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Top Image: Brooke Tunbridge, Daniel O’Brien, Bridget Wilkes

To submit an ad, please email [email protected]

Digital ticketing platform TodayTix Australia has appointed Sarah Wilson to the newly-created role of marketing director.

In the role, she will lead all sales and marketing efforts and work closely with the global team, the Australian team, and partners to deliver seamless ticketing experiences in the region.

Wilson was previously director, tour marketing at Live Nation Australasia and brings a decade of experience in live event marketing across Australia, New Zealand and internationally.  

During her time at Live Nation, she led marketing campaigns for artist tours such as Fleetwood Mac, Dua Lipa, Rod Stewart, Cyndi Lauper, Red Hot Chili Peppers with Post Malone, and Pink’s ’Summer Carnival’ Tour 2024.

Stephen Crocker, general manager, London, TodayTix Group, welcomed Wilson to the team, and said: “Her experience in the live entertainment industry is a huge asset, and I’m excited to see the continued growth of the business and the TodayTix brand in Australia, under her guidance.”

Wilson added that she was looking forward to working with the TodayTix team on some exciting initiatives for the year ahead.

“The TodayTix mission of increasing access to the arts and ‘finding a seat for everyone’, is something I’m very passionate about. I’m looking forward to connecting with audiences all around the country.”

TodayTix was founded in New York in 2013 and launched in Australia in 2019, starting in Melbourne and Sydney before expanding to Perth and Adelaide.

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Top image: Sarah Wilson

While filming Stan Original Series, Population 11, American actor Ben Feldman noticed one big difference between filming on a set in Australia compared to America.

Speaking to Chattr ahead of the show’s March 14 premiere, Feldman said his favourite BTS memory came from a moment when a character was “just lying butt naked” on the ground.

“In the States, they’d be covered up. There’d be like 30 PAs around them holding blankets over them. Modesty blankets, and we wouldn’t be allowed on set,” he said.

“In Australia, they just like, rip it off and the dude’s just laying there naked on the ground. The whole cast was just pointing and laughing and making fun of them the entire time.

“And it was like, this would never happen in the States…This is insane that I’m watching this happen… and the guy just sat there and took it. Just butt naked and took it.”

Feldman admitted that working in the remote town of Derby in Western Australia wasn’t a walk in the park.

“You couldn’t shoot in someplace near a city or in Broome,” he said. “It needed to be just vast emptiness…and mudflats and killer animals…”

Based on the true events that were covered in Netflix’s popular Last Stop Larrimah, Population 11 follows a man who goes missing from a tiny outback town of only 12 residents, and his estranged son (Feldman), travels from the U.S. to find him. 

“Population 11 is a comedy about horror and tragedy, that’s creepy and uncomfortable,” he said. “[It’s also] silly and pretty.

“The Director of Photography that we had shot some really pretty stuff. I think it’s a beautiful show, too. It’s aesthetically pleasing.”

Population 11 is available to stream only on Stan from 14 March.

See also: Aussie content blitz: Showcase event details 25 new and returning Stan Originals

Scotch whisky beverage brand Johnnie Walker, along with Leo Burnett Australia and Herd MSL, have launched a film showcasing their ‘Keep Walking Proudly’ campaign – which featured a Debutante Ball held last month in partnership with the Sydney Gay and Lesbian Mardi Gras.

Following a national search led by PR agency Herd MSL, the campaign saw Robyn Kennedy (who attended the first parade in 1978), paper artist Benja Harney, and trans-couture designer couple Katie and Lillian Nicol-Ford invite people who had never attended Mardi Gras to join in 2024. Eight debutants were chosen to experience their first Mardi Gras.

The debutants were brought to Sydney to have their debut celebrated by the community at large with an event held at LGBTQIA+ venue, Kinselas, hosted by Australian actress and singer Natalie Bassingthwaighte.

The event was supported by a launch across OOH, online film, activation, and social.

Melissa Barry, portfolio marketing manager at Diageo, said the ‘Keep Walking Proudly’ campaign aligns with Johnnie Walker’s history of advocacy for progress – both societal and personal.

“As a proud partner of Mardi Gras, embracing this moment as a chance to celebrate the trailblazers who paved the way for others to walk proudly and connecting them to newcomers who’d be walking for the first time was something we were delighted to make happen.”

Stacey Karayannis and Rosie Stone, associate creative directors at creative agency Leo Burnett Australia, said they enjoyed subverting the traditions of a debutante ball.

“Being able to bring [the debutantes’] stories to life, create connections between the debutantes and trailblazers from the community, and celebrate their moment in front of a proud and welcoming crowd has been such a privilege,” they said.

Earlier this month, Karayannis was recognised by the Next Creative Leaders Awards, developed by The One Club for Creativity and The 3% Movement, for their work and unique point of view on creative leadership.

Said Karayannis to Mediaweek at the time: “I’m very chuffed to be recognised alongside some awesome talent from all over the world. Hopefully, we can all keep pushing each other to create great work and keep the future of the industry strong.”

