Prime Minister Anthony Albanese has hit out Meta’s decision not to renew its deals to pay Australian news publishers for content, with the government consulting with the ACCC on the next steps. 

Albanese told reporters the government would “stand up” for the country’s news media publishers after Meta confirmed it would not renegotiate deals to pay for news content and would axe its news tab in Australia. 

The move comes just three years after the introduction of the News Media Bargaining Code, which stipulated that digital platforms could be required to negotiate with registered news media companies over remuneration for news content featured on the platform. 

While Meta (which was known as Facebook at the time) reached voluntary commercial agreements with a number of Australian news media organisations, some of these agreements will expire in the first half of this year. 

Albanese told reporters, “We’re very concerned with this announcement that they’ve made. We will always stand up as a government for Australian media interest and media diversity,” 

“We know that it’s absolutely critical that media is able to function properly and be properly funded. Journalism is important.

“The idea that research and work done by others can be taken for free is simply untenable,” he added.

Albanese noted that the government will “consider the options we have available” and hold discussions with media companies.

“We know the idea that one company can profit from others’ investment, not just investment in capital, but investment in people in journalism, is unfair.

“That’s not the Australian way.

“We know that when it comes to media interests, Australians have a right to know that their companies won’t simply be doing work in order to provide information through the media in Australia that will be appropriated without any costs by a foreign company.

Albanese said Steven Jones, assistant treasurer and minister for financial services, and Michelle Rowland, minister for communications, “will look at what options are available.”

“We will look at what an appropriate government response is, but we will respond in the national interest,” the prime minister concluded.

The ACCC will be providing assistance to the government regarding its response to Meta’s decision to axe its news tab and not renegotiate payment deals with publishers.

In a statement, a spokesperson said: “The ACCC remains of the view that access to public interest journalism is essential for Australians, and it is concerning this information will no longer be available on this service.

“The ACCC is providing assistance to the Assistant Treasurer and to Treasury.

“At the direction of Government, the ACCC has conducted a significant body of work on the consumer and competition harms associated with digital platforms, including through contributing to the development of the news media bargaining code in 2020 and 2021.

“The ACCC has proposed a series of further reforms to address competition harms. These proposed measures have been agreed to in principle by the Government.”

It follows the confirmation today that Meta will stop paying publishers for news content and not re-negotiate new Media Code deals once the current deals expire.

The digital giant’s decision follows months of speculation as Meta had expressed concerns with the deals and questioned the value to its business. 

Meanwhile, tech rival Google maintains committed to working with Australian publishers and continuing its news content deals. The tech giant recently confirmed its stance with recent comments from Lucinda Longcroft, the director of government affairs & public policy at Google Australia and New Zealand, highlighting the company’s attitude toward the Australian news industry.

See also: Meta pulls the pin on news media deals with publishers and axes news tab
See also: Google maintains its commitment to news media deals after Meta pulls out

“Melbourne is going to be the most talked about radio market this year, and probably the most talked about radio market for some time”, group program director for the Nova Network, Brendan Taylor, told Mediaweek. And that was true before news broke that Jason Hawkins and Lauren Phillips had made the switch from ARN to Nova.

When it was announced that Kyle & Jackie O would be making their Melbourne debut, it came at the expense of the Jase & Lauren show on KIIS 101.1. After signing off with ARN in survey eight last year, the pair’s new home at Nova 100 was announced in early February.  

Brendan Taylor

“It was really sad to hear the announcement that the show was ending, and I suppose it was one of those timely opportunities that presented itself,” said Taylor.

“We’ve admired the show from afar for a number of years, even when it was Jase and PJ, then with Lauren more recently.”

The Jase & Lauren breakfast show will launch on Nova on Friday, March 8. Incumbent brekkie team, Ben, Liam & Belle, will be finishing up the day before, and moving to the other end of the day on a new national show – Late Drive – from 6pm to 8pm weekdays.

The move “was, in some ways, an easy decision”, Taylor said of the switch.

“Looking at our national lineup, we knew there was a space for a live show in Drive, and it felt only natural that Ben, Liam and Belle broadcast to a national audience. Hence, we created the national Late Drive programme for those guys. The announcement of Jase and Lauren meant that there was a show there that we could pursue, that we respected, and that we could see fit the brand and the values of Nova. 

“We’ve always seen that team as a national show. From the history of Ben and Liam at Triple J, and then Ben, Liam & Belle on the Nova network, building that profile in Adelaide, and then coming across to Melbourne. We always considered them as a national show at some point.”

Ben, Liam and Belle

Behind the mic in the morning, Jase and Lauren have found themselves up against their former ARN colleagues, broadcasting at the same time as Kyle & Jackie O – however, no date has been announced yet for the Sydney radio giants’ entry into the market.

When asked how well prepared the pair are to go up against Kyle & Jackie O, Taylor said he believes that “Jase & Lauren is a world-class show.”

“Melbourne is full of quality broadcasters and breakfast shows, from The Fox to Gold FM with Christian [O’Connell], it’s a quality breakfast market. It’s really important to have established breakfast shows with good rapport with your audience, and I think that’s something that Jase and Lauren have.

“I respect both of them and the craft they do. It’s going to be a competitive market, and I think Jase and Lauren are definitely up for that battle.”

With the countdown now officially on until Nova 100’s new breakfast show, Taylor said both Hawkins and Phillips are keen to get back behind the mic.

“They’re excited, it’s been a long time in the making. We’re at that point where they want to get back on and do what they love doing – and that’s broadcasting to Melbourne. 

It’s really important to have a live and local breakfast show in that market, and all ears are going to be on Melbourne this year.”

–

Top Image: Jason Hawkins and Lauren Phillips

Physical media is having a major moment, with the magazine revival, in particular, spanning multiple markets across the globe. In the latest success story, Are Media has lifted the lid on the first issue of the new ELLE Australia magazine. 

The 244-page Bright Young Things issue features actor Sophie Wilde on the cover, and follows the online impact of the magazine’s website, reaching a total Australian audience of over 1.6 million across all touch points. 

Ahead of the launch, Mediaweek caught up with ELLE Australia editor Grace O’Neill and Are Media general manager of fashion and beauty, Nicky Briger.

“There were 132 magazines that came back into print or launched in America over the last 12 months, and the same is happening in Australia,” Briger said of the current landscape.

“For us, It’s definitely that disassociation from digital, you just want to completely relax and cut off. You use a different part of your brain when you’re reading or looking at a magazine, and feeling and touching it. There’s something really special about having something tangible in your hands that you can carry and hold, and put on your coffee table. It is almost like a luxury item in itself.”

O’Neill backs this up, pointing to a “total digital overload” that the world has faced in the last few years.

“You see this real craving for physical experiences that allow you to be away from your phone. When we are on our phone consuming content, we’re just subconsciously aware of all the emails we haven’t responded to, the WhatsApps we haven’t texted back, and the appointments we need to make,” O’Neill said.

“The ability to have a product that allows you to step away from all of that, and to be deeply engaged with topics that you’re interested in, I think that’s something that will never, ever go away.”

ELLE Australia cover

Bringing ELLE back to Print

ELLE shut down its print operation in 2020 due to Covid, a decision that was made by several other titles at the time as well.

There was always the intention that the title would return to print, with Briger saying “from the day we closed we were talking about bringing it back.”

“We just knew that there was an appetite out there, and after four years, we’ve had the opportunity to really build up our digital assets and make it a bit of a digital powerhouse. We just knew from the engagement that it was a really, really important brand.

“From a luxury perspective, ELLE is probably the number one fashion magazine in the world. It’s a major luxury brand, and luxury is absolutely thriving in Australia – despite the cost of living crisis.”

Speaking about how she landed the role as editor of ELLE, O’Neill laughs that it was a “serendipitous moment.”

“I was at a fashion show in Paris, and I bumped into a former colleague who told me that ELLE was coming back. She floated the idea about whether I’d be interested in editing it, which was obviously a huge honour. It definitely wasn’t that easy to get the job, but from the moment I heard the magazine was coming back, my brain was full of ideas about how to put a stamp on this new iteration.”

When it comes to the biggest goals that the team have for the relaunched magazine, O’Neill said “the ambition is twofold.”

“From a readership perspective, we know the appetite for ELLE is there. Our biggest goal is to reach the exact women who want the really smart, compelling, beautiful, and elevated content that we have in the issue. We have a very clever marketing and social media rollout plan to ensure that that happens,” O’Neill said.

“From an advertising perspective, I think it’s about creating an ecosystem that these beautiful luxury brands are thrilled to sit inside. That’s another thing that we’ve done that we’re very excited about.”

As for who those women who want the content are? O’Neill said “on paper, it’s that Gen Z to Millennial spectrum, 25 to 35” – but the digital audience skews even younger than that. 

“It’s intelligent women who are very bored of scrolling on TikTok, and are looking for to replicate the experience they had growing up, obsessing the magazines. It’s also the people that have followed ELLE on social media this whole time, and are looking for that actual physical touch point with which to interact with it.”

ELLE for Brands

The first issue of ELLE has attracted a long and prestigious list of brands advertising on  its pages, including Dior, Dior Perfumes, Louis Vuitton, Celine, Chanel, Gucci, Hermès, RIMOWA, Swarovski, Coach, Breitling, Max Mara, Kérastase, Endota, Emma Lewisham, Chloé, Marc Jacobs, and Pandora.

“We were really lucky that there has been such a great response. It is a bit of a leap of faith when you invest, and they’ve absolutely jumped in which has been amazing. We’re so lucky for that. I think that our advertisers really believe in ELLE as a global juggernaut and the fashion Bible. The power of the ELLE brand is extraordinary,” Briger said.

“Advertisers love it because it really legitimises luxury offering, it’s a beautiful place to put their beautiful ads. it’s just a beautiful showcase of luxury advertising, and there is definitely a place for that.”

–

Top Image: Grace O’Neill and Nicky Briger

It has been a week in Las Vegas packed with fan events, NRL team launches, season launches, golf days, NRL9s and more. There was finally some NRL action on the ground on Saturday night.

There was a hell of a gale blowing across Las Vegas Valley on game day. But it was all calm inside Allegiant Stadium for the 40,000 customers. They’d come to watch ARL chairman Peter V’landys’ ambitious decision to start the season on another continent. By most measures, he seems to have pulled it off.

There is a gap in the judgement of just how successful it was. People on tour couldn’t get enough of it. Some commentary back in Australia almost begrudgingly acknowledged the success. There were also some sniggers about the dreamers who have got carried away with the NRL goes global narrative.

Drinking the NRL Kool-Aid

Most of the 40,000 crowd seemed to be from Australia – visitors or expats. If there were locals, they were well camouflaged in the jerseys of their favourite NRL team.

The media on hand were drinking the Kool-Aid with good reason. Everywhere you turned in the city this week there was evidence of an NRL presence be it events signage, fans, or players.

Fox League pre-game show in Las Vegas

Fox takes charge

The Fox League pre-game was hosted by Yvonne Sampson with Matty Johns, Braith Anasta, Michael Ennis and Gorden Tallis. Johns was much in demand across the week on all Fox League shows and he hosted a post-match episode of The Matty Johns Show on the ground.

As the Fox League pre-game wrapped they were visited on the ground by Fox Corp CEO Lachlan Murdoch and his wife Sarah. As they walked around the sideline, the Murdochs also caught up with NRL/ARL leaders Andrew Abdo and Peter V’landys.

Lachlan Murdoch with Andrew Abdo and Peter V’landys

On the field before the first match, Foxtel chief executive Patrick Delany was given the job of tossing the coin.

He later watched the game from the corporate hospitality area where people famously paid $1m just days before to watch the Super Bowl from the edge of the playing field.

Joining Delany were Foxtel chair Siobhan McKenna, board member Mark Kaner and Kayo Sports’ Julian Ogrin.

It wasn’t all Fox or News Corp in the corporate box. Nine Entertainment CEO Mike Sneesby was at the games as was Nine director of network scheduling Geoff Dyer.

NRL board next steps

The NRL board were omnipresent across the week and they meet today to discuss next steps in the US invasion. Many fans in Australia will be eagerly awaiting two decisions from them. First the date of the next Las Vegas visit. Secondly the names of the clubs that will make the second-year trip.

Patrick Delany tosses the coin as Fox League’s Lara Pitt looks on

NRL board members Kate Jones, Peter Beatty, Prof Megan Davis, Wayne Pearce, Tony Crawford and Dr Gary Weiss were on hand.

All NRL club CEOs were on hand for the games and meetings with the NRL/ARL.

In the stands with the real fans were Foxtel Media’s Nev Hassan and Marty Medcraf who were accompanying several clients.

Other people making the Vegas trip included Beyond founder Mikael Borglund who is also a member of the South Sydney board. Another disappointed Souths fan we bumped into was Tech Guide’s Stephen Fenech. He’d only been back home from his annual Las Vegas CES trip for a few weeks.

Foxtel Media’s Marty Medcraf and Nev Hasan

Kayo Sports’ partners on the trip included several influencers. The most visible were Matty J and Ash Wicks. Better known as Two Doting Dads, the podcasters had every moment filmed which must surely be enough for a long Kayo Sports social media series.

See also:
Postcard from Las Vegas: Patrick Delany, Peter V’landys, Paul Kent, Webby and Weidler

Fox Sports’ Steve Crawley in Las Vegas: Innovation, commentators, Kayo & telling the story

Andrew Voss on calling the Broncos/Roosters clash for Fox League plus Fox Sports 1 USA

Media at the NRL Las Vegas matches

Fox League’s Michael Ennis and Andrew Voss in the call box at Allegiant Stadium

News Corp seemed to have an army of journalists in Las Vegas. Some of them also do double duty for spots on Fox League and/or other media. They included Daily Telegraph editor Ben English plus Phil Rothfield, David Riccio, and Brent Read.

Nine Publishing had fewer people on the ground led by Andrew Webster. On the ground for Nine working the sideline were Johnathan Thurston, Brad Fittler and Danika Mason. Danny Weidler reported across the week for Nine News.

Tech Guide and Two Blokes Talking Tech podcaster Stephen Fenech with Mediaweek’s James Manning

The ABC Radio team was Andrew Moore, John Gibbs and Ryan Hoffman. They pointed out the ABC paid for their trip. They were no less impressed than anyone else by the Las Vegas weekend.

2GB content director Luke Davis led his team of Mark Riddell, Mark Levy, Darryl Brohman and Josh Morris. Working the buttons for them was Continuous Call team producer Andrew Lucas.

2GB Continuous Call team in Las Vegas – 2GB content director Luke Davis (left) with Mark Riddell, Mark Levy, Darryl Brohman and Josh Morris

Photos: NRL Photos and Mediaweek.
Mediaweek visited Las Vegas in partnership with Kayo Sports.

The details of a deal between Meta and Network 10 have been revealed, in light of the tech giant confirming its decision not to renew its deals to pay Australian publishers for news content when the existing Media Code deals expire this year. 

See Also: Meta pulls the pin on news media deals with publishers and axes news tab

The Australian Financial Review has acquired two summaries of agreements signed in mid-2021 by both 10 and Facebook. The deals were struck independently from the government as Facebook – before rebranding to Meta – worked to avoid having to make deals with publishers under the News Media Bargaining Code.

The first contract began in June 2021, and reads “Ten will be paid USD$2,750,000 plus GST per annum for the 3 years that content is posted.” 

“Once Facebook has recouped the fee expenditure in net revenue, Ten will be entitled to a 55 per cent share of any additional net advertising revenue.”

The second contract was worth $US400,000 per year, and covered the “agreement to monetise articles created by The Project on the Facebook News Surface platform via a content feed from 10Play”.

This agreement saw 10 agree to post 6000 clips on Facebook every year. The content was to come from shows including 10 News First, Studio 10, and The Project, and detailed restrictions for the clips including video length, resolution, and file size. 

If videos could not be posted in the allotted time frames, clips “of equivalent or greater value, quantity and quality” had to be posted. 

The deals also gave Facebook the ability to terminate the contracts in a number of scenarios, including if the tech giant went ahead with a news ban – which it did temporarily in February 2021 – or if any of its platforms ended up designated under the Media Code laws. 

Commenting on Meta’s decision not to renew Media Code deals, a 10 spokesperson said “We are disappointed with the decision by Meta announcing it will no longer pay for use of Australian news content on Facebook.

“It is essential that Australian news media services are fairly remunerated for their trusted, local and impartial news content. Without fair compensation, it becomes increasingly
difficult for news organisations.

“We urge the Government to designate Meta under the News Media Bargaining Code but further implore them to expand the Code to cover video specific platforms, that also reap significant value from sharing news content across their services.”

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

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

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

The organisations report being concerned that a proposed change to the Copyright Act could harm local radio in regional and remote communities, making their operation unsustainable. 

The organisations predict that the proposed changes will lead to a further reduction of local media content.

“If multinational record labels are allowed to hike up radio’s music fees it would harm the sustainability of stations – particularly in regional and remote communities where local media has already diminished,” said CRA chief executive officer Ford Ennals.

“Radio is already paying almost $40 million a year in fees – any increase to this would hurt radio, which in turn hurts music. Radio plays an important role in promoting and supporting Australian artists and music and we want this to continue.”

MEAA campaigns director Paul Davies said “Record labels have historically wielded their commercial power over artists – and the performer rarely comes out on top,” Davies said.

“The MEAA represents musicians and songwriters, but our members also include people working in radio and journalists, and the impact of any fee increase should be weighed up against the effect it would have on local and regional radio.

“We need to look at the bigger picture – the vast majority of musicians are cut out of payment for broadcasted music by the record companies under the current system, so we are concerned about any potential of entrenching and expanding an unfair system,” Davies said. 

See Also: Ferrier: Radio is undervalued, should be “quadruple the price”

Steve Crawley

Like many on the trip to Las Vegas for the NRL, Fox Sports executive director Steve Crawley has been impressed by the traction the code has got in the week. He spoke to Mediaweek in a production room close to the Hilton Hotel outside broadcast facility on the edge of the Las Vegas Strip.

Crawley has been with Fox Sports for eight years after moving across from Nine’s Wide World of Sports. He speaks in thoughtful, measured sentences. Just the sort of person needed for one of the most critical roles within the Foxtel Group. When you ask people to pay for what they can sometimes get for free elsewhere, the product needs to shine.

“What I am most proud of is the quality of our production,” said Crawley. “That’s a combination of the commentary and the producing. We should be good at what we do because we do more than any other broadcaster in our part of the world. I am very proud of how our team has developed over the years.”

Las Vegas preparation

Crawley pointed to Fox Sports executive producer Joe Bromham for his key role in preparing Fox League for the coverage from Las Vegas. “Joe has spent a lot of time with Fox Sports America. He got to know them when they were in Australia covering the FIFA Women’s World Cup last year.

“The cooperation we have had from the Americans is quite incredible. They have given us the desk they used for the Super Bowl last month. The outdoor set we are using for our shows will be going to New Orleans for next year’s Super Bowl.

“Fox Sports 1 will be broadcasting the game to a potential audience of 100m. For Rugby League to be available in that many homes makes [ARL chairman] Peter V’landys a genius.” Crawley added quickly he knows just a portion of the available homes will turn on the game.

Patrick Delany and Peter V’landys in Las Vegas this week

Best of the best

The Foxtel Group travelling party from Australia numbers about 40. But Crawley said they are using many US-based staff. “To do a broadcast like this needs about 100 people on the ground. It will be in 4K because our CEO Patrick Delany wants the best of the best. He thinks people who pay for our subscriptions should have the best picture. To cover the game in 4K is harder, but the quality we get makes it worthwhile.” To cover sports in 4K is uncommon in the US.

Fox Sports Australia uses NEP for its outside broadcasts from the Hilton Hotel in Las Vegas. It’s a global business that Fox Sports also uses in Australia.

That Fox League desk was used at the Super Bowl, and the overall set is being used at Super Bowl 2025 in Los Angeles

“The NEP trucks in the US are bigger than what we have in Australia. When we did NRL 360 this week we could have five producers sitting across in one line. There are no trucks in Australia that would accommodate that. They are good trucks. The experts we are using here are so good. Even things like the lighting, which is so important, they got just right for us.

“There is no doubt this event will go down in the 116-year history of the game as a major highlight.”

See also:
Patrick Delany and Peter V’landys on what success in Los Angeles looks like for the NRL and Fox Sports

Fox League in 2024

“I don’t like talking about things until they work,” said Crawley cautioning he wouldn’t be revealing projects not completed. “What I can promise you is that we will work really hard on our commentary to make it better. We will break news and we will treat the audience as the boss.

“We have some great partners when it comes to innovation. We don’t have scientists sitting around in white jackets. We have a company in New Zealand, Virtual Eye, that is the best in the world. The company is run by New Zealand businessman Sir Ian Taylor. They also work in the US with baseball and PGA golf. They are excited about a couple of new things they are working on with us.”

Paul Kent and Buzz on the NRL 360 Las Vegas set

Fox League team

The most notable change at the dedicated rugby league channel is the return of NRL 360 co-host Paul Kent. After his first episode this week, Crawley said: “I thought his performance in his first show for the best part of a year was better than good.”

Crawley then reeled off just some of the team: “Matty Johns, Fletch and Hindy, Michael Ennis, Cooper Cronk. If we start going through them all I am worried I will miss some of them.”

Crawley said they have some really good younger talent coming along. “People who are still playing or recently finished. One of them is Cooper Johns, Matty’s son. I have to be careful about him because he could be a kid who would easily get a big head. [Laughs] Especially with his father and knowing what he’s like. He’s a real talent and he’s over here with us.

“There is a kid who plays for Melbourne and is a Queensland Origin hooker, Harry Grant. He has a wonderful career in front of him. Latrell Mitchell too is so good on television. Also the big, rugged Broncos front-rower Payne Hass. We’ve been doing some work with and he’s really keen to articulate as best he can. He’s a smart kid, looks fantastic and he’s a great footballer.”

Latrell Mitchell (right) with Tom Trbojevic on Fox League in Las Vegas

Do commentators go to all games?

“That changed a lot during Covid,” reminded Crawley. “Many of the American football commentators now live in San Diego. They have a big broadcast set up not far from where they live. They go there and call games from all around the nation and then go home to their families instead of flying across the country.

“These commentary boxes are set up with the best tech and information available. They believe they are better off doing that.”

Speaking about Australia, Crawley said: “All businesses need to be financially responsible. It is difficult though. The first reaction of course is that it can’t be as good if you are not there. But we do have people there. For football, there is always a boundary rider or the sideline person and producers.

“When we have matches on in Sydney and Melbourne I prefer we get out to the ground. We also prefer to get to the ground in other capitals too. If there is a game in Townsville or Perth then it can cost us a lot of money.

Fox Cricket team with leader Steve Crawley and new recruit David Warner last December

“The cricket is different for a Test Match where it makes sense to be there for five days. For a one-day game though we would call it from a specially fitted-out studio in Melbourne or Sydney.

“We are now building a team in Perth so we don’t have to send commentators there for AFL. For Rugby League we are also doing that for Townsville.”

Kayo Sports audience: Gut feel and data

“We are getting to know them and they are the future of our business,” said Crawley about the 1.5m subscribers to the streaming service. “In traditional television in the past, it was run on gut feeling, and what Kerry Packer thought or what Kerry Stokes thought.

“These days we are able to access data. Some of us old blokes though still have some gut feel about us too. That’s important, but it’s good to have the numbers and the data to back that up.

“Kayo Sports is front of house at Fox Sports. It is revitalising everything we do as we keep up with a new and younger audience. We are constantly thinking about what will satisfy them and make them happy customers.”

How the Las Vegas games are being promoted on billboards across Las Vegas

Fox Sports: Storytellers

There is an overriding philosophy that guides what happens in every game. “We are storytellers,” said Crawley. “If we are not telling stories then we sit down and find out why the hell we aren’t.

“I once had a boss who said we just go the game and point the cameras. I just looked him and shook my head. We don’t always know what the story will be when we go into a game. During the game it presents itself. It is up to you to adapt and tell that story. And better than anyone else.”

AFL gamechanger

Looking deeper into the future I asked Crawley about 2025 when Fox Footy starts calling every game. No longer taking a Seven feed when they cover a match.

“It’s a massive thing we have got coming. It’s the greatest opportunity we have ever had in AFL to expand and be better.

“At present on some nights we have the best there is setting up a game and then we have to hand over to a FTA call. We have no control over that. To be able to use our great callers like Leigh Montagna, David King, Anthony Hudson, Dwayne Russell, Mark Howard and others presents us with a great opportunity to make a bigger mark.

“In the NRL we have had the ability to call all the games since 2015. Next is the AFL’s turn.”

Top image: An estimated 5,000+ fans cram downtown Las Vegas for a pre-game launch event

Fox League commentator Andrew Voss often catches the train when he can on NRL game days in Australia.

That’s not an option in Las Vegas where Voss is calling an NRL game Saturday night. There is a train line running through town, but it’s just for freight. (Fact: Vegas is the biggest metro city in the US without a passenger station. It’s coming though…but still a few years away.)

Voss has been walking a lot in Las Vegas, checking out locations for his Fox League show The Fan with co-host Lara Pitt. Those walking trips also provided Voss a great backdrop for crosses to his SEN 1170 Sydney breakfast show he co-hosts with Greg Alexander.

His one focus on the weekend though is Allegiant Stadium where he is calling the action for the Roosters v Broncos clash.

Allegiant Stadium on the eve of NRL game day

Injecting NRL history into game day

Voss has been calling games for Fox Sports on Foxtel and also Kayo Sports since 2014. In total 2024 is his 38th season of covering NRL for Nine and then Fox Sports.

“I’m very lucky to have served that long,” he told Mediaweek. We met at a restaurant inside the gigantic Hilton Hotel Grand Resorts complex in Las Vegas.

One of the attractions of a Voss NRL match is the historical perspective he manages to inject into the call. “Having seen so many things in those years things flashback to you during the commentary. The memory does need to be jolted at times. Sometimes I’ll see a clip of a game and think I don’t remember calling that. [Laughs]

“The only regret I have during my entire career is that I didn’t keep a diary of all the games. I would love to have a journal detailing where I was on a particular weekend and the games I watched. Together with a few facts from each match. A few notes to reflect my life in rugby league media.”

Voss said one of the things he likes to do regularly is speak to players a get back stories. “You can lock away that bit of information and it may come out in commentary six months later. Filming for the Fox League series The Fan lets us interview players in a very relaxed environment. That player might score three tries later in the year and I might recall something he told me about his career or what he did in the off-season. I love those back stories and I think it is part of my job as a commentator to do more than call the action. We should tell the story of the game.”

See also: Fox Sports’ Steve Crawley in Las Vegas: Innovation, commentators, Kayo & telling the story

Voss continued, acknowledging this may not be how all commentators approach a game. “My job is two-fold. For the audience, I try and create a sense of anticipation at all times. Even if the game is a bludger! The next set might be when they score and start a comeback.

Andrew Voss: The commentator’s job

“Primarily I am calling the game for the fans of every club other than the two playing. I know I have the engagement of the fans of the clubs playing. My job is to keep everyone else interested in the contest. They need a reason to watch as they might not be emotionally invested without their team playing.”

Even after all these years, Voss said he still doesn’t feel like the commentary is work. “Don’t tell the boss,” he whispered. “The work is the prep.

“I am still old school and I use pen and paper and keep notes on every player. Maybe two to three hours prep on every game I call.”

Fox Sports offers great support for its call team during a game, said Voss. “It’s second to none. Our great resource is the Fox Sports Lab. We jokingly say they live in a dark room. Like The Gimp in Pulp Fiction. They are such positive contributors to the coverage. I will get their notes beforehand. My preparation by the time the game starts is a combination of two sets of research – mine and theirs.”

Las Vegas anticipation

Before calling the Broncos v Roosters clash, Voss said he felt a mixed set of emotions. It’s a coverage that not only goes to all the usual Fox Sports/Kayo Sports viewers in Australia and overseas. But also into the homes of US viewers to Fox Sports 1 on a Saturday night starting at 8.30pm Pacific.

Andrew Voss walking the Strip during a cross for SEN 1170 breakfast

‘The best kept secret in the sporting world’

“I’m a little anxious, keen for it to get underway. And maybe a little nervous too. There is a sense of responsibility to do the best job I’ve ever done on a game. So much work has gone into this weekend from not just Fox League, but also the NRL and the clubs. I feel like I’m representing the game this week, not just my employer.

“I realise some of the audience will be entirely new to NRL and there will be a tiny bit of explaining at times. Some things unique to rugby league will need some extra detail. These are not the usual games…we are in the USA at Allegiant Stadium.”

Voss acknowledged there might also be a bigger audience around Australia who may not usually watch NRL.

“This is bigger than just a rugby league event. This is five-star entertainment. The other entertainment options on Saturday night in Las Vegas include U2, Adele, Madonna, Christina Aguilera, magic shows, even Nascars which are in town this weekend.

“NRL is going to ambush American television in primetime on a Saturday night on Fox Sports 1 for four hours. I feel the person who might take a glance at the game in a bar or somewhere else around the US might be hooked for more. We are the best kept secret in the sporting world. It’s ready for this stage. It has four teams loaded with star players and from a production point of view we will be proud to showcase the best of our production values.”

Lara Pitt and Vossy filming The Fan in Las Vegas

Co-hosting The Fan

“Lara probably thinks I’m a weirdo,” said Andrew Voss about his co-host on The Fan. Is she wrong? “No, not all.

“Lara Pitt is as an accomplished performer as any other rugby league person as I have worked with over my time at Nine and Fox League. She’s passionate and professional. Always totally prepared. To put it in football terms: There’s never been a day when she hasn’t arrived with her boots on. I couldn’t imagine a better co-host and it’s a true collaboration.

“When she arrived she breathed new life into The Fan and brought a new perspective.”

Breakfast radio with Andrew Voss and Greg Alexander

In addition to his Fox League duties, Voss is into is third year as the breakfast co-host at SEN 1170. “There is no doubt it is hard. The hours are a slog. You have to push yourself sometimes to get up. But we love hosting a sports breakfast show and you do it for the listeners. We try to win them over one at a time.

“We make sure we go on air and be enthusiastic and bright. Friday might be hard after calling a game last on Thursday night. But I always come back to ‘How lucky am I? My life is always being able to talk sport.’

“I am never going to complain about that regardless of how challenging the hours might be.”

About his co-host Greg Alexander, Voss said: “There is no ego with Brandy. I was a fan of his when he was playing. He is an absolute superstar of the game.”

See also: Postcard from Las Vegas: Patrick Delany, Peter V’landys, Paul Kent, Webby and Weidler

Seven has ramped up its anti-siphoning lobbying with a consumer-facing campaign urging the government to give Aussies access to free sports content. 

The “We are Aussies, of course I want free sport” campaign is running across all major social media platforms. The campaign highlights that the current Bill before parliament only protects Australians’ access to free sport via broadcast TV but not if they watch TV through the internet via an app like 7plus. 

Seven’s campaign against the Federal Government is working hand in hand with the broader industry campaign from Free TV Australia, which is seeking changes to the prominence and anti-siphoning Bill to stop free TV content from disappearing behind paywalls.

The new campaign was created by Seven’s in-house creative agency, Red Engine and features Bruce McAvaney, Ricky Ponting, Justin Langer, Matthew Richardson, Abbey Holmes, Mel McLaughlin, Matt Evans, Jason Richardson, Juliet Godwin, Emma Freedman and Mark Beretta.

Bruce McAvaney said: “Australians shouldn’t be denied access to free sport just because they don’t have an aerial. If you want to stream sport over the internet, the anti-siphoning scheme should ensure internet-delivered sport is also free.”

Seven West Media managing director and CEO, James Warburton commented that Seven supports most parts of the Bill, but there is a glaring omission from it. 

“It only guarantees free sport content for Australians that have an aerial,” he said.

“It does not guarantee people will get free sport if they choose to stream it over the internet or don’t have an aerial. No aerial means no guarantee that Australians will have access to free sport in the future. 

“As the Bill is drafted now, nothing is stopping Amazon, Kayo, Prime and Netflix from buying all the digital rights to Australians’ favourite sports and making them pay if they want to stream sport over the internet.

“The Albanese Government needs to amend the Bill to include the free digital stream alongside the free broadcast stream so that all Australians can access free sport, regardless of whether they have a TV aerial or not.”

According to industry experts, advertising in regional Australia should be a ‘no-brainer’. The message comes from the first of Boomtown’s 2024 masterclass series, which officially launched last week, with close to 100 industry representatives in attendance.

The Boomtown masterclass series launched in 2020, and since then has educated thousands of executives on the impact of regional media. 

The class involved a panel of guest speakers made up of Bek Fraser, head of growth for Koala, Sam Buchanan, CEO of IMAA and Tom Wenborn, executive creative director at Thinkerbell.

Discussing their experience with Boomtown advertising and regional campaigns, Fraser said: “Moving into the regional markets has been really interesting because the products we offer in metro also resonate with regional areas and that is because of the customer benefit.  In metro, customers want the convenience of something being delivered fast, whereas in regional, customers have less choice.  As a fully online business, regional is important because we can give regional populations more choice rather than just their local option or having to drive three hours to their nearest home centre.”

Buchanan agreed, telling the class participants: “It’s a no-brainer to me that brands and agencies should be advertising in regional Australia. 9.6 million people is not a figure to be ignored when you’re considering your media plans and campaigns, it’s a valuable audience.”

Wenborn added: “Don’t underestimate the savviness of regional audiences. It’s a market where you can get a lot of cut-through – you don’t have the saturation of advertising and you can be a little more nuanced and take the time to target different audiences. Additionally, it gives you the chance to unlock more insights or to test campaigns regionally, before bringing them into metro.”

Boomtown masterclass

Boomtown represents the 9.6 million people living in regional Australia. Regional Australians now make up more than a third of the population, with the demos moving to the regions meaning that regional audiences are younger, wealthier, and more digitally connected than ever.

Masterclasses are held regularly throughout the year, and include sessions designed to explore the regional media landscape, while also focusing on the tools needed to help plan and buy regional media. Additional Boomtown masterclasses will be announced in the coming months.

Boomtown chairman, Brian Gallagher, said: “Our Boomtown masterclasses have become an integral part of personal development and training plans for the media industry – and our first masterclass for 2024 was no different. Bek, Sam and Tom offered some great advice and insights on the benefits of buying regional media, from their combined decades of industry experience. Their shared knowledge demonstrated the power of regional media and what it can bring to media strategies for agencies and brands nationwide.”

Meta has confirmed it will not renew its deals to pay Australian publishers for news content when the existing Media Code deals expire this year. 

The digital giant’s decision follows months of speculation as Meta had expressed concerns with the deals and questioned the value to its business. 

In a statement, the tech giant said the move was “part of an ongoing effort to better align our investments to our products and services people value the most.”

Meta also promised that “we will not enter into new commercial deals for traditional news content in these countries and will not offer new Facebook products specifically for news publishers in the future.”

In early April, the parent company of Facebook and Instagram will shut down Facebook News in Australia andthe United States. The dedicated news tab was axed in the UK, France, and Germany last year. 

Unlike the now-notorious news ban that Meta briefly imposed in 2021, users will still be able to view links to news articles on Facebook. News publishers will still have access to their Facebook accounts and pages, where they can post links to their stories and direct people to external websites.

Facebook attributed the decision to a drop in traffic to the dedicated Facebook News tab. 

“As a company, we have to focus our time and resources on things people tell us they want to see more of on the platform, including short-form video. The number of people using Facebook News in Australia and the U.S. has dropped by over 80% last year.

“We know that people don’t come to Facebook for news and political content – they come to connect with people and discover new opportunities, passions and interests. As we previously shared in 2023, news makes up less than 3% of what people around the world see in their Facebook feed, and is a small part of the Facebook experience for the vast majority of people.”

Last month Lucinda Longcroft, director of government affairs & public policy at Google Australia and New Zealand, said, “We’ve been partnering with Australian news companies to strengthen quality journalism for two decades through our products, programs and commercial partnerships.

“Over the past three years, we’ve furthered our significant contribution to the Australian news industry by signing commercial agreements with more than 70 Australian news businesses, representing more than 200 outlets across the country. The majority of these outlets are regional or local.”

The News Media and Digital Platforms Mandatory Bargaining Code – also called the Media Code laws – was established in 2021 by the government to force digital giants such as Google and Facebook to pay Australian news companies for any content featured on their platforms. 

After a lengthy process, the senate presented its report into the laws, and Google launched its News Showcase product to comply with them. From there, major media platforms began making deals with Google and Facebook.

Responses to Meta’s announcement 

Responding to the announcement, on Friday afternoon, Communications Minister Michelle Rowland described the move as “a dereliction of its commitment to the sustainability of Australian news media.”

“The decision removes a significant source of revenue for Australian news media businesses. Australian news publishers deserve fair compensation for the content they provide.

“We will now work through all available options under the News Media Bargaining Code. The Government will continue to engage with news publishers and platforms through this process.”

Michael Miller, News Corp Australasia executive chairman, said in a statement, “I welcome the government’s support for the Australian media industry and its wholehearted commitment to upholding our laws and the News Media Bargaining Code. Meta is using its immense market power to refuse to negotiate, and the government is right to explore every option for how the Media Bargaining Code’s powers can be used.

“Meta is attempting to mislead Australians by saying its decision is about the closure of its news tab product. However, the vast majority of news on Facebook and Meta is and will continue to be consumed outside this product.

“Meta’s decision will directly impact the viability of Australia’s many small and regional publishers and this is a pressing issue for the government to confront. We will work in any way we can to assist the processes the government is putting in place.”

Seven West Media CEO James Warburton said, “Meta needs to be designated. The case has not only been made but proven and we welcome Ministers Jones and Rowland’s commitment to the News Media Bargaining Code. We will work constructively with the ACCC and Treasury to ensure their designation.”

Nine CEO Mike Sneesby said: “Meta’s decision does not recognise the significant and increasing value of Nine’s journalism, unique content and brands to its platforms. 

“We believe the News Media Bargaining Code provides an appropriate framework for a fair value exchange between companies.

“Regardless of the Meta announcement today, the value created on their platform from the use of Nine’s IP is both unquestionable and growing and we strongly believe Meta should negotiate in good faith around the fair compensation for that value exchange.

“We welcome the government’s comments that recognise Meta has acted unreasonably and support its commitment to seek a fair outcome for Australian news media. We will work closely and constructively with the government and the relevant regulators to achieve this.

“We will continue to robustly advocate that these deals are in the national interest and the arguments that led to the code in the first place remain as strong as ever.”

Free TV CEO Bridget Fair said, “The announcement from Meta that it will no longer pay for the use of Australian news content on Facebook is disappointing but unsurprising. We call on the Government to immediately designate all Meta platforms – Facebook, Instagram and Reels – under the News Media Bargaining Code, and require it to pay a fair price for the news content shared widely on its platforms. Meta does not employ any Australians to produce news but captures significant value from the sharing of trusted news content as part of its service offering.

“There has never been a more important time for news media businesses to receive fair remuneration for their trusted news content that is relied upon by all Australians.”

Google will continue to work with Australian publishers and pay for news content, and it is already in negotiations with publishers on deals that are due to expire soon.  

Mediaweek understands the tech giant has already commenced talks on a number of publishing deals that are close to expiry. 

A Google spokesperson told Mediaweek the company does not comment on commercial negotiations.

Mediaweek reached out to Google following the news today that Meta will stop paying publishers for news content and not re-negotiate new media deals once the current deals expire.

Google has a number of deals with Australian news publishers, many of which have longer timelines than Facebook and Instagram’s parent company. The tech giant also declined to comment on Meta’s decision. 

However, recent comments from Lucinda Longcroft, the director of government affairs & public policy at Google Australia and New Zealand, highlight the company’s attitude toward the Australian news industry.

“We’ve been partnering with Australian news companies to strengthen quality journalism for two decades through our products, programs and commercial partnerships,” she said.

“Over the past three years, we’ve furthered our significant contribution to the Australian news industry by signing commercial agreements with more than 70 Australian news businesses, representing more than 200 outlets across the country.
 
“The majority of these outlets are regional or local,” Longcroft added.
 
Meta today confirmed it will stop paying publishers for news and not enter into new media deals once its current deals expire.
 
In a statement, Meta said the move was “part of an ongoing effort to better align our investments to our products and services people value the most.”
 
Meta also promised that “we will not enter into new commercial deals for traditional news content in these countries and will not offer new Facebook products specifically for news publishers in the future.”
 
The drop in traffic to the dedicated Facebook News tab was cited as a major reason for the move.
 
“As a company, we have to focus our time and resources on things people tell us they want to see more of on the platform, including short-form video. The number of people using Facebook News in Australia and the U.S. has dropped by over 80% last year.
 
“We know that people don’t come to Facebook for news and political content – they come to connect with people and discover new opportunities, passions and interests. As we previously shared in 2023, news makes up less than 3% of what people around the world see in their Facebook feed, and is a small part of the Facebook experience for the vast majority of people.”

See also: Meta pulls the pin on news tab, will not enter into any news media deals

Gen Zs prefer to spend money on experiences over possessions at 90%, while 66% said they are saving for an experience or travel rather than long-term assets such as a house or car, a study has found.

‘Love Song’, a quantitative survey of Gen Z in 2024 by Secret Sounds Connect, the experiential and creative agency, part of the Live Nation Entertainment group of businesses with strategic research consultancy Pollinate, revealed that 94% are prioritising things that bring them joy.

The research, which collated responses from more than 2,680 Gen Z’ers across Australia and New Zealand, found that most of the generation have discarded the “life blueprint” of their predecessors – career, getting married, having kids, and buying a home – with a focus on living in the moment, being happy and bonding with friends.

The Secret Sounds Connect study found that Gen Zs are “living for today”, with many unsurprised if the “world ended within their lifetime”. It noted an increased number of young people agreed to want to “have as much fun now and let the future look after itself” at 81% compared to 74% in 2023.

Music was found to be Gen Z’s leading passion, with 89% saying music is integral to who they are. It reported that 70% of Gen Z attend a live music event at least once a month, which coincided with a 79% increase in ticket sales in 2023 across Australia and New Zealand, according to Live Nation.

Meanwhile, music artists were found to be the most trusted among this generation (79%), second to friends. 

Kristy Rosser, founder of Secret Sounds Connect and senior vice president, marketing solutions and client services at Live Nation ANZ, said: “There has been a marked shift in priorities when comparing Gen Z to previous generations.”

Additional insights from the report also found that Gen Zs are looking for real-life experience real over digital, with 87% seeking out real-world connections now more than ever before.  

The idea of “being weird” is in, with 82% of Gen Zs agreeing it is the new norm, while 58% say the more absurd something is, the cooler it becomes. This is further seen in Gen Z’s desire for individual expression, with 87% of Gen Z preferring to be seen as “authentic” rather than “cool.”

Adding to valuing authenticity is the desire to stand out rather than blend in, with 95% highlighting “dopamine dressing” (finding joy in the things you choose to wear) as an in-trend for 2024.

Meanwhile, the Secret Sounds Connect survey found that as social media platforms move towards entertainment and commerce, 78% of those survey show preference for sharing life updates in private chats over public posts.

The report also showed favourably of TikTok creators over Instagram influencers with trust levels at 36% vs. 26%, with Gen Z preferring raw, imperfect content over a polished lifestyle. 

Frances Deighton, strategy lead for Partnerships at Live Nation and Secret Sounds Connect affirmed its commitment to with its partners to staying at the forefront of what youth audiences value to ensure their brands are at the centre of the cultural moment.

“The world and consumer tastes change so quickly and brands need to continue being dynamic and adaptable when it comes to reaching Gen Z audiences.”

Secret Sounds Connect, which is part of the Live Nation Entertainment group of businesses, is a market-leading commercial rights, experiential and creative services agency, responsible for developing and executing brand campaigns in music and entertainment. 

MasterChef Australia will be returning to Hong Kong for the first time since season one 15 years ago, as Hong Kong’s Tourism Board attempts to lure back visitors to the city.

The 10 cooking show will film three episodes in the culinary hot spot, which is home to 77 Michelin-starred restaurants and over 15,000 dining establishments.

MasterChef Australia judges Andy Allen, Poh Ling Yeow, Sofia Levin and Jean-Christophe Novelli, and this season’s crop of enthusiastic home cooks will experience the city’s cuisine, flavours on offer, iconic landmarks and bring the city’s intrinsic east-meets-west culture to our screens.

The show was last in Hong Kong during season one in 2009. Since then, the Hong Kong food scene has flourished and cemented itself as a world-class culinary hub, with everything from street eats all the way up to award-winning fine dining.

MasterChef Australia will be travelling to the city in association with Hong Kong Tourism Board and Cathay Pacific Airways.

The Hong Kong Tourism Board has launched a global ‘Hello! Hong Kong’ campaign, working alongside local businesses in a bid to reboot the tourism and increase traveller numbers since Covid first hit, the South China Morning Post reported.

August saw Hong Kong welcome 4.07 million, the Hong Kong Free Press reported. While the number improved from July, it remained below the average pre-pandemic levels. The most recorded was 6.7 million back in January 2019.

Hong Kong welcomed 4.07 million visitors in August, up 14 per cent from the previous month, according to provisional data from the Hong Kong Tourism Board (HKTB). However, the figure remained below average pre-pandemic levels.

Hong Kong will launch a global campaign to lure back tourism following the lifting of the city’s strict entry regime for recent arrivals, even as officials admitted the reboot would take time and overseas tour operators remained sceptical that the eased rules were attractive enough.

MasterChef Australia judge Andy Allen said: “I’ve never been to Hong Kong, but I’ve been really interested in the place for a long time. That’s because I see the city’s array of food is off the charts: it’s a melting pot of different cultures, bold flavours, and one-of-a-kind ingredients.

“Blending Michelin-starred restaurants with bustling street markets, it seems to have this world-class food culture going on. It’s so good that now myself, the other judges, and contestants can finally get amongst it this season.”

MasterChef Australia is produced by Endemol Shine Australia (a Banijay company). Format created by Franc Roddam and represented internationally by Banijay Rights. 

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Top image left to right: Andy Allen, Poh Ling Yeow, Sofia Levin, Jean-Christophe Novelli

Uber has rolled out its latest campaign for its membership offering, Uber One, via Special, featuring Grammy-winning artist and former member of the early 2000s R&B group Destiny’s Child, Michelle Williams.

The latest campaign humorously highlights the perks of its membership program by drawing on Williams’ experiences of being frequently ignored despite her illustrious career.

The campaign reinforces the idea that while life is full of disappointments, Uber One savings do not disappoint. This concept was first introduced in the launch campaign featuring tennis legend Andre Agassi in January.

See also: Andre Agassi trades iconic mullet for savings in Special’s latest Uber campaign

The spot opens with her strutting through Sydney’s Botanic Gardens, clad in a power suit, white sunglasses, and an MW key chain. The singer pokes fun at not being recognised by fans as several cases of mistaken identity follow.

Channa Goonasekara, Uber Eats Australia and New Zealand brand lead, said: “Michelle Williams brings star power and great comedic timing throughout the hero film and supporting creative.

“Through her performance she’s able to contrast the disappointment of being the ‘least favourite child’ with the joy of being an Uber One member.”

Special Uber APAC creative directors, James Sexton and Sarah Parris added, “In the second instalment of the ‘Savings that Don’t Disappoint’ campaign Michelle Williams pokes fun at something the internet has been talking about for years.

“Michelle’s success and accolades are inarguable but in an iconic 90s girl group packed with megastars, it can be hard to stand out.”

The Michelle Williams iteration of the Uber One campaign will be promoted across platforms including TV, BVOD, online video, OOH, radio, CRM, social media, and owned channels, with a planned duration from March 3 to April.

See also: Uber snares Nicole Bardsley as head of marketing

Credits
Client: Uber
Senior marketing director, international: Lucinda Barlow
Director of marketing, APAC: Andy Morley
Head of marketing, ANZ: David Griffiths
Senior marketing manager, brand lead, ANZ: Channa Goonasekara
Marketing manager, ANZ: Rebecca Selth
Marketing associate, ANZ: Holly Dover
Senior manager, communications, ANZ: Nick Vindin
Executive creative director, international: Jerome Austria
Creative director, APAC: Adam Ledbury
Media lead, APAC: Louisa Chu
Strategy lead, APAC: Josh Pickstone
Legal director and talent manager, ANZ: Cameron Loughlin
Legal counsel and talent manager, ANZ: Jessica Shao

Creative Agency: SPECIAL
Partners/CEO: Lindsey Evans & Cade Heyde
Partners/CCO: Julian Schreiber & Tom Martin
Creative directors: James Sexton & Sarah Parris
Creatives: Lauren Regolini, Locki Choi, Edwin Concubierta & Ekin Gunes
Managing director: Lauren Portelli
Team lead: Rebecca Grant
Business directors: Edward Nash, Nic Stevenson & Cara Simcock
Business manager: Genevieve Bowes
Head of strategy: Celia Garforth
Strategy director: JJ Bender
Head of film and content production: Sevda Cemo
Senior producer: Wendy Gillies 
Integrated producer: Will Sealey 
Head of stills: Nick Lilley
Stills producer: Di Williams
Head of design: Adam Shear
Designer: Maggie Webster
Creative services manager: Kristie Dagg 
PR managing director: Alex Bryant
Creative strategist: Kate Wilkinson

FILM PRODUCTION: GOOD OIL
Director: Dave Wood
Executive producer: Sam Long
Producer: Lee Thomson
Cinematographer: Danny Ruhlmann

POST PRODUCTION: ARC EDIT
Editor: Drew Thompson
Colourist: Ben Eagleton
Online: Heather Galvin
Executive post producer: Daniel Fry
Post producer: Jess Ryan

AUDIO POST: RUMBLE STUDIOS
Senior sound designer: Cam Milne
Creative director: Tone Aston
Partner/executive producer: Michael Gie
Producer: Siena Mascheretti

STILLS PRODUCTION: CHEE PRODUCTIONS
Photographer: Christopher Tovo
Executive producers: Matt Chee & Tamiko Wafer

SOCIAL PRODUCTION: SPECIAL MADE
Social director/DOP: Charlie Grant 
Social ​​editor: Ollie Knocker
Social colourist: Marcus Friedlander

MEDIA AGENCY: EssenceMediacom
Client and planning lead: Nathaniel Thompson 
Group dtrategy director: Marine Turner 
Marketplace director: Patrick Fakiye
Digital director: Matt Leahy

Kia Australia has unveiled a new television commercial featuring 20 prominent Australian sporting figures to introduce its latest offering, the Kia ute.

Set to hit the market in 2025, the latest campaign draws inspiration from the time-honoured Australian custom of obligatory nicknaming.

The TVC made its debut during the broadcast of the NRL Rugby League games in Las Vegas.

Set in an Australian pub, the ad showcases personalities like Ash Barty, Dylan Alcott, Alexander Volkanovski, Steve Waugh, and others engaged in a debate about what the upcoming vehicle should be named.

The assembled group represents a collective tally of 29 Premierships, four Paralympic gold medals, and 26 Grand Slams, among other notable achievements, spanning diverse sporting backgrounds. Iconic figures such as Darren Lockyer, Buddy Franklin, and John Aloisi add to the lineup.

Kia Australia ambassador and former wheelchair tennis player, Dylan Alcott, said filming was a “surreal” experience, highlighting the camaraderie among the participants.

“I can’t believe we’re all in the one spot, in the same room. It’s pretty sick,” said Alcott.

“I hope the viewers have fun watching it because we all had fun making it. And all of us from different sports and different decades, it’s a pretty cool thing to be a part of.”

Dean Norbiato, Kia Australia’s general manager of marketing, described the concept behind the TVC:

“We were looking for a unique and quintessentially Aussie way to launch Kia’s most Australian product ever – our ute –  and what better way than to bring together our country’s most iconic themes – sporting heroes, nicknames and an old-fashioned Aussie watering hole.

“To be able to get some of Australia’s most decorated sporting stars from different eras and sports to be in the same place, debating why their nickname is the best for the Kia ute is about as distinct and different from the category norms as we could concoct.

“The sporting star’s stats speak for themselves and this group is highly qualified to have the ute named after them; but we’re still undecided on what to call the ute so stay tuned for that announcement.” 

See also: Kia marks 22 years as the major partner of the Australian Open with ‘Kia Wave’ activation

–

Top Image: Dylan Alcott

Pepsi has launched a significant global redesign, unveiling its first major visual identity change in fourteen years.

The revamped logo and visual elements debuted worldwide on 1st March 2024, with the rollout of the new look extending across all channels in Australia also starting March 2024.

The updated visual identity retains elements of the soft drink brand‘s heritage while infusing modern touches, featuring an expanded colour palette with electric blue and black, and the signature Pepsi pulse evoking its “ripple, pop and fizz.”

Pepsi has also promised to further engage its fans via its line-content in 2024 through unique experiences under its platform, “Thirsty for More.”

To commemorate the milestone, Pepsi orchestrated over 120 CGI moments worldwide, including an installation at Hosier Lane in Melbourne, Australia. The large-scale CGI kinetic mural pays homage to Australia’s vibrant street-art subculture, reflecting Pepsi’s commitment to cultural relevance.

In addition to the Hosier Lane installation, Pepsi also created displays globally such as a hot air assembly forming a massive Pepsi® logo in Warsaw, Poland, and Ho Chi Minh, Vietnam. Other large-scale activation locations included the Nile in Egypt and Ain Dubai.

Vandita Pandey, chief marketing officer Australia and New Zealand, snacks and beverages at PepsiCo Australia, said that Pepsi as a brand is known for itboldness and willingness to challenge norms, while putting enjoyment first. She described the new visual identity as bold, unapologetic, modern, and iconic, reflecting the brand’s core values and spirit.

Pandey continued: “We have huge plans for 2024 here in Australia, delivering one-of-a-kind experiences to Australia’s culturally thirsty, next generation drinkers – those with a bold attitude, keen to try new things and live new experiences.

“Our fans can expect the same great taste they’ve come to love with even more of the immersive and entertaining experiences we’re known for across music, sport and culture.”

See also: Special and Pepsi Max poke fun at Coke in new ‘Tastes OK’ campaign

Kylie Minogue, Troye Sivan and Dom Dolla are among the artists leading the nominations for the 2024 Shure Rolling Stone Australia Awards, unveiled by The Brag Media, publisher of Rolling Stone Australia.

The awards will take place at Ivy Sydney on Tuesday, March 26, with a star-studded party to celebrate Australian music and celebrate the year that was in music.

The 2024 Shure Rolling Stone Australia Awards will honour local music exports across five categories: Best Record, Best Single, Best New Artist, Rolling Stone Global Award, and the Reader’s Choice Award, to be announced at a later date. The invitation-only event is set to serve as a night of live music and a celebration of Australia’s incredible music scene.

Among the nominees vying for top honours are a mix of international hitmakers and emerging stars, with Troye Sivan, Dom Dolla, Peach PRC, Teen Jesus and The Jean Teasers, The Teskey Brothers and Fisher each being nominated for multiple categories.

The past 12 months have seen the rise and rise of many incredible new Australian artists, all capturing the attention of music lovers and tastemakers. Up for Best New Artist this year are Royel Otis, Dom Dolla, Oliver Cronin, The Rions, Teen Jesus, GrentPerez, Blusher and Old Mervs.

The Best Record and Best Single awards are set to be hotly contested again, while the Rolling Stone Global Award returns for another year recognising the achievements of Australian artists internationally.

This special award sees Rolling Stone Australia invite the brand’s international editorial teams, including editors from Rolling Stone US and Rolling Stone UK, to vote in the Rolling Stone Global Award category. Nominated this year are Kylie Minogue, Tones And I, Troye Sivan, The Teskey Brothers, Dom Dolla, DMA’S, Fisher, Vacations and Tame Impala.

The annual awards welcome multiple new and returning sponsors this year, with headline partner Shure back for 2024, alongside American Apparel, JMC Academy and Largo Brewing.

Poppy Reid, editor-in-chief at Rolling Stone Australia, said the past year has seen Australian artists continue to rise above expectations on a domestic and on a global stage.

“We’re excited to recognise the ongoing growth of our local music scene. Our fourth annual Rolling Stone Awards will recognise the outstanding work and exceptional artists emerging from this country.

“We are also stoked to welcome back our headline partner Shure, who have a longstanding commitment to showcasing and supporting local music. We look forward to celebrating with the music industry on March 26.”

Will Repanellis, head of marketing at Jands, said Shure was excited to be the main sponsor the 2024 Rolling Stone Australia Awards.

“This partnership underscores our enduring commitment to the Australian music scene, a journey we’ve been on for several years through our support of Rolling Stone AUNZ. Our ongoing collaboration goes beyond sponsorship; it signifies a bridge connecting Aussie artists with Shure, the epitome of audio excellence, and continues to foster a thriving musical community.”

In the weeks ahead, Rolling Stone Australia – which publishes daily music and culture content online, alongside its quarterly print magazine – will also reveal this year’s host, performers, and nominees in the hotly-contested Rolling Stone Readers’ Award.

Rolling Stone Australia’s average issue readership is up 10.5% to 243,000 for the 12 months to September 2023, according to the latest Roy Morgan Australian Magazine Readership Report. This represents a sixth consecutive quarter of double-digit growth for the local print edition of Rolling Stone – placing it ahead of staple titles like Harper’s Bazaar, Who, Belle, Australian Gourmet Traveller, Just Cars and Money Magazine. 

2024 Shure Rolling Stone Australia Awards Nominees:

Best Single
Dom Dolla ft. MK – ‘Rhyme Dust’
Budjerah – ‘Therapy’ 
Amy Shark – ‘Can I Shower At Yours’
Fisher ft Kita Alexander – ‘Atmosphere’
Peach PRC – ‘Perfect For You’
Teen Jesus and the Jean Teasers – ‘I Used to be Fun’
Lime Cordiale – ‘Colin’
Tkay Maidza ft. Flume – ‘Silent Assassin’

Best New Artist
Royel Otis 
Dom Dolla
Oliver Cronin
The Rions
Teen Jesus and the Jean Teasers
GrentPerez
Blusher
Old Mervs

Best Record
Teenage Dads – Midnight Driving
G Flip – DRUMMER
The Amity Affliction – Not Without My Ghosts
The Teskey Brothers – The Winding Way
Troye Sivan – Something to Give Each Other
Brad Cox – Acres
Dope Lemon – Kimosabè
Peach PRC – Manic Dream Pixie

Rolling Stone Global Award
Kylie Minogue
Tones And I
Troye Sivan
The Teskey Brothers
Dom Dolla
DMA’S
Fisher
Vacations
Tame Impala

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Top image: Budjerah with Tina Arena

TV Report March 3, 2024:

Nine

Married at First Sight

Nine’s evening began with another Commitment Ceremony incoming on Married at First Sight. 

As the couples woke up from a tumultuous Dinner Party, Jayden was still reeling from the fight between him and Timothy and just wants to know if Timothy sees a romantic future with Lucinda. Down the hall, Lucinda’s show of support for Timothy at the Dinner Party has left the couple feeling a sense of unity and respect for one another.

Jack was anxious going into this Commitment Ceremony after meeting up with Tori’s friend Lea, who opened his eyes as to how committed Tori had become to her relationship with him.

First on the couch was Ellie and Ben, and the nervous energy was felt around the room as the other couples witnessed the public breakup between the two at last night’s Dinner Party. After expert advice and opinion, both decided to write leave.

Eden and Jayden are going strong, but a different relationship rating from Eden and Jayden through a spanner in the works. While Eden gave the relationship a 7 out of 10, she thinks she can get to a 9.5 on the scale of love but wants more quality time together. They both wrote stay. 

Cassandra and Tristan both wrote stay and Jade and Ridge both wrote stay. 

Although Andrea and Richard were at odds due to a lack of intimacy compared to the start of the experiment, Richard thought they had the potential to go long-term and said that he was in. They both stay. Lucinda and Timothy also had a turnaround due to the friends and family meeting. They both write stay.

Stephen dropped a bombshell on Michael revealing that while he thinks he’s a good-looking guy on paper, he is not physically attracted to him because Michael is more feminine than what he’s normally drawn to. Despite the shock confession, they both write to stay. 

The remaining couples Lauren and Johnathan, Sara and Tim and Tori and Jack also all decided to stay. 

60 Minutes

Over on 60 Minutes, the team spoke to Australia’s top spy who revealed the country’s greatest threats; a forgotten victim of the Salt Creek monster told their story and Aussie BMX champ Saya Sakakibara spoke on how she is beating her demons.

NRL Sunday Footy: Las Vegas 2024 season kick-off – Roosters V Broncos

Sunday afternoon also saw the return of the NRL, with the season kicking off for the first time in Las Vegas. The game, played at Allegiant Stadium saw the Roosters go up against the Broncos with the Roosters winning 20-10.

Seven

Australian Idol

Over on Seven, one contestant was sent straight to the top eight as each singer was given three songs to choose from – one picked by each judge. The catch of the episode was the singer didn’t know who chose the song.

The judges ultimately decided to give Drea the fast pass straight to the top eight, giving her immunity from the public’s vote. 

King Con Life & Crimes of Hamish McLaren

Seven’s documentary special followed how Hamish McLaren conned millions from friends, family and lovers and how he was finally caught.

10

The Sunday Project

The Sunday Project saw the program look into a new endometriosis drug being approved, showcased the mobile vet helping those most in need and interviewed American model Crystal Hefner.

Australian Survivor

On 10’s Australian Survivor, Eden’s surprise exit leaves eleven still competing. Unexpectedly, the six OG Rebels – Feras, Aileen, Raymond, Alex, Rianna and Kirby voted together, and Jaden flipped to secure the vote. 

Feeling vulnerable, Caroline grovels to Feras for betraying him and he tossed her a lifeline. Kirby has taken a backseat since the merge while she determined where the alliances were forming. She wants to work with Feras but Aileen has become a wedge between them, so Kirby wants her gone. 

ABC

Death in Paradise

The team investigated the murder of an estate agent during the private sale of a picturesque beach and discovered the buyers were victims of a scam. Meanwhile, Marlon leads a counterfeit good case to impress the commissioner. 

SBS

Lost Scrolls of Vesuvius

Professor Alice Roberts looked into the science being used by computer scientist Professor Brent Seales as he attempts to be the first person in nearly 2,000 years to read inside hundreds of ancient scrolls found at the archaeological site of Herculaneum in Italy.