News publishers’ response to Meta’s decision to pull out of the News Media Bargaining Code has been labelled as “very predictable” and the “easy way out.”

Constantine Frantzeskos, chief growth and innovation officer at GrowthOps, told Mediaweek that it was “astonishing” that despite being a massive driver in traffic to news sites, Meta was being compelled to subsidy these outlets.

“It has largely been the failure of media publishers to effectively monetise their businesses and build robust business models.”

Frantzeskos called out media publishers for their negative and unsurprising response to Meta’s decision and their reaction to “run to Canberra for a solution rather than innovating themselves.”

“This idea that they would seek intervention over innovation is, I think, a real shame,” the digital expert said.

Constantine Frantzeskos

So, what does Meta want to get out of this? Frantzeskos said it simply came down to the tech giant not having to pay and subsidise the publishers.

“Meta and Google want all the content of the internet. They want everything there. They want to be on the front page of the internet. But they don’t create or produce that news and content. They simply act as a platform to facilitate and distribute content,” he said.

Frantzeskos noted that the news platforms and news publishers are relying on their channels, websites, apps, subscriptions, and advertising rather than seeing themselves as content creators and monetising that through their channels, third-party channels, or platforms such as YouTube and Instagram.

“I think that’s something that is really short-sighted on behalf of the news publishers.”

He noted that news publishers can innovate their models, in addition to subscriptions and advertising, through news wallets like Apple News, an Export Lens where an article is translated into another language and monetised in another country, content monetisation depending on the topic, content format monetisation.

“These monetisation frameworks are very common in other industries, and yet the news publishers seem to be not innovating at all in how they might make money.”

Frantzeskos said that while the government can force Meta to the table, it would not be the “sensible” thing to do.

“Meta is largely a source of readership. Meta has a wonderful interface, apps, and platforms and lots of people spend time on them.”

“The idea that they should somehow be forced to publish news is absurd. They can do what they like; people can share what they like. That’s the nature of those platforms.”

Frantzeskos noted that the irony is if a link is published on Facebook and someone clicks on it, the media publisher will benefit from it because that link will lead to the publisher and that story. He said not monetising that link “is the publisher’s problem, not Meta’s.”

Major news publishers across Australia, such as Nine, Seven and News Corp Australia, have touted their investment in their people, newsrooms, and systems. While Frantzeskos noted that quality journalism is “essential for a healthy democracy and society”, a “robust business model to support quality journalism” is just as important.

“I’m not saying that they’re failures or that they’re bleeding money or anything else. But there is an inevitability about their approach, which is if they don’t build the monetisation framework, build a better business model, and find better ways to monetise, then it’s going be very hard to maintain and increase that investment in quality journalism,” he said.

Meta cancelled the Facebook News tab in the UK, France, Germany, and Canada earlier this year.

With the world watching Australia for the next moves, Frantzeskos said he couldn’t see Meta backing down from its stance but noted that he believes a resolution could be had.

“I believe there’ll be some sort of compromise. But I think the compromise will be that Meta says to the news publishers, we will keep sending news your way if you stop asking us for money to help your business, and I think it’s as simple as that,” Frantzeskos added.

News Corp: “Australian media companies have kept their part of the bargain. Meta needs to keep theirs too.”

This comes after News Corp Australia’s executive chairman, Michael Miller, said the move by Meta shows “the company’s brazen indifference to regulations and the content creators that feed their platform.”

In an opinion piece published in the Australian Financial Review, Miller said the way the government responds to Meta refusing to sign future Media Code deals is becoming “a vital moment in the global battle to force this trillion-dollar company to play by the same rules of commerce and fair trading that other businesses live by.”

The federal government’s immediate response, branding Meta’s decision as “a dereliction of its commitment to the sustainability of Australian news media” is to be welcomed, he wrote.

Miller said Meta’s decision to not pay for news: “represents yet another demonstration of the imbalance of bargaining power which the code was designed to restore.

“Australian media companies have kept their part of the bargain. Meta needs to keep theirs too. Parliament built a cannon. The time has come to fire it,” he added.

Last week, the ACCC said they would 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.

The News Media Bargaining Code was legislated back in 2021 and under the code, the relevant minister was given the power to ‘designate’ a digital platform.

This means the platform is obliged to enter negotiations with news publishers over remuneration for news featured on the platform.

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.”

On Friday, Meta confirmed it 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

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Top image: Constantine Frantzeskos

Streaming services need to provide media buyers and marketers with greater insights into their audiences if they want to increase advertising investment.

With the CTV market already experiencing strong growth and BVOD and SVOD audiences forecast to continue to increase, media agencies are calling for greater transparency around the audience makeup to help increase spend.

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

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

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

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

“However, the scale limitations can restrict clients to basic targeting options, such as focusing on the top 10 programs and genre-based targeting. 

“When comparing SVOD to more established video channels like YouTube and BVOD, clients can implement more sophisticated targeting strategies for their high-value audiences.”

Josh Grieve, UM

Amazon Prime Video’s venture into advertising will see ads play automatically at pre-determined intervals during the streaming of films and TV shows. At launch, all Prime Video subscribers will automatically be served ads, which means that if users wish to remain ad-free, they will need to pay an extra $3 per month.

The move provides Amazon with scale at launch and coupled with its competitive rates, the service is expected to benefit from the challenges Netflix experienced when it launched ads in 2022.