See also: Next Creative Leaders awards recognises Stacey Karayannis and Kiah Nicholas for their work and leadership

Campaign Credits

Diageo | Johnnie Walker
Melissa Barry – Marketing manager
Emma Ryan – Brand manager
Rebekah Allison – Media and connections planning lead  

Leo Burnett Australia | Johnnie Walker 
Account Management
James Walker-Smith – General manager
Andrew Thistlethwaite – Group business director
Gemma Cox – Group business director
Cameron Dobbelsteyn – Business director 
Rosie Dingle – Senior business manager

Strategy
Dhiv Pillai – Senior strategy director 

Creative
Andy Fergusson – National chief creative officer
Tim Woolford – Group creative director
Tommy Cehak – Group creative director 
Stacey Karayannis – Associate creative director
Rosie Stone – Associate creative director 
Johnson Diep – Conceptual designer 

Production / Studio 
Tamara Kennon – Senior integrated producer
Francesca D’Orazio – Senior Film Producer 

PR – Herd MSL
Rachel Shun – Group account director 
Janete Sampaio – Senior account director
Savannah Fielder – Account director
Ross Stebbing – Account director
Mirna Elsabie – Account manager 
Sarah Findlay – Senior account executive 
Lucy Lincoln – Account coordinator 

Experiential Production, Design & Programming – Alfred 
Stuart Couzens – Founder 
Mason Browne – Senior creative producer

Media – Foundation 
Tegan Conn – Business director 
Natasha Galasso – Account manager
Maggie Concepcion – Account coordinator

Selina Miles – Director
Adrian Shapiro and Kate Gooden – Executive producers
Tessa Simpson – Producer
Scott Heldorf – DOP
John Young – 1st AC
Lee Kelly – Sound
Pete Sutton – Gaffer
Ting (Adisug) Tubtim – Best boy
Aisha Phillips – Art director
Kellie Montgomery – Wardrobe stylist
Mat Hornby – Hair and makeup artist:
Nicola Sinclair – Food stylist:
Milos Mlynarik – Stills photographer

Selina Miles – Editor
Matt Fezz – Grade and online
Sonar – Sound Studio

Reddit has launched free-form ads, a unique-to-Reddit ad format with a “free form” layout that is designed to look and feel similar to the ways Reddit users engage with each other on the platform.

The “free form” layout will allow advertisers to share in-depth information with Reddit, combining multiple media types, including image, video and test using ready-made templates. 

Jim Squires, EVP of business marketing and growth said free-form ads will give advertisers the flexibility to build an ad of any length, using multiple media types.

“This format encourages a mix of content, context and creativity from brands while driving strong performance and brand growth,” he said.

“Free-form ads are unique to Reddit and its one-of-a-kind communities. As we continue to invest in our ads product roadmap, it’s important to draw from what people love most about Reddit and create opportunities for businesses to be a part of that.”

Just Eat Takeaway, Kraft Heinz and Leica are among the first brands to adopt the new ad system, with early tests from Reddit seeing free-form ads outperform all other ad types in average click-through rate (CTR) by 28%, as well as also seeing an increased community engagement when comments are enabled. 

Free-form ads are available now to all Reddit advertisers globally via the Reddit Ads Manager.

The launch of free-form ads comes as this week, The Guardian reported that Reddit is seeking a valuation of about $6.5 billion at its imminent flotation on the New York Stock Exchange.

The company said in a corporate filing that it planned to raise up to $748 million by selling 22 million shares valued at around $30. 

This isn’t the first time the social media platform has applied for an IPO as in 2021, the company did confidentially but delayed its move because of poor performance by technology stocks. 

TV Report March 14, 2024:

Nine TV Report

NRL – Broncos vs Rabbitohs

Nine’s draw for the night was the Brisbane Broncos vs Rabbitohs game, which saw young gun Reece Walash take control of the game to lead the Broncos to a 28-18 win at Suncorp Stadium in Brisbane.

A Current Affair

Over on A Current Affair, the program spoke to the Union that wants jail time over a fatal gold mine collapse and the cost of living crisis threatening animal welfare charity as donations dwindle.

Seven TV Report

AFL – Carlton v Richmond

Over on Seven was the first round of the 2024 AFL season, as Carlton took victory over Richmond at the MCG. Carlton ended up winning by 5 points over Richmond.

Home & Away

Earlier in the night was Home & Away as Levi keeps up with his lie, Tane is trapped by red tape and Roo is called to action.

10 TV Report

The Project

The Project on 10 investigated the US getting closer to banning TikTok, met Australia’s fastest cleaner and welcomed Maisie Peters to the desk. 

The Dog House Australia

On 10’s The Dog House Australia, The Lyon family are looking for an active dog as they get introduced to a cattle dog cross, Bonnie.

ABC

7:30

On 7:30, the show highlighted another mass bleach event on the Great Barrier Reef and why some experts are fearing the eco-system is moving closer to a tipping point. They also looked into the Royal Photoshop scandal that has launched countless conspiracy theories.

SBS

Stanley Tucci: Searching for Italy

Actor Stanley Tucci visited the region that made the dream of a unified Italy a reality. Piedmont boasts refind French heritage and peasant traditions of the Middle Ages. Once the engine room of Italian industrialization, Piedmont is now spearheading a slow food revolution. 

See also: TV Report March 13, 2024: An awkward Dinner Party gets heated on MAFS