While Ferrari’s Carlos Sainz won the Australian Grand Prix yesterday, behind the scenes and beyond the glitz and glamour, a pack of brand sponsors jostled for pole position. 

It’s been the biggest year for the Australian Grand Prix yet – a record 452,055 through the gates across the weekend, and unprecedented commercial interest according to Paramount’s general manager of ad sales, Nick Bower. The sport’s focus on converting Drive to Survive watchers into all-year-round F1 fans is paying off.

The Australian Grand Prix’s general manager, sales and commercial Darien Misko told Mediaweek on the ground on Friday that Drive to Survive showing off “the theatre and the celebrity” of F1 led to first timers making up 37% of attendees in 2023. 39% of attendees were women – “11% higher than the global average.”

Misko

To get Drive to Survive fans to Albert Park, engaged throughout the season, and coming back, requires utilising the space to its full potential – “we’ve got a wonderful parkland here, 175 acres of land to play with to cater for those broad audiences” – and making it feel like a “festival”.

“Those fans don’t just come here for the Formula 1 action and the drivers and the officials but they come here for the music, the fashion, the style, the hospitality, the integration of Melbourne lifestyle with coffee and food culture,” Misko explained.

Building the sport into a cultural phenomenon has an economic impact: hotels were booked up, restaurants booked out, and flights at capacity. Melbourne mayor Sally Capp told the AFR that the F1 drove $125 million in spending last year across the four-day event.

The Australian Grand Prix segments its fans into premium seekers, sports fans, F1 fanatics, and culture vultures, Misko said.

Ten focused on ensuring its broadcast coverage appealed to all of them, according to Bower: “In a country like Australia, where the sports fan is so broad, the sports fan is so diverse, we want to make sure that we’re talking to all of them.”

Misko added that fans wanted to “maximise their experience” across the four days, by attending concerts by the likes of Amy Shark, Jet, and Vanessa Amorosi, engaging in the activations dotted around the park, watching as much on-track action as possible – from practice laps to qualifying and the main race – and trying to get close to the celebrity drivers. 

‘Melbourne Walk’ gives ticket-holders the chance to get selfies and signatures as the drivers enter the paddock each day. Misko said, “we were the first F1 event to do something like this. We’ve got other events around the world trying to figure out ways to copy us. And that’s a great opportunity for our fans to get up close and personal with the drivers.”

It’s not just the drivers who are celebrities – team principals like Red Bull’s Christian Horner and former Haas boss Guenther Steiner are too. Steiner joined Ten’s commentating line-up for the 2024 Australian Grand Prix. Bower told Mediaweek that Steiner, “is obviously a global phenomenon, super popular, swears like a trooper, but is an absolute hero. If you walk through the paddock with him, he’s mobbed, that popularity we hope will translate into audiences this weekend.”

Bower said viewership is how Ten would measure the event’s success, and the race had its highest commercial shares in 16 years, since 2008. Sunday’s race reached 1.55 million Australians, while across the weekend, the broadcast reached 3.2 million. BVOD reach was up 30% year-on-year, and the race experienced its biggest ever livestream audience (up 51% year-on-year). The total national audience climbed 3% on 2023’s figures.

Bower

On Friday, Bower said Ten’s “pedigree in motorsport is enormous.”

“We’ve been doing it [broadcasting the F1] for over 26 years … we’re really proud of that work,” he said.

“It’s a moment that we stand tall and say, ‘Hey, this is what 10 Sport can do as a brand. And this is the way that our partners, our clients, our customers that we have, have an access point into something international, polished, high end.'”

Bower was focused on local commercial partners who had “a chance to integrate and connect to the coverage”, in addition to international partners through the F1: “We work with Formula 1 under the guidelines that we’re given to ensure that we protect and support their global partnerships such as Rolex, Pirelli, and Heineken.”

The line-up of sponsors included 7-Eleven, Harvey Norman, Salesforce, Shannons, Subway, Bob Jane and Universal Pictures, with major packages from Toyota, Visit Vic, and Paramount+. 

Paramount+ signed a global deal with the Formula 1 a year ago, but it did not encompass broadcast rights – in the US, for example, ESPN retains the broadcast rights until 2025.

Amidst broader, political conversations about anti-siphoning laws to keep sports free, Bower emphasised that the F1 coverage locally remains “live and free” on Ten.

Bower and the Paramount team hosted commercial partners in the Paramount suite across the weekend, nestled between the chairman’s suite and the Kick Sauber F1 team’s suite, positioned right above pit lane.

Paramount suite

Bower said Paramount+’s growth makes its partnership with the F1 mutually beneficial: “We’re the fastest growing streaming service on the planet. 67.5 million subscribers globally. Paramount+ is on fire. We’re in a great spot. We want to continue to work with, support, sponsor, and connect to other things that are also growing and Formula 1 is every bit of that.”

When he spoke to Mediaweek on Friday, Misko was hoping 450,000 fans would pass through the gates to break last year’s record. He got 452,055 – the biggest attendance in Albert Park’s history. Since Albert Park has locked in the event until 2037, “for the first time, we’ve got a really good, long vision,” so Misko’s team is only accelerating their ambitions.

“We want to be the biggest event in Australia. We want to be the biggest F1 event around the world. We’re not far now, 450,000 fans. Silverstone [British Grand Prix location], our friends in Britain, certainly pipped us last year [with 480,000 attendees], but we think we can get them again in the future.”

The focus on Formula 1 around the Australian Grand Prix event happens for an obvious reason. It is the only time in the year the sport sets foot in Australia. The next closest events to our time zones are the Japan and Singapore Grands Prix.

The place to follow the sport year-round is via season rights holder Foxtel Group. A growing army of viewers are engaging via Kayo Sports with Formula 1 just one part of the motorsport smorgasbord.

Ratings figures for the Melbourne event were released, in part, on Monday.

Placings at the 2024 Australian Grand Prix

Motorsport attraction sees record streaming

Speaking about the overall appeal of the sport, director of sports sales and brand partnerships at Foxtel Media, Martin Medcraf, told Mediaweek:

“Motorsports, particularly Supercars, Formula 1 and MotoGP, are fast becoming mainstream sports in Australia, boasting a fervently dedicated – and growing – audience, ranking closely behind the AFL and NRL. Audiences for motorsports have grown an incredible 127% since 2018.”

Medcraf noted how the arrival of Kayo Sports has helped fuel the audience growth: “Streaming-savvy motorsport fans and the launch of innovative formats like the F1 Qualifying Mini’s on Kayo Sports has ushered in a new era of engagement, attracting both seasoned enthusiasts and fresh faces to the platform.

“Advertisers have access to niche audiences in this dynamic landscape, from tech aficionados to automotive enthusiasts and business decision-makers. Brands are receiving massive exposure in these high-impact formats as this teaser content whets fans’ appetites right before watching the main races live on Kayo Sports.

“With the swift sponsorship uptake for the 2024 F1 season and the perpetual sell-out status of our motorsport events, it’s clear that the allure of speed continues to captivate audiences and brands alike.”

Foxtel Media’s Marty Medcraf at the F1 AGP with Tradie’s Alan Goodfellow

Ratings for Formula 1 Australian Grand Prix

The new world of TV ratings means average audiences have been replaced by reach (FTA) and minutes streamed (STV).

Kayo Sports has labelled March 21-24 (Thursday to Sunday inclusive) the biggest weekend of sport ever on the platform. The sport over those days in addition to the 2024 F1 Australian Grand Prix included Round 3 of the NRL and Round 2 of AFL plus action from NBL Finals, Supercars in Melbourne, Netball, the PGA Tour and the launch of the Indian Premier League.

Only releasing streaming minutes stats, Kayo Sports noted there were over 654 million minutes streamed (Thursday to Sunday). That is up 10% on the previous record in April 2023.

Weekend Kayo Sports streaming minutes highlights

AFL Round 2 streaming audiences were up 23% year-on-year
NRL Round 3 streaming audiences were up 13% year-on-year
The 2024 F1 Australian Grand Prix streaming audiences were up 4% year-on-year
Largest Kayo Sports Sunday audience in terms of minutes viewed (219 million) on record

Kayo Sports managing director Julian Ogrin added in a release accompanying the ratings data: “The NRL in Las Vegas achieved its highest ever match ratings and the AFL is seeing double-digit lifts in streaming to start this season.”

No average audience number was released for the total F1 audience watching on Fox Sports and Kayo. The linear audience alone watching Fox Sports coverage of the AGP pushed the show into the top 20 of all shows on FTA/STV on Sunday. The streaming audience should have pushed the show even higher in the rankings.

See also:
Inside Foxtel’s Hubbl House at Australian Grand Prix: F1 meets streaming tech
Inside Paramount’s suite and activation at Australian Grand Prix: Boiler suits and Halo helmets

Still plenty of F1 left in 2024

Don’t worry if you have not caught all the F1 action so far this year. There are a record 24 Grands Prix this year. With three already held, there are still 21 F1 weekends still to come. All of them available on Kayo Sports.

Australians (73%) are fearful about data breaches within a company or brand, while 72% are concerned that organisations are selling their personal data to a third party.

Dentsu’s Data Consciousness Project report, which surveyed 1,985 across Australia, examined how Australians feel about businesses accessing and leveraging their personal data.

Now in its fifth year, the report revealed responses to emerging technologies like Artificial Technology and their expectations of value in exchange for their data.

The research found a shift in attitude from when the report first began in 2018, when people felt open with their data, to feeling protective and concerned with how businesses intend to use it.

Fear was a prevalent feeling among Australians with almost two in five receiving a suspicious email or text requesting personal information, while one in four had experienced their information held by a company being stolen with malicious intent.

For marketers, the report also found that one in ten Australians switched brands because of a data breach, with 74% expecting swift action from brands to improve data privacy and security measures.

Christine McKinnon

Christine McKinnon, dentsu’s head of Intelligence, noted that 409 data breaches occurred in the first half of 2023, two of which affected more than one million people and the other more than 10 million Australians.
 
“It is against this backdrop that Australians have become more concerned about how their data is being collected and how it is being used and are now expecting more from companies.”
 
McKinnon said that for marketers, the value exchange will be important moving forward because brands will have to prove they can be trusted to protect their consumers’ data and show the consumers they are receiving something in return for their data.
 
Looking ahead to the year ahead, McKinnon said consumers will begin to assert their right to withhold personal data and expect the same levels of service from a business.
 
“Data as a currency will be one of the top opportunities, and challenges, for businesses this year.”

SBS is gearing up for the return of its acclaimed survival series, Alone Australia, with the launch of a limited-edition fragrance, Alone Cologne.

Walker described the cologne as: “stale notes of campfire soot, rain-soaked dampness, and earthy moss. This is followed by overwhelming notes of rotten game flesh, which sing in harmony with smoked fish skin, unwashed skin, and greasy hair.

“This pungent prelude is followed by a serenade of soured sweat and halitosis, bodily fluids, and a light after-whiff of the New Zealand wilderness.”

Adam Wise, ECD at Jack Nimble, said the campaign was a collaborative effort, resulting in a product that “truly captures the essence of survival.”

While Jane Palfreyman, SBS’s chief commercial and marketing officer, added that the Alone Cologne campaign captures the premise of the show – a “raw and unfiltered experience with contestants braving the elements on their own in their bid to survive the longest.”

Alone Cologne is part of SBS’s broader marketing campaign for the series, which includes PR, socials, and partnerships with influencers including Hamish & Andy, Jack Archdale, Ash Wicks, and Froomes. A cinema ad was also unveiled during the media launch of Alone Australia in Sydney.

Alone Australia Season 2 Cast (L-R): Rick, Mike, Leanne, Chace, Suzan, Tamika, Krzysztof, Andreas, Jack, Jason

Season 1 of Alone Australia, which premiered March last year, produced serious results for advertisers, boasting a series average of 1.24 million viewers.

With viewership across broadcast and BVOD, SBS anticipates the forthcoming season will surpass its predecessor. Director of media sales Adam Sadler classified the record-breaking survival series as one of Australia’s few “guaranteed cross-platform ratings juggernauts.”

“A lot of people might have missed it at the time, but in the all-important 25-54s demographic, Alone Australia was seeing off bigger and more long-running TV franchises to become the no.1 most-watched show over 28 days,” said Sadler.

“This show is unique in the Australian media landscape – it truly reflects TV viewing in 2024 – as a mass reach audience vehicle with a demographically pure audience focused on 25-54s.”

See also: SBS predicts “cross-platform ratings juggernaut” for Alone Australia season 2

BMF has appointed former general manager of Special, Eileen Cosgrove-Moloney, as its joint-general manager.

In her new role, Cosgrove-Moloney will work alongside the creative agency‘s co-general manager Richard Woods, and will lead the ALDI Australia account, which has been a cornerstone of the BMF portfolio for the past 23 years.

See also: BMF wins round five of the Siren Awards with its ALDI Christmas 2022

Prior to joining BMF, Cosgrove-Moloney spent four years at creative agency Special, where she led the Uber and Uber Eats APAC account, based in Tokyo, were she was involved in launching the lauded ‘Tonight I’ll Be Eating’ platform into the US with a star-studded campaign featuring Mark Hamill and Patrick Stewart. 

Cosgrove-Moloney brings further experience from assignments at esteemed global agencies including Droga5, RKCR Y&R, Saatchi & Saatchi London, and Colenso BBDO.

See also: Did Uber Eats just win the Super Bowl?

Stephen McArdle, chief executive officer of BMF Australia, said the team was delighted to find themselves “at the front of the queue” upon Cosgrove-Moloney’s decision to relocate to Australia from Japan.

“She has outstanding experience in leading top retail and tech brands at some of the world’s best agencies.

“Over those years she has developed a reputation for being a champion of creativity and effectiveness, whilst also being a real culture builder.”

Commenting on the appointment, Cosgrove-Moloney said she has long been a fan of BMF’s ethos, progressive culture, and creative effectiveness.

“I feel incredibly lucky to be able to continue to drive one of Australia’s longest standing agency client relationships in ALDI Australia and BMF, and I can’t wait to continue to push the boundaries of creativity with the seriously talented BMF team,” she said. 

Reunion agency, founded by former CHEP CEO Justin Hind in 2023, has unveiled its first work for Rest since securing the super fund’s creative account in December last year.

The ‘Super.Simple’ campaign for Rest, one of Australia’s leading profit-to-member superannuation funds, is geared towards simplifying the superannuation process for Rest’s two million members.

The campaign realises Rest’s “super simple” mission through a series of ads that bring out the humour in everyday challenges. The ads will be rolled out across various platforms including broadcast TV, BVOD, cinema, out-of-home, digital, social, as well as Rest’s owned platforms.

“We represent around one-in-seven working Australians, including more than a million who are younger than 30 years old. Many of our members tell us they don’t understand super. We want to help change this by removing complexity at every stage of the super experience,” said Deborah Potts, Rest’s chief member officer.

Hind added: “‘Super.Simple’ for Rest marks a significant moment for the brand and its members, embodying Rest’s dedication to engaging members in their financial futures in a straightforward, impactful way.”

‘Super.Simple’ out of home ad for Rest via Reunion Agency

Hind serves as the co-CEO and co-founder of Reunion alongside Stephen Knowles, whose background includes roles at Dentsu, Downstream Marketing, Adobe, and eBay. They co-founded the agency with Hind’s wife, Dominique Hind.

Last June, Hind revealed the newly established creative agency‘s goal was to collaborate with ambitious clients who want to elevate their brands’ value and engagement across all channels and touch-points.

Hind and Knowles previously worked together at Downstream, a performance marketing company founded by Knowles in 2005, which was later acquired and integrated by Adobe in 2012.

See also: Justin Hind teams up with wife Dominique and Stephen Knowles to launch new agency, REUNION

Credits:

Rest
General manager – brand and marketing: Andrew Ford
Head of brand and content: Chris Pocock
Senior brand manager: Georgina Ashley
Brand and content specialist: Sinem Kalenderoglu

Creative Agency
Creative agency: REUNION
Co-CEO and co-founder: Justin Hind
Co-CEO and co-founder: Steve Knowles
Creative partner: Ollie Beeston
Senior designer/artworker: Gene Stapleton 
Client partner: Claire Hawksford
Senior account director: Tizz Wilson

Production
Production house: MOFA
Director: Yianni Warnock
Executive producer: Llew Griffiths
Producer: Lib Kelly
Director of photography: Ross Giardina
Post house: The Editors
Editor: Mark Burnett
Sound production: Rumble
Sound designer: Daniel William

Media
Media agency: Custom Media
Group account director: Matt Jones
Media analyst: Reina Yuguchi
Head of digital: Richard Warwick

Maurice Blackburn has confirmed its media account is up for pitch.

A spokesperson for Maurice Blackburn Lawyers said in a statement: “Maurice Blackburn is conducting a closed review of their Media Agency Partner requirements led by Stephen McKeown, head of marketing, in partnership with Tumbleturn Marketing Advisory led by Dan Johns, partner.”

The incumbent is Melbourne-based independent agency Half Dome which has serviced the account since August 2021 when it acquired independent media agency Consumedia.

Meanwhile, Howatson+Co has overseen the law firm’s creative account since June 2021.

Additional clients that joined the Half Dome client portfolio as the acquisition of Consumedia in 2021 included Mayver’s, Euky Bear and Bosisto’s, among others.

News of the Maurice Blackburn media account up for pitch comes after Half Dome expanded its remit GMHBA and Frank Health Insurance to include SEO services, following the addition of Riccardo Ilari to the team in the role of SEO manager.

The independent agency will manage a comprehensive SEO program for its health insurance client, covering technical and local search aspects, with a specific focus on authoritative content that meets Google’s requirements for experience, expertise and trustworthiness (E-E-A-T).

See also: Half Dome expands remit with GMHBA and Frank Health Insurance to include SEO services

Half Dome also underwent a refresh of its brand, strategy, and identity with the launch of “Whole Potential” last year, marking six years of business.

The agency has since grown to a 65-person strong agency representing clients in Melbourne, Sydney, Geelong, and Ballarat across full-service media planning and buying, SEO, and creative performance production.

See also: Half Dome unveils new brand positioning as it celebrates six years in business

Earlier this year, Adrian Cosstick was appointed as Half Dome’s head of strategy, leading the independent agency’s strategic product and evolving its planning process for clients.

Man of Many’s sales team is Mediaweek‘s February winner as part of the Sales Team of the Year initiative.

In 2023, Mediaweek launched Sales Team of the Year to highlight some of the high-quality work done in the industry. 

Each month, a media sales team is selected by a rotating panel of judges as the nominee for that particular month, culminating in a final set of nominees by the end of the 12 months. The judges will be assessing each team on criteria such as proactivity, strategy and execution, and client and agency relationship management.

The nominees will then all go into the running to be named Mediaweek’s Sales Team of the Year. 

See Also: Mediaweek’s Sales Team of the Year: NSW shines for News Corp Australia

Mediaweek caught up with Man of Many commercial director, Elliott Barsby.

Barsby has been at Man of Many for about 18 months, making the move from News Corp’s Medium Rare. He tells Mediaweek that he “joined the team with the view of looking to grow the sales opportunities and the sales team at Man of Many.”

“Over the past year, the things I’m most proud of are really diversifying the offerings that we can put forward to our clients. We are Australia’s largest men’s lifestyle publisher, we see fantastic results in traffic through to our sites. Content packages, display campaigns and the like are our bread and butter, but we’re really looking to put forward new opportunities and diversify our offerings to clients.”

Elliott Barsby

These expanded offerings include events such as working with the NBC Universal team to bring the film Argylle to life at its Sydney premiere, and content creation in the form of photography and videography.

“We’ve had a few of our video campaigns nominated for some international film awards in recent months. It makes my job so much easier when you’ve got fantastic products to put out there.”

Barsby said the key to the team’s results lies in “really listening to our audience and knowing what they are after” from the Man of Many brand.

“We work very hard on the back end analysing search trends and making sure that when producing content, we know we’re not just putting content up for the sake of it, but producing content we know he’s going to engage with our audience.”

Barsby also pointed to having the trust of clients as a major factor in retaining clients. He made the point that a major focus for the team is not necessarily just doing the same thing year in and year out, but really understanding the client’s needs. 

“In my opinion, our campaign reporting is best in class, we are very open and transparent with our numbers and our reporting. Being predominantly digital, we have access to all of those really fine details in terms of how a campaign is performing, and we are very, very transparent in communicating that with our clients,” Barsby said.

“That helps build trust. If a campaign is doing really well, we’re very quick to celebrate that with the client. If it needs to be tweaked and adjusted, we are very quick to share that and give reasoning as to why we might be now prioritising other components of the campaign to make sure that it is hitting the mark.”

Looking ahead, there is one clear north star that Barsby and the Man of Many sales team are working towards.

“Moving forward, I really want to look to solidify Man of Many’s presence in the market. Our goal is to become a household name, not just within men’s lifestyle publishing, but publishing in general.”

Havas Group AUNZ has announced the appointment of Marco Villella in the newly-created role of head of talent. 

Villella joined Havas last month after four years at GroupM, part of WPP, where he was talent acquisition lead, responsible for talent across GroupM’s agencies EssenceMediacom, Mindshare, Nexus, and Wavemaker. 

Prior to this, Villella held positions at Mediabrands and Hart Resources Group. 

Villella has already started in his new role, based in the Havas Village in Sydney, reporting to chief people officer Candice Veasey, who joined the agency in July last year.

See also: Havas Australia welcomes Candice Veasey as chief people officer

Villella’s remit will involve overseeing the talent product and strategy across the Havas Village and wider network, including Havas Media, Play, Host, Red, Blvd, New Zealand, as well One Green Bean, Organic Pacific, H/Advisors APA, Bastion Brands, and Frontier. 

“He is a great addition to our People Team, and I look forward to a successful journey together seeing all of his valuable contribution across the Havas Village,” said Veasey.

Villella said he is excited to “create meaningful and impactful careers.”

“Havas continually invests in its people, and I feel honoured to be part of this investment which will allow us to attract, nurture and engage the best talent our industry has to offer,” he said.

Earlier this year, chief executive officer Virginia Hyland said the agency had been experiencing strong growth since investing in leading industry talent, particularly bolstering its e-commerce and pharmaceutical capabilities.

This came as the advertising and media communications agency announced it had been appointed media agency of record for global pharmaceutical company Viatris, as well as Uniting Property Services.

The remits for both brands cover media strategy, planning, buying, digital performance and search, with Viatris also including retail marketing.

See also: Havas Media wins Viatris and Uniting Property Services

–

Top Image (L-R): Virginia Hyland, James Wright (group CEO Havas Creative), Marco Villella, and Candice Veasey.

Content and comms agency Mahlab has expanded into Southeast Asia, launching an office in Singapore led by Gus Wick, formerly of Omnicom Group. Wick becomes business director, ASEAN, and will lead business development across the region, based in the Lion City.

Singapore’s position as a hub for businesses and entrepreneurs has made it an attractive market for Mahlab. This expansion will add to its permanent presence in Sydney, Melbourne, and Auckland.

Mahlab CEO Cara McLeod told Mediaweek that the agency has been busy developing thought leadership, lead generation, account-based marketing, and integrated communications programs for clients across Asia-Pacific.

These clients include Zoom, Salesforce, Slack, Kyndryl, ABB, Autodesk, Figma, and FedEx.

“Having a full-time presence on the ground will help us deliver impact for our clients more effectively and help Mahlab and our clients grow,” McLeod said.

Mahlab has been working on developing marketing and communication strategies that will address challenges for clients, which are navigating complex and challenging business landscapes.

“Mahlab has deep sector expertise in technology, engineering, and health, which means we immerse ourselves in our clients’ worlds and deliver impact quickly, whether that’s through thought leadership, content marketing, or account-based marketing,” she said

This expansion marks a new chapter in Mahlab’s 27-year history. Founder and chair Bobbi Mahlab AM said the agency is excited to contribute to the dynamic business community of Singapore and Asia on a wide scale.

“With our new office and Gus’s leadership, we’re looking forward to the chance to work even more closely with our existing clients and getting to know a whole new range of businesses in Singapore and across the region,” Mahlab said.

Wick added that he is looking forward to the opportunity to formalise Mahlab’s presence in Singapore.

“Mahlab’s work is creative and effective, and I’m looking forward to building on the team’s success,” he added.

Looking ahead, McLeod noted that Mahlab will embrace AI as a powerful tool to improve its operations while remaining vigilant about security and ethical concerns.

This includes automating routine tasks, fostering greater creativity in client work, and making better, data-driven decisions.

McLeod added that Mahlab’s use of AI is governed by the principles of its code of conduct as a B Corp-certified organisation and its position statement on the use of generative AI. Mahlab became B Corp certified last year.

See also: Mahlab announces it is certified B Corp agency

–

Top image: Cara McLeod

The Sign, the highly anticipated 28 minute long episode of Bluey, is set to air Sunday 14 April at 8am on ABC Kids and ABC iview.

Ahead of the episode’s release, the official trailer now gives viewers a sneak peek.

Prior to The Sign’s release, a new regular length episode called Ghostbasket will premiere on Sunday 7 April. Both episodes are penned by Bluey creator and writer Joe Brumm, directed by Richard Jeffery, and produced by Ludo Studio.

As has become a staple part of Bluey, The Sign has a major roster of cameo voice talent: Patrick Brammall returns as the voice of Uncle Rad, with Megan Washington as Calypso, Claudia O’Doherty as Frisky, Myf Warhurst as Trixie, and Rose Byrne as Brandy.

Making their Bluey voice debut, The Sign will also feature Rove McManus, Deborah Mailman, Brendan Williams, and Joel Edgerton.

Managing director, BBC Kids and Family Cecelia Persson, said the episode would be “an unmissable event for every Bluey fan worldwide,” and for those who were yet to become fans, it would be “a fantastic springboard into the incredible world of Bluey.”

The impact of Bluey has well and truly grown beyond the screen. Last month, six Bunnings stores in Australia and one in New Zealand traded in the Bunnings name for Hammerbarn, inspired by a season two episode of the cartoon. The campaign came with a series of Bluey-themed kids DIY workshops held in-store, and exclusive Bluey products including gnomes Hecuba, Jeremy, and Tony.

See Also: For real life! Bunnings rebrands to Hammerbarn in Bluey takeover

“Bluey is one of the most-watched television shows in the world at the moment, which is just amazing,” BBC Studios director of brands and licensing ANZ, Kate O’Connor, told Mediaweek.

“We don’t take that for granted. It’s in more than 60 countries, 30 languages, it was the second most streamed show in the US last year, and definitely the most streamed show in Australia.

“Being able to do something like this with Bunnings – which is ultimately a store for adults – goes to show the versatility and appeal of Bluey across various demographics.”

We Are Social has teamed up with Wayside Chapel to launch a behaviour change campaign, Social60.

The pro-bono initiative aims to combat loneliness by establishing a first-of-its-kind benchmark for social connection: 60 minutes of in-person social interaction each day.

This is in response to the State of the Nation report on social connection in Australia by Ending Loneliness Together, which found that 1 in 3 Australians experience loneliness. The research conducted by Australia’s leading psychologists and neuroscientists, the 60-minute benchmark offers a tangible and memorable goal for individuals to enhance their daily social interactions.

Hugh Clifford Mackay AO, a psychologist and social researcher who consulted on the campaign, said that while human connection is essential for our well-being, it is Australia’s leading public health issue.

Wayside Chapel has set itself on the mission to combat loneliness. Jon Owen, CEO and pastor of Wayside Chapel, said the organisation has long campaigned for a life without loneliness since opening its doors in 1994.

“Our unique, non-judgemental approach rooted in love, care, and connection drives everything we do. Together, we can challenge the loneliness epidemic and foster a society where every individual feels valued and connected.”

Research by Wayside Chapel that found nearly 70% of Australians experience less than an hour of in-person contact each day.

The campaign, which launched on the UN’s International Day of Happiness, kicked off with a hero film featuring TikTok creators and everyday Australians examining the impact of loneliness in their lives.

We Are Social partnered with creator and media personality, Tully Smyth to subvert TikTok’s popular, Day-In-The-Life [DITL] trend in which she revealed in a subsequent post a poignant reality – that she spend the entire day ithout engaging in any physical interaction with another person — shedding light on the impact of loneliness on her well-being.

Social60 also posted a creator-led TikTok video with practical tips and tools to enhance their daily social interactions, which was saved by 1.2K people in just 4 days.

The campaign is endorsed by Dr Fiona Kerr, founder and CEO of The NeuroTech Institute, emphasised the importance of face-to-face connection over digital interactions. She said that a conversation in a coffee line already provides an electrochemical infusion that lowers feelings of both emotional and social loneliness.

“We are built to connect in shared space. Engaging with others positively impacts our brains and bodies in ways digital contact does not, altering our neurophysiology and changing how we see ourselves and each other. It gives us a sense of belonging and acceptance – a wonderful, powerful gift we can give to each other with so little effort.”

Ben Clare, executive creative director of We Are Social, said connecting with others IRL has never been harder in a world dominated by virtual communication, remote working and modern conveniences like online shopping and self-checkouts.

“We really hope Social60 builds a movement towards long-term change. Partnering with influencers and creators on the project helped bring authenticity and authority to the issue, allowing us to use culture to fight our culture of loneliness.”

Credits

Wayside Chapel
CEO: Jon Owen

We Are Social Australia
Executive Creative Director: Ben Clare
Senior Art Director: Laura Brown
Senior Copywriter: Tom Bradbeer
Head of Design: Pete Majarich
Editor: Annie Davidson
Senior Strategist: Zach Rippon
Senior Account Manager: Ali Spillane
Senior Account Manager: Claudia Hovers
Head of Client Services: Kelly Spence
PR: Manuel Cavaleri

Retired Australian tennis star Ash Barty and Matildas’ captain Sam Kerr have been named Australia’s most popular sports personalities in the Australian Talent Index’s 2024 Top Talent Report. 

Barty retained her number one spot on the list, having taken out the prime position in the inaugural 2022 index, while Kerr moved up seven positions from her 2022 ranking to second place. Wheelchair tennis star and radio host Dylan Alcott took out third position. 

Barty was the second Australian tennis player to be ranked world number one and is also a three-time Grand Slam singles champion, claiming titles at the 2019 French Open, the 2021 Wimbledon Championships, and the 2022 Australian Open.

The Australian Talent Index is calculated by subtracting the proportion of people who disliked a personality from those who liked or loved them, giving each a score ranging from -100 (universally disliked) through to +100 (universally liked).

How sporting talent rank:

Most trusted women in sport

Former Australian cricketer and one-time captain of the Australian women’s team, Meg Lanning, was considered to be the most trustworthy sports star, followed by fellow cricketer and current team captain, Alyssa Healy, and rugby league player, Millie Boyle.

Best awareness of women in sport

In terms of awareness in Australia, Ash Barty topped the list. 

Most authentic women in sport

Cricketer Alyssa Healy was considered to be the most authentic sports player, equal to retired tennis star Casey Dellacqua. 

Most likeable women in sport

Likebility went to former world number one and 11-time Grand Slam tennis champion, Evonne Goolagong Cawley.

Most controversial

Tennis star Nick Kyrgios was deemed to be Australia’s most controversial sporting star, followed by former professional boxer and rugby league player, Anthony Mundine. 

Most entertaining

The Penrith Panthers’ Jarome Luai topped the most entertaining list, followed by former Queensland NRL player and commentator, Jonathan Thurston.

Most relatable

Australian netballer Gretel Bueta and cyclist Anna Meares were considered the most relatable sporting talent.

Sports codes popularity

When it comes to AFL, returned West Coast Eagles star, Nic Naitanui, ranked number one, while Jonathan Thurston took out the top spot in the NRL. Ash Barty came in first in tennis, while former international cricketer and commentator Adam Gilchrist took out the prime position in cricket. 

Last week, Network 10’s I’m A Celebrity … Get Me Out Of Here! host Robert Irwin was named Australia’s most popular broadcast personality in the Australian Talent Index’s 2024 Top Talent Report – before the show had even aired.

Irwin, a relative newcomer to Aussie screens, took out the top broadcast talent spot, eclipsing the last report’s winner – comedian and TV personality Hamish Blake – in his debut appearance on the list.

Alongside his top broadcast position, Irwin was also voted number one broadcast talent by women and was considered the celebrity who gives the most back to the community, according to the Index. 

See also: Robert Irwin crowned Australia’s most popular broadcast personality

Resolution Digital has been appointed as the dedicated global website agency for the a2 Milk Company (a2MC).

The digital marketing agency, which is part of the Omnicom Media Group, will apply its Evolution framework to deliver a frictionless customer-centric experience across all of a2MC’s websites.

The dairy brand, founded in New Zealand in 2000, is known for its range of resh a2 Milk, a2 Platinum infant milk formula and a2 Milk powders. A2MC uses selected cows that naturally produce milk without A1 beta-casein protein, which may cause digestion issues for some people.

Edith Bailey, chief marketing officer of The a2 Milk Company, emphasised the pivotal role of websites in sharing the dairy brand’s story with consumers.

“Resolution Digital showcased a strong comprehension of our short and long-term business goals, presenting a well-defined and thoughtful strategic recommendation. We are excited to work with such a seasoned and capable team,” Bailey said.

Matthew Keegan, Resolution Digital’s managing director, said the team was looking forward to embarking on a new chapter with The a2 Milk Company and supporting “their growth ambitions”.

Last year, This is Flow was appointed by The a2 Milk Company (a2MC) to manage the media planning and buying of its Australian business.

See also: This is Flow is appointed to manage the media planning and buying of The a2 Milk Company

Resolution Digital’s a2MC win comes after they agency was appointed to lead digital media and SEO for El Jannah, as the Lebanese-Australian charcoal chicken chain plans to expand with 50 restaurants open in Australia by mid-2025.

Keegan said of that the team was excited to partner with the Australian brand and is “dedicated to growing their market presence in Australia at scale.”

“The win is testament to our evolution framework, which focuses on maximising the quick wins whilst strategically planning for the future of El Jannah”, he added.

See also: Resolution Digital wins El Jannah’s media and SEO account

• Ghostbusters: Frozen Empire opens with $3,003,525 in its first week, averaging $5,316 over 565 screens.
• This weekend, the Australian box office made $7,752,520, down +9% from last week’s $7,116,617.

TOP 5

1. Ghostbusters: Frozen Empire – $3,003,525 (debut)

Dune: Part Two has finally been dethroned by Sony’s Ghostbusters: Frozen Empire. The film is a sequel to 2021’s Ghostbusters: Afterlife and serves as a continuation of the 80s films, featuring the return of the original Ghostbusters from the 1984 film. It is directed by Jason Reitman, the son of Ghostbuster’s original director, Ivan Reitman. Despite coming in at number one this week, Frozen Empire fell short of opening higher than Dune: Part Two in Australia. The film took $3,003,525 in its opening week, averaging $5,316 over 565 screens.

Synopsis: The Spengler family and the original team are back at the iconic NYC firehouse, unveiling a cutting-edge lab to kick ghost-busting up a notch. 

2. Dune: Part Two – $2,375,208 (1)

Originally scheduled for release at the end of 2023 but delayed due to the SAG-AFTRA strike, Dune: Part Two opened exclusively in theatres, compared to the first film, which opened day and date in theatres and on HBO Max in 2021. The film took $2,375,208 in its fourth week, averaging $5,524 over 430 screens.

Synopsis: Paul Atreides unites with Chani and the Fremen while seeking revenge against the conspirators who destroyed his family. Facing a choice between the love of his life and the fate of the universe, he must prevent a terrible future only he can foresee.

3. Wicked Little Letters – $766,660 (debut)

Studiocanal’s Wicked Little Letters is based on the true story of the Littlehampton letters and currently holds a favourable 70% on Rotten Tomatoes. Starring Olivia Colman and Jessie Buckley, the movie brought in $766,660 for its first week in cinemas, averaging $2,556 over 300 screens.

Synopsis: A 1920s English seaside town bears witness to a farcical and occasionally sinister scandal in this riotous mystery comedy. 

4. Immaculate – $301,425 (debut)

Rialto’s Immaculate is Sydney Sweeney’s first foray into the world of horror. She not only stars in the film, but serves as its producer, initially auditioning for the role in 2014, but then championing the film’s revival after years of production hell. The film made $301,425 and averaged $1,530 over 197 screens.

Synopsis: Cecilia, a woman of devout faith is warmly welcomed to the picture-perfect Italian countryside where she is offered a new role at an illustrious convent.

5. Exhuma – $218,874 (2)

Signal Pictures’ Exuma impressed, debuting in second this week. The South Korean horror film is written and directed by Jang Jae-hyun and stars Choi Min-Sik, Kim Go-eun, Yoo Hae-jin and Lee Do-hyun. The film took $218,874, averaging $4,974 over 44 screens.

Synopsis: The film follows the process of excavating an ominous grave, which unleashes dreadful consequences buried underneath.

Top 6 – 10

6. The Great Escaper
7. Imaginary
8. Love Lies Bleeding
9. Bob Marley: One Love
10. Ryuichi Sakamoto – Opus

Australia ranked #6 in the WARC Effective 100, the global benchmark of the world’s most awarded campaigns and companies for effectiveness.  

The USA led the Effectiveness 100 list, followed by India, Brazil, the UK, and Columbia, which rounded out the top five. 

The annual Effective 100 Ranking reflects the work awarded by the most important global and regional shows celebrating effectiveness in 2023. The awards tracked are determined by a yearly global panel survey and in consultation with the WARC Rankings Advisory Board.

Australia’s best-performing campaign, coming in at #11, was Curing Homesickness by CHEP Network in Melbourne, followed by Ridiculous! How -196 Defied the Hottest Trends to Become Beam Suntory’s Most Successful Launch Ever in #17 by The Monkeys in Sydney.

Then at #67 was Saatchi & Saatchi Sydney with Little Moments for Arnott’s and Degustation for KFC at #82 by Ogilvy Sydney.

Coming in at #98 was Deals So Distracting They Were Unskippable for McDonald’s by DDB Sydney.

In the top creative agencies category, Australia’s top performer was Ogilvy Sydney, which made the list at #19, followed by The Monkeys Sydney at #24.
 
Meanwhile, New Zealand made an impressive mark on the WARC Effective 100 list, coming in at #8. Special Auckland ranked #6 in the top creative agencies. Both Spark Foundry in Auckland and OMD/Wellington came in at equal #36 in the media agency category.

TV Report March 25, 2024:

Nine TV Report

Married at First Sight

Nine’s evening began in the wake of a shocking Commitment Ceremony on Married at First Sight. 

The couples are in shock over Jonathan’s texting scandal with former bride Ellie.

In her apartment, Lauren is still reeling from the revelation. She feels especially betrayed following their homestay in Perth where they had been intimate again – she wonders if he was texting Ellie at the time. As Lauren scrolls through Jonathan’s phone, she finds troubling messages and fails to find a single mention of herself in the texts from either Jonathan or Ellie. Jonathan offers half-hearted apologies, and the discussion becomes increasingly heated until Jonathan awkwardly exits. 

At the cocktail party, Tori and Jack arrive first and bask in being the happy “boring couple”. Eden and Jayden are next to arrive, much improved as a couple from where they were at the last Commitment Ceremony. Lauren arrives alone and proceeds to fill the rest of the group in on the situation with Jonathan. The remaining couples arrive and join the conversation. 

The drama almost immediately kicks off at the table, as Sara proposes a toast to Jonathan texting Ellie. The group questions Jonathan over the messages, though he continues to deflect any suggestion of wrongdoing. The discussion is interrupted by the arrival of the honesty boxes.

The couples tackle their honesty boxes one by one. Sara and Tim both admit they’re on the way to falling in love, and he admits he believes she’s over her ex. Despite disdain from the others, Tori and Jack remain outwardly strong together. Jade tells Ridge he’s made her feel like she can fall in love again but fires up when Ridge shows off to the table with childish behaviour. 

The honesty box turns into a head-to-head between Lauren and Jonathan, with Lauren taking the opportunity to interrogate Jonathan over the messages with Ellie. Jonathan attempts to deflect any wrongdoing and even tries to shift blame for his behaviour onto Lauren. Backed into a corner, Jonathan admits he thinks he would have had an easier time matched with anyone other than Lauren. Incensed, Lauren tells Jonathan he’s the fakest person she’s ever met. 

A Current Affair

Over on A Current Affair, a bureaucratic nightmare leaves a mum and son unable to return home and a Sydney man cuts off his dead brother’s ear to test his nephew’s paternity. 

Seven TV Report

Australian Idol

Over on Seven, the nation chose Dylan Wright from Northern Rivers, NSW as its Australian Idol. 

Dylan was in disbelief as hosts Ricki-Lee and Scott Tweedie announced the 31-year-old had won the crown, a recording contract with Sony Music Entertainment Australia, plus $100,000 in prize money. 

The father of two acknowledged cementing his place in Australian Idol history was life-changing. Overwhelmed, he said: “Thank you. I’m about to cry.”

Holding tears at bay, Dylan took to the stage to perform his winner’s single Paper Heart.

Dylan praised his wife Georgia and children – 4-year-old Piper and 1-year-old Rivi – admitting: “If I didn’t have them to ground me, I would be lost.”

Home & Away

Before Australian Idol was Home & Away as Stevie pressed Eden’s buttons, Xander’s fundraiser faced a hurdle and Remi was in for a rude shock. 

10 TV Report

The Project

The Project on 10 looked into the second job stress amongst Australians, spoke to Robert Irwin & Julia Morris live from the Jungle and also spoke to Tom Gleeson. 

I’m A Celebrity… Get Me Out Of Here!

On 10’s I’m A Celeb, the celebrities were still adjusting to camp life in the African jungle, and will now come face to face with the jungle’s most terrifying snakes.

ABC

7:30

On 7:30, the program investigated the community where a spike in crime triggered tough now penalties that will put more young people behind bars and also looked into the fact that one-third of Australian school students can’t read properly. 

SBS

Finding Your Roots

Henry Louis Gates maps the family trees of actor Joe Manganiello and football star Tony Gonzalez – uncovering close relatives whose names they’ve never heard and compelling each man to rethink his own identity.

Sunday 24th Mar 2024: VOZ Total TV Ratings Overnight Top 30 – Programs ranked on reach

Total People TV Ratings

Nine’s Married at First Sight recorded a total TV national reach of 2,802,000, a total TV national audience of 1,648,000, and a BVOD audience of 379,000.

Nine’s NRL – Sea Eagles v Eels recorded a total TV national reach of 976,000, a total TV national audience of 415,000, and a BVOD audience of 44,000.

Seven’s Australian Idol recorded a total TV national reach of 1,981,000, a total TV national audience of 891,000, and a BVOD audience of 65,000.

Also on Seven, Lockerbie recorded a total TV national reach of 1,272,000, a total TV national audience of 382,000, and a BVOD audience of 20,000.

10’s airing of I’m A Celebrity… Get Me Out Of Here! recorded a total TV national reach of 1,813,000, a total TV national audience of 806,000, and a BVOD audience of 61,000.

See Also: TV Report March 24, 2024: Robert Irwin and Julia Morris usher in a wild new I’m a Celebrity 2024 cast

People 25-54

Nine’s Married at First Sight:
• Total TV nation reach: 1,201,000
• National Audience: 767,000
• BVOD Audience: 240,000

Nine’s NRL – Sea Eagles v Eels:
• Total TV nation reach: 340,000
• National Audience: 145,000
• BVOD Audience: 27,000

10’s I’m A Celebrity… Get Me Out Of Here!:
• Total TV nation reach: 818,000
• National Audience: 394,000 
• BVOD Audience: 38,000

Seven’s Australian Idol:
• Total TV nation reach: 591,000
• National Audience: 259,000
• BVOD Audience: 34,000

Seven’s Lockerbie:
• Total TV nation reach: 360,000
• National Audience: 108,000
• BVOD Audience: 11,000

People 16-39

Nine’s Married at First Sight:
• Total TV nation reach: 584,000
• National Audience: 368,000
• BVOD Audience: 153,000

Nine’s NRL – Sea Eagles v Eels:
• Total TV nation reach: 139,000
• National Audience: 55,000
• BVOD Audience: 17,000

10’s I’m A Celebrity… Get Me Out Of Here!:
• Total TV nation reach: 347,000
• National Audience: 172,000 
• BVOD Audience: 24,000

Seven’s Australian Idol:
• Total TV nation reach: 235,000
• National Audience: 108,000
• BVOD Audience: 17,000

Seven’s Lockerbie:
• Total TV nation reach: 138,000
• National Audience: 39,000
• BVOD Audience: 5,000

Grocery Shoppers 18+

Nine’s Married at First Sight:
• Total TV nation reach: 2,197,000
• National Audience: 1,320,000
• BVOD Audience: 299,000

Nine’s NRL – Sea Eagles v Eels:
• Total TV nation reach: 734,000
• National Audience: 315,000
• BVOD Audience: 33,000

10’s I’m A Celebrity… Get Me Out Of Here!:
• Total TV nation reach: 1,361,000
• National Audience: 600,000 
• BVOD Audience: 49,000

Seven’s Australian Idol:
• Total TV nation reach: 1,538,000
• National Audience: 695,000
• BVOD Audience: 52,000

Seven’s Lockerbie:
• Total TV nation reach: 994,000
• National Audience: 302,000
• BVOD Audience: 17,000

Data © OzTAM and Regional TAM 2024. Not to be reproduced, published or communicated (electronically or in hard copy) in whole or in part, without prior written consent of OzTAM and Regional TAM.