“From launch, it will offer a level of subscriber scale which will allow advertisers the opportunity of some improved level of reach vs. their competitors Netflix, and new entrants to the market in 2024 such as Paramount+,” said Grieve. 

“Over time, it has proven to drive success through additional subscribers and revenue for Netflix, so we are forecasting that it will also be beneficial for Prime Video in the Australian market,” he added. 

Jake Kay-Lawson, strategy director at Claxon, said the approach could be lucrative for Amazon as audiences are already accustomed to advertising within content. 

“Advertising is one of those things that people just can’t get away from,” he said. “I think people also underestimate how used viewers are to regular interruptions in what they are watching. In the initial stages of the launch, there’s going to be the usual song and dance about it, but it’s only a $3 increase if you want to stay ad-free; it’s not really that much.”

Jake Kay-Lawson, Claxon

The prevailing opinion amongst media buyers is that streaming service ad tiers have proved their existence through undivided attention from what Kay-Lawson describes as a ‘premium market’, explaining that people who pay for a particular streaming service, are more likely to pay for multiple services. 

“If you’ve got a subscription to one streaming platform, it’s likely you’ve got about three. So these placements do offer a really good opportunity compared to something like general programmatic video.”

However, media buyers are quick to point out that Prime Video’s play will be more of an “environmental buy” until SVOD services demonstrate that they can deliver significant scale and volume on the ad tier. 

“Clients shouldn’t expect that SVOD environments, in the short-term, will completely unseat traditional video partners such as Seven/Nine/Ten, etc, as we have found SVOD partners can struggle to scale our campaigns when we apply tight audience/frequency parameters,” said Grieve. 

Plus, agencies and advertisers need to be mindful that each SVOD provider has different adoption rates in the Australian market. 

“It’s likely that each service will continuously optimise their pricing/offerings to find the right balance between ad-funded and premium services to maximise their average revenue per user,” he said. 

“Streaming services that are focusing on driving penetration through the ad-funded models run the risk of higher churn, as the cheaper ad-funded models attract price-sensitive customers. Looking at the US as an example the ad tier model for Max had a 271% increase in churn vs. the premium tier.”

The industry’s current and future leaders have until the end of this month to submit entries for Mediaweek’s Next of The Best Awards.

This year’s awards have removed the age-based criteria and will now celebrate the current and future leaders based on the impact and contribution they are currently making to their company, sector or the wider industry.

The awards will recognise individuals across the industry who demonstrate influence and leadership skills in driving the industry forward – whether through innovative thinking, new approaches to content, driving culture, pushing boundaries or providing inspiration to others.

The awards categories span all areas of the media, advertising and marketing industry, including ad tech, audio, creative agency, data & research, marketing, media agency, new business, sales, social media, TV, PR and publishing.  

There are also awards recognising the individuals driving culture within organisations, in addition to the change-makers and overall leadership award.

The change in focus aims to create a more inclusive awards program that does not use an arbitrary age limitation to recognise the contributions that individuals are making to the media, advertising and marketing industry, said Trent Thomas, publisher of Mediaweek.

“The media industry is in flux as it faces change and challenges from every direction – whether it be economic headwinds, technological advancements, or ethical quandaries. The people leading the way are more important than ever. That is why we believe The Next of the Best Awards is vital in acknowledging the current and future leaders of the industry. The people who win these awards are the leaders that will create the future and drive the industry forward,” said Thomas.

The Mediaweek Next of the Best entry portal will close on 1 April. The awards will be presented at a ceremony on 13 June 2024 at the Ivy Ballroom.

Click here for more information.

• Dune: Part Two impresses with an $8,610,408 debut, averaging $11,620 over 741 screens.
• This weekend, the Australian box office made $11,797,308, up 86% from last week’s $6,334,667.

TOP 5

1. Dune: Part Two – $8,610,408 (debut)

Director Denis Villeneuve has proven the power of cinema with Warner Bros. Dune: Part Two, opening number one worldwide and number one in Australia. Originally scheduled for release at the end of 2023 but delayed due to the SAG-AFTRA strike, the film 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 $8,610,408, averaging $11,620 over 741 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.

2. Bob Marley: One Love – $591,713 (1)

For its third week in cinemas, Paramount’s Bob Marley: One Love biopic came second. The film has now grossed $146 million worldwide. The film took $591,713, averaging $1,884 over 314 screens, down 54% from last week. This brings its total cume to $5,692,257.

Synopsis: Jamaican singer-songwriter Bob Marley (Kingsley Ben-Adir) overcomes adversity to become the most famous reggae musician in the world.

3. Madame Web – $366,909 (2)

Sony’s Madame Web came in third for its third week in cinemas, with the SCU film grossing $366,909. The Dakota Johnson-led flick has now made $4,157,293, overall. This week, it averaged $986 for over 372 screens, down 59%. While the film boasts a $91 million worldwide gross on a $80 million budget, it was panned critically, currently holding a 13% on Rotten Tomatoes. However, this isn’t Sony’s only SCU film releasing this year, as Aaron Taylor Johnson is set to appear in Kraven the Hunter, based on one of Spider-Man’s famous villains. 

Synopsis: Cassandra Webb (Dakota Johnson) is a New York City paramedic who starts to show signs of clairvoyance. Forced to confront revelations about her past, she must protect three young women from a mysterious adversary who wants them dead.

4. Force of Nature: The Dry 2 – $307,227 (4)

Keeping the fourth position this week was the second instalment to Roadshow’s The Dry franchise, Force of Nature. Starring Eric Bana and Deborra-Lee Furness, the movie brought in $307,227 for its fourth week in cinemas, averaging $1,052 over 292 screens and down 51%. The flick has now made $6,557,530 in cinemas to date.

Synopsis: Five women head out on a remote hiking retreat, but only four return, each telling a different story. Detective Aaron Falk (Bana) must find out what really happened before time runs out.

5. Manjummel Boys – $255,205 (debut)

Coming in fifth this week was the Cyber Systems-produced film Manjummel Boys. The film is based on a 2016 true event, in which someone from a group of friends got trapped inside the Guna Caves. The movie brought in $255,205 for its first week in cinemas, averaging $6,380 over 40 screens. 

Synopsis: A group of friends get into a daring rescue mission to save their friend from Guna Caves, a perilously deep pit from where nobody has ever been brought back.

Top 6 – 10

6. Baghead
7. Demon Slayer: Kimetsu No Yaiba – To the Hashira Training
8. Argylle
9. The Zone of Interest
10. Anyone But You

Australian ideals of luxury are vastly different from those of other nations, with consumers valuing travel and experience as more luxurious than materialistic products, according to new research.

The Reframe: Australian Luxury research, undertaken by News Corp’s The Growth Distillery, reveals a significant shift in how Aussies define luxury in the post-pandemic world.

“The Australian luxury consumer is really nuanced and unique,” said Dan Krigstein, director of The Growth Distillery.

“Australians have very different expressions of luxury and one of the overwhelming insights from this research was the difference between extrinsic versus intrinsic expressions of luxury. Three in four Australians prefer more intrinsic expressions to those overt gory expressions – it is a staggering number when you think about it.”

The research revealed that quality (95%), customer service (88%) and value (83%) are stronger purchase drivers than rarity (42%), exclusivity (27%) or popularity (22%).

Krigstein told Mediaweek the data also showed that experiences, not products, represent luxury to Australian consumers and must play a role in the purchase journey.

“What matters most has shifted post-pandemic. If you go back to what luxury is, in its essence, there must be an element of scarcity – and stuff isn’t scarce anymore. What is scarce is the ability to go to a waterfall in the middle of nowhere that no one has seen and remains untouched, that is scarcity. Or the ability to bring a chef to your home for a beautiful private dinner, these money-can’t-buy experiences are scarcer than ‘the stuff’ these days.

“Luxury always talks to the aspirational lives that we are trying to attain, but when the definitions and codes of success are diverse and fundamentally shifted, so too are the values. If a life well lived is me travelling the world for the rest of my life, then what on earth does a Birkin bag have to do with it?”

The findings reinforce previous research by The Growth Distillery that explored essential goods and found that Australians ranked travel as the number one essential good, ahead of health and property.

However, Krigstein said that while travel ranks highly for Australians, experiences, in general, were the most significant luxury for consumers, particularly during the current instability.

“Consumers are looking for things to spark joy in their lives. In an outlook that’s a little gloomy, your product might just be the thing that puts a smile on their face every day. As a brand, you would be very silly to not lean into this new ecology.”

Krigstein told Mediaweek that the research, which was conducted in collaboration with Verve Australia, aimed to help luxury brands articulate the consumer landscape both to improve consumer engagement and to inform overseas headquarters based in vastly different markets.

“We work with luxury brands, and one of the things they often ask us is ‘how do we convince Milan that Australia is different?’, because often the message out of Europe is ‘here’s our marketing campaign, go and execute across our satellite market’. Hopefully, this serves as a toolkit and an articulation to illuminate how little the Venn diagram overlaps in terms of how brands are showing up versus what Australians are looking for.” 

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Top Image: Dan Krigstein

Seven’s director of digital marketing and innovation, Lucio Ribeiro, has spoken of the power of vulnerability, resilience and mental wellbeing in a powerful episode from the latest series of The Growth Distillery vodcast. 

Ribeiro opens up on the “dark times” of his life and the challenges he has overcome in his life in the first episode of the series, hosted by News Corp Australia’s director, Growth Intelligence Centre and independent think tank The Growth Distillery, Dan Krigstein.

Ribeiro and Krigstein discuss the importance of curiosity, the power of community and how Riberio learned to ‘fill his cup’. Ribeiro’s episode is titled with his compelling quote: “Before you try to change the world, you have to get your house in order.”

“You have to be comfortable with your own strength and your imaginary weaknesses; it’s ongoing work and it’s really hard. Life should be super simple but it’s very complicated and I believe the light you discover in your life is comparable to the amount of darkness that you are willing to face,” Ribeiro told Krigstein. 

The vodcast series aims to uncover what makes Australian marketing professionals tick and how they approach their lives and jobs through a deep dive into the industry. 

Ribeiro told Mediaweek, he believes showing vulnerablity is one of the best ways to connect with others.

“The journey of discovery and learning is not necessarily looking for new landscapes, but having new eyes. Vulnerability by itself allows you a mindset of curiosity. There is no way on earth that when you are vulnerable, the other person doesn’t see authenticity. The power of vulnerability is that you really build up that connection among two people.”

Dan Krigstein, Mediaweek’s Tess Connery, and Lucio Ribeiro

For the mentors of tomorrow, Ribeiro said there are two core messages that he would pass on to those coming up through the ranks when it comes to making the most of their mentoring experience.

“You are the only person responsible for your own development. Nobody else – not the business you, no other leaders around you, nobody. You are responsible for your own career. You’re responsible for your own development,” Ribeiro said. 

“Do not allow yourself to be resentful. The fact is if you find yourself in a resentful space – where it’s about your partner, your kids, your friends, your family, your co-workers – it’s because we haven’t really worked out what came before. What came before was frustration. Go back, sort out the frustration, and then when you have the frustration sorted out, it’s a matter of expectations.”

As for the advice that he’d give a younger version of himself? 

“Vulnerability, taking responsibility, a commitment to curiosity and compassion, kindness, and the ability to give before you take – this is the advice that I would give myself 20 years ago,” Ribeiro said.

Ultimately, for those who tune in to the vodcast, Ribeiro said he hopes viewers leave with the message that “we all have elements of suffering and doubting yourself, and these are wounds. But the beauty of wounds is that they are the parts of your existence where the light can enter.”

Ribeiro said he was motivated to take part in the vodcast as an effort to both learn and help others by sharing his own experiences. 

“After going through The Marketing Academy, there were two fundamental things that stuck with me. One is my promise to the business, to Sherilyn [Shackell], and my colleagues to pay it forward – and this is one of the ways of paying it forward.”

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Top Image: Lucio Ribeiro

By Ori Gold, chief executive officer and founder of Bench Media

Remember the earthquakes felt in the media landscape when Meta flexed its muscles against the Australian government in 2021?

Back then, Australia’s swift and decisive action, demonstrated by the landmark News Media Bargaining Code, forced
the tech giant to the negotiation table and secured a historic $200 million win for Australian journalism (with $70M from Meta alone).

This pivotal moment set a global precedent that continues to resonate with, for example, the ongoing dispute between
Meta and the Canadian government.

Lessons from Canada: Why Australia Must Act Decisively

But fast forward to today, and we see a starkly different scenario unfold in Canada. Unlike Australia, which displayed remarkable resolve, Canada’s Online News Act has been met with fierce resistance from Meta, culminating in a complete news content blockade since February 2023. This drastic action, unlike the temporary one in Australia, has crippled Canadian news outlets, particularly smaller ones heavily reliant on social media reach.

While Canada grapples with the lack of a binding arbitration mechanism and a broader legislative approach compared to Australia’s focused model, the Australian case proves the effectiveness of decisive action.

Australia’s Leverage: Why Meta Can’t Afford to Leave

Meta’s complete withdrawal from Australia seems highly unlikely. Unlike countries like China, Russia, Iran, North Korea, etc., where government control dictates their absence, Australia’s strong democratic and open market principles hold significant strategic and financial value for Meta.

This makes an Australian exit highly improbable. The Australian News Media Bargaining Code, with its well-designed blend of incentives and penalties, successfully forced Meta to negotiate. This is a crucial lesson for Australian authorities – particularly the Communications Minister and the ACCC – as they encounter continued challenges from Meta.

Learning from Canada’s slow-moving approach, Australia must adopt a firm and swift bargaining stance again. Failure to do so might incentivise Meta to employ delay tactics, mimicking the Canadian scenario and ultimately weakening the impact of efforts to ensure fair compensation for news content.

Beyond Meta: Why Local Publishers Are Essential for Marketers

Australia has a chance to solidify its role as a global leader in shaping the dynamics between tech giants and the news industry. By drawing upon the lessons learned from both its own success and the ongoing Canadian struggle, Australia can pave the way for a more balanced and sustainable news ecosystem that empowers our thriving local publishers.

These publishers, with their strong relationships with Australian readers and their deep understanding of the local market, offer invaluable assets for Australian marketers. In the face of potential uncertainty with Meta, it’s crucial for businesses to diversify their marketing strategies and explore the extensive inventory offered by our local media outlets.

Today, if more than half of your paid media relies solely on Meta (and Google), it’s time to sound the alarm. By supporting local publishers, Australian businesses not only contribute to a healthy and diverse media landscape but also gain access to highly targeted audiences and effective communication channels, often offering superior quality engagement compared to what giant tech platforms can usually provide.

The time for decisive action is now, not just for the sake of a thriving journalistic landscape but for the future of Australian businesses and the communities they serve. By supporting local publishers, businesses not only contribute to a diverse media ecosystem but also unlock the potential for stronger connections and more impactful campaigns.

See also: Government and ACCC “considering options” after Meta’s decision to ditch news media deals

After executive chairman of News Corp Australia, Michael Miller, wrote on Monday that the way that the government responds to Meta refusing to sign future Media Code deals is becoming “a vital moment,” Robert Thomson, chief executive of News Corp, has added his thoughts.

See Also: Michael Miller: Government’s response to Meta will be “watched closely on the international stage”

Speaking at the Morgan Stanley Technology, Media & Telecom Conference in San Francisco, California, Thomson began by speaking about how Generative AI is another form of distribution, and “if you’re not very conscious of the risk, then the risk may outweigh the opportunity.”

Moving from AI into a wider discussion about distribution, Thomson continued, “We have a very good relationship with Google which continues in multifaceted ways. There’s some argy-bargy with Facebook in Australia at the moment. We’ll see what that digital denouement is, but I think we’re early in that particular conflict, and that is the right way to describe it.

“It’s important as a community that we focus on facts, and provide information. The swirl or maelstrom of muck out there is disfiguring communities, it’s having a profoundly negative impact on a lot of young people.”

Thomson went on to call Meta’s decision to pull out of further News Media Bargaining Code deals “disappointing,” pointing to the fact that Meta is a company that talks about community.  

“When you look at the damage that’s been done to communities, it’s disappointing when you look at Facebook suggesting for example, that 3% of usage relates to news. That’s obviously a fiction, a preposterous figure. I mean, how much discussion is there around news? You have the core news and then I can tell you 100% of the contemporary factual information on Facebook is news. And so those are the numbers that really, Facebook should be focused on as well as being focused on its responsibility to all Australians.”

Finally, moderator Morgan Stanley’s Andrew McLeod, asked Thomson his thoughts on what the next steps are now that Meat’s decision has been made.

“Clearly the government has a view, which it’s perfectly entitled to. Clearly, we have a view that we’re perfectly entitled to. We’ll see what happens over the next couple of weeks, but I suspect that we haven’t seen the final frame of that movie,” Thomson concluded.  

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Top Image: Robert Thomson

The way that the government responds to Meta refusing to sign future Media Code deals is becoming “a vital moment in the global battle to force this trillion-dollar company to play by the same rules of commerce and fair trading that other businesses live by,” according to executive chairman of News Corp Australia, Michael Miller.

In an opinion piece published in the Australian Financial Review, Miller writes that the move by Meta shows “the company’s brazen indifference to regulations and the content creators that feed their platform.”

Responding to the initial announcement on Friday afternoon, Communications Minister Michelle Rowland described the move as “a dereliction of its commitment to the sustainability of Australian news media” – a stance that Miller says “is to be welcomed.”

With the Albanese government now promising to “work through all available options under the News Media Bargaining Code,” Miller notes that “our nation’s response to this techno-anarchist will be watched closely on the international stage.”

In a metaphor, Miller goes so far as to say “If content providers were farmers, Meta would steal their crops and demand their victims thank them for the privilege.”

Ultimately, Miller writes that the creation of the News Media Bargaining Code has given the government “firepower” that it will now need to follow through on using. 

“After months of failing to enter negotiations with Australian media outlets we should believe Meta when it says it won’t pay for news. It has, as they say, some form in this area.

“It represents yet another demonstration of the imbalance of bargaining power which the code was designed to restore,” Miller concludes.

In a statement made on Friday, the tech giant said the move to pull out from negotiations 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 and the United States. The dedicated news tab was axed in the UK, France, and Germany last year. 

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

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Top Image: Michael Miller

oOh!media and Victoria’s Department of Transport and Planning have continued their existing partnership, with oOh! renewing Australia’s largest single street furniture contract.

The 17-year partnership oversees street furniture that stretches across metropolitan Melbourne, and the renewed contract will see oOh! convert hundreds of classic format panels to digital LED screens in a digital transformation program.

oOh! will continue to manage advertising services, cleaning, maintenance, construction, and installation of the approximately 5,000 bus shelters located within the CBD and across Greater Melbourne.  

Cathy O’Connor, oOh! CEO, said: “This multi-year extension of our long term partnership with Victoria’s Department of Transport and Planning continues oOh!’s purpose to make public spaces better by delivering high quality street infrastructure, important community information and advertising services across Melbourne for the benefit of all citizens for years to come. 

“Melbourne is the largest populated city in the country, and in line with our strategy to lead the Out of Home sector to a digital first future, we have ambitious goals to further invest in growing our digital screen network across the city to provide advertisers with more innovative ways to connect with audiences at scale.” 

Last month, oOh!media reported its full year results for 2023, headlined by 7% revenue growth to $633.9m and a 10% jump in its statutory net profit after tax (NPAT) to $34.6m. 

Earnings before interest, tax, depreciation and amortisation (EBITDA), meanwhile, climbed a modest 2%, which oOh! said was a reflection of increased rent and reduced rent abatements.

oOh! attributed its revenue jump to a 14% increase in the road – billboard – division to $218.4m, driven by a strong second-half performance, up 16% compared to H1. Every other division – street furniture and rail, fly, street furniture and youth, retail – also grew on 2022’s results.

oOh! won 75% of the large contracts which came up for renewal in 2023.

See Also: oOh! Media’s CY23 Full Year results: Revenue up 7%, driven by billboard growth

Broadsheet has promoted Claire Booth to the role of national sales and partnerships director. Booth replaces Michila Macleod, who left the business at the end of 2023.

Booth joined the Broadsheet team in 2019 from Dentsu‘s The StoryLab and Carat. Her new role is a promotion from her previous role as group sales and partnerships director for the Sydney, Brisbane, and Perth markets. 

Booth will lead the national sales team across Australia, joining the senior leadership team and reporting to Broadsheet’s general manager, Sian Whitaker. The role is effective immediately. 

Speaking about her new role, Booth said, “Broadsheet is an exceptional brand and business, and I’ve always been proud to be a part of it. We’re currently in an exciting phase of innovation, expanding our product suite to offer new opportunities for our audience to enjoy Broadsheet and brand partners to integrate across digital, audio, out-of-home, and experiential. Leading our talented sales team during this pivotal moment is incredibly rewarding, and I’m looking forward to collaborating with our agency and brand partners to drive growth for their businesses.”

Sian Whitaker said, “Claire has been an outstanding performer in the business since she started five years ago. She has grown our NSW market significantly and built a strong team under her. Claire is creative, passionate and deeply cares about our brand and clients.  I think she will make a significant impact in her new role, and I’m thrilled we can continue to support her career at Broadsheet. As always, we are ambitious as a brand and have some big goals to achieve, and I’m very confident that Claire is the right person to help us achieve these.”

In September, Broadsheet created a multi-faceted content campaign with The Body Shop to promote their ten “Most Loved” product range and showcase the natural ingredients in their products.

The campaign represented the biggest beauty category partnership undertaken by the title.

See Also: Broadsheet partners with The Body Shop for content campaign

Creative innovation studio R/GA Australia’s Public Practice division has recently expanded its team with strategic senior hires in Canberra, signalling a shift in traditional models of engagement within the public sector.

Four new senior appointments have been made: Senior product strategist Skye Kibbey from Deloitte Digital, technology director Sam Brunno from Dentsu Merkle, design ops director Joe McKinley from Deloitte Digital, and group account director Nick Trembath, who transitions from Liquid Interactive.

Kibbey leverages over 20 years of experience, enhancing public sector systems for clients like Services Australia and Australian National University. Brunno blends creativity with hands-on tech problem-solving for clients including the Department of Foreign Affairs and Footlocker.

McKinley excels in various design aspects, working with clients such as the Department of Defence and Jetstar. While Trembath ensures strategic collaboration, particularly with public and mission-oriented organisations like the Department of Health and National Archives of Australia.

See also: R/GA’s Michael Titshall expands remit assuming Asia Pacific CEO role

The move comes as a response to the evolving landscape of the public sector, which increasingly demands specialist capabilities, transparency, and a focus on empowering internal teams.

Over the previous year, R/GA’s Public Practice has attained success by establishing the Australian Federal Government as its inaugural client and developing the brand and encounter for the Museum of Chinese in Australia.

Furthermore, it launched the digital platform for the Victorian Department of Education, partnered with Indigenous-owned social enterprise We Are Warrior to coordinate The City of Sydney New Year’s Eve fireworks and Calling Country events, and prominently featured at The Purpose Conference.

Executive director Tish Karunarathna, commented on the approach of R/GA’s Public Practice: “R/GA’s Public Practice is reshaping public sector engagement by turning services into experiences, campaigns into movements, and bureaucracies into brands,” said Karunarathna.

“In recent months, we’ve cultivated a seasoned senior team, merging extensive expertise from the public and mission driven sectors with innovative thinking from diverse industries, to drive fresh and creative approaches.”

Victoria Curro, managing director of R/GA Australia, added, “We’re committed to shaping a more human future. Our evolved offering bridges the gap between public policy and citizen engagement, responding to emerging consumer attitudes. Our exciting projects with Commonwealth, State, and public sector organisations truly embody this commitment.”

See also: R/GA ramps up Australian offering with a slew of new hires and promotions

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Top Image: R/GA Australia Public Practice Team

Red Rock Deli has teamed up with Pnau for a new project: creating a song infused with their distinct flavours. The collaboration via its creative agency, Special, is of the snack brand‘s ‘Awaken Your Senses’ brand platform.

Inspired by the trend of incorporating unconventional sounds into music, the acclaimed music group and Red Rock Deli have crafted a new single, All Your Energy, solely using remixed samples of their snack ingredients, like a chilli “clap”, lime “synth”, sour cream “tambourine” and chip crunch “hi-hats.”

The four-minute track  was released by Pnau via Spotify and Apple.

Vandita Pandey, chief marketing officer ANZ snacks & beverages, PepsiCo, said: “Partnering with an artist like Pnau brings this message to life in an exciting new way that places the brand at the intersection of art, music, and culture and we’re thrilled that the launch of the ‘Awaken Your Senses’ campaign will offer people a moment to experience the fusion of flavour and sound like never before.”

Nick Littlemore from Pnau added: “Working with Red Rock Deli on ‘All Your Energy’ has been an interesting space for us to play in. The fusion of music and food is something we haven’t done before, and it set a new challenge for us. ‘All Your Energy’ is a quintessential PNAU track but with complex new layers for our fans to explore.”

The song-making process, documented in partnership with Revolver / Glue Society, Rumble, and Level Two Music, will also be released across platforms including Meta, TikTok, YouTube, OOH, and Spotify.

Credits
Client: Red Rock Deli
Chief Marketing Officer, Snacks and Beverages, ANZ: Vandita Pandey
Marketing Director Snacks, ANZ: Tracy Hardwick
Marketing Manager: Tom Floyd
Senior Brand Manager: Anita Cheng
Brand Manager: Liam Crothers

Creative Agency: Special
Partner / CEO: Lindsey Evans
Partners & Co-CCO: Julian Schreiber & Tom Martin
Creative Directors: Justin Butler & Letizia Bozzolini
Team Lead: Michelle Braslin Business Director: Molly Dyer CSO: Dave Hartmann Head of Film & Content Production: Sevda Cemo Senior Producer: Kat Stephens
Head of Stills: Nick Lilley
Print Producer: Danielle Senecky
Designer: Sabine Schwarz
Finished Art: Jen Bailey

PR Agency: Special PR
Managing Director: Alex Bryant
Account Director: Sarah Halpin
Publicist: Allex Conley

VFX (OOH): Flux Animation Studios, New Zealand
Executive Producer: Joshua Forsman

Film Production: Revolver
Directing Collective: The Glue Society
Director: Pete Baker

Managing Director / Co-owner: Michael Ritchie
Executive Producer / Partner: Pip Smart
Executive Producer: Jasmin Hellier
Producer: Caroline Kruck
Cinematographer: Aaron McLisky
Production Designer: Damien Drew

Post Production: The Glue Society Studios
Editor: Luke Crethar
Colourist: Scott Stirling

Artist: PNAU
Music Track Title: All Your Energy
Publisher: Universal Music Publishing Group, 120 Publishing, Wizard of OG
Master Rights Holder: TMRW Music

Music Supervision: Level Two
Music Supervisor: Marcus Brooke-Smith

Sound: Rumble Studios
Sound Production: Jeremy Richmond
Sound Engineer: Daniel Williams
Sound DP: Michael Gie
Sound Producer: Irene Kakopieros

Media: PHD
Group Business Director: Jen Jones
Digital Director: Paula Rebello
Strategy Director: Zachary Kelly
Group Investment Director: Christine Chen
Senior Investment Manager: Mikeah Iriving
Digital Manager: Grace Parsons
Account Coordinator: Violet Zhang
Entertainment Partnerships Account Director (DRUM): Avril O’Neill
Entertainment Partnerships Account Exec (DRUM): Nicholas Warrand

See also: Destiny’s Child’s Michelle Williams stars in latest Uber One campaign via Special

The 2024 Australian Effie Awards, recognising exceptional advertising campaigns, has begun accepting entries. Organised by the Advertising Council Australia (ACA), the peak body for Australia’s leading agencies in the advertising industry, this year’s awards include a new category focusing on Artificial Intelligence (AI) in marketing.

See also: Mediaweek’s A to Z of 2023: I is for Industry Bodies

ACA chief executive officer Tony Hale highlighted the importance of the Effies in honouring outstanding industry achievements.

Said Hale: “Amid today’s advances in technology, a lot goes into ensuring a marketing campaign is effective. The Effies are about celebrating the year’s best work and the results that propel our industry’s growth.

“Importantly, building a culture of effectiveness is crucial for every business, and whether you enter the Effies this year or next, or are just starting to prove the effectiveness of your marketing campaigns, you’re on the right track to success.”

See also: ACA: Advertising industry needs to focus on retention and senior diverse talent

To assist potential entrants, ACA has made winning case studies from 2023 available for free download to its members.

ACA is also hosting a free webinar on March 26 for agencies and brands interested in participating. This webinar, led by Effie judges Martin Rippon, executive coach and consultant at Gutthink & Partners, and Al Crawford, founder of Shakepshifer Consulting, will provide insights on crafting standout entries using case studies.

With princpal sponsorship from Think TV, supporting sponsorship by AdStandards, Google, and UnLtd,  The Effie Awards offer 26 categories for submission.

Entries are due by May 13, 2024, with a late submission window open until June 3, subject to a fee. Finalists will be announced on July 17, with winners revealed during an awards gala in Sydney on October 10.

Detailed criteria is available on the Effies website.

See also: Advertising Pays report reveals the economic power of Australian advertising

The Australian Influencer Marketing Council (AiMCO) has unveiled its salary benchmarking guidelines tailored to the influencer industry in Australia and New Zealand.

Developed in collaboration with recruitment and business agency, The Expand Group, AiMCO’s Creator Economy Salary report offers salary insights for various roles within the influencer ecosystem, spanning commercial, technology, and product sectors.

See Also: AiMCO’s Patrick Whitnall on influencer marketing being taken seriously

Covering account management, brand representation, influencer marketing, and agency positions, as well as roles in product development, data analytics, and technology, the guidelines provide clarity on salary expectations. This includes positions ranging from backend/frontend engineers and C-suite executives.

This report, the first of its kind in the region, not only delineates salary prospects but also establishes benchmarks for staff retention and training initiatives.

These guidelines arrive amidst substantial growth in the ANZ influencer marketing sector, with approximately six million Australians identifying as creators, and 19% identifying as influencers.

Influencer use and ad spend has also rapidly increased – a 2021 survey conducted by Socialbakers found that 70% of Australian marketers had reported using influencer marketing in their overall strategies. Estimates suggest the global influencer marketing sector is expected to grow to US$24.1 billion by 2025, up from US$6 billion in 2020, according to a report on social media services by competition watchdog ACCC.

AiMCO managing director, Patrick Whitnall, said: “The past year has seen unprecedented expansion in our sector across Australia and New Zealand. This evolution has elevated our industry, necessitating a new breed of adept professionals within innovative clients, agencies, brands, and platforms.

“This set of standards aims to enlighten our community and professionals about their intrinsic market value, offering a clear perspective on their contributions to the influencer landscape in ANZ and beyond, across various professional capacities.

“AiMCO is dedicated to leading by example, ensuring our members and the extensive pool of industry talent are well-prepared for the future. This report serves as a foundation for developing additional standards – and regional variations and standards that recognise the diverse fabric of our industry are scheduled for the coming months.”

AiMCO will host a webinar for members to discuss the new guidelines on March 5 at 9.30am, featuring a panel of industry leaders and experts. Members can RSVP here.

Apple has unveiled its latest campaign via its dedicated creative agency TBWA\Media Arts Lab Sydney, depicting real-life, distinctly Australian narratives to underscore the potential life-saving capabilities of the Apple Watch.

Through a series of films, individuals Bruce and Lexie share personal accounts detailing how the Fall Detection and Low Heart Rate Notifications functionalities of the Apple Watch came to their aid during unforeseen circumstances.

Bruce Mildenhall was cycling solo in the Macedon Ranges, Victoria, when a kangaroo collided with him. His Apple Watch sensed the impact and activated Fall Detection.

Despite Bruce being unresponsive, the watch automatically contacted emergency services, shared his location, and notified his wife. Bruce appreciates the timely response of his Apple Watch during the critical situation.

Lexie Northcott and her mother, Karla, lead active lives and frequently hike together in the Australian mountains. Lexie began receiving notifications from her Apple Watch indicating a low heart rate during the day. Initially attributing it to her fitness level, she eventually sought medical advice.

Doctors diagnosed a severe heart block, necessitating emergency surgery to implant a pacemaker. Karla credits the vital role of the Apple Watch in potentially saving her daughter’s life.

The campaign is set to be rolled out across platforms including TV, cinema, online video, digital, and social.

The Apple Watch campaign comes on the heels of TBWA\Media Arts Lab Sydney’s recent release of a behind-the-scenes video showcasing USHER’s Apple Music Super Bowl LVIII Halftime Show. This production, filmed entirely using iPhones as part of the ‘Shot on iPhone’ brand platform, marked the first instance of an Apple Music Super Bowl Halftime Show being recorded solely with iPhones.

Apple’s increased focus on promoting brand films across the Asia Pacific (APAC) region since the beginning of the year appears to be a response to declining smartphone sales.

In January, Apple rolled out a series of brand films in key APAC markets through TBWA\Media Arts Lab, aiming to counteract dwindling sales and highlight its latest iPhone 15 model.

The APAC region is home to some of the world’s largest smartphone markets, boasting high mobile penetration rates. In Australia, approximately 85% of the population uses smartphones, with Apple holding nearly half of the market share at 45%, closely followed by Samsung at 31%.

Despite this, there was a significant decline in mobile phone sales last year, estimated at around minus 11%. iPhone sales also experienced a downturn of about 4%, according to Gartner as reported in the Australian Financial Review.

See also: Apple ramps up “Shot on iPhone” brand push with Usher’s Super Bowl Halftime Show via TBWA\Media Arts Lab

Credits: 
Agency: TBWA\Media Arts Lab Sydney
Production company: Collider 
Director: John Hillcoat
Music: MassiveMusic
Artist: Eee Gee

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Top Image: Bruce Mildenhall

National Bank of Australia (NAB) has launched its latest advertising campaign, “Wrangle Your Money,” in partnership with creative agency TBWA\Melbourne and media agency Mindshare.

As an extension of the “More Than Money” brand platform, the new campaign arrives at a crucial juncture amidst ongoing economic fluctuations in the country.

NAB’s outgoing chief marketing officer, Suzana Ristevski, commented on the importance of supporting customers during this period.

“We know our customers are being really considered around how they spend their money right now,” said Ristevski.

“They need to make a lot of decisions, through which NAB supports them and helps them feel confident they are making the right financial decisions – no matter how big or small.​”

Set in a baby store, the campaign draws inspiration from cinematic western themes as NAB’s expert bankers assist customers in managing their finances.

Elly Bloom, NAB executive business and private bank said: “By unifying brand and product under a single platform, the creative and media halo has driven stronger campaign results across the bank.”

Matthew Stoddart, executive creative director at TBWA\Melbourne, described the campaign as “another fantastical and memorable chapter to add to the story of how NAB supports and empowers their customers.”

“First it was a house being chased by a Kingswood, and now we have stampeding baby furniture and a wild, bucking cot,” said Stoddard.

The 15″ and 30″ ads will be rolled out on television  and cinema, with additional comms planned across out-of-home, social, display, radio, and owned channels in the forthcoming weeks.

Last week, Ristevski has announced her departure after five and a half years at the bank.

She will join Google mid-year to lead the tech giant’s marketing across Australia and New Zealand, replacing Aisling Finch who departed late last year.

See also: NAB CMO Suzana Ristevski jumps to Google to lead AUNZ marketing

Credits:
Creative agency: TBWA\Melbourne
Chief creative officer: Paul Reardon
Executive creative director: Matt Stoddart
Creative: Kale McRedmond
Creative: James Southey
Head of planning: Virginia Pracht
Planning director: Zac Martin
Senior producer: Janine Wertheim
Producer: Alana Taylor
Managing director: Ricci Meldrum
Client partner: Sarah Tukua
Senior business director: Jade Mittermair
Business director: Ella Hine
Business manager: Sophie Ford

Client: NAB
Suzana Ristevski: Chief marketing officer
NAB – Group brand marketing
Hristos Varouhas: Acting head of group brand
Sue Brailsford: Manager, brand management
Alastair Sykes: Senior consultant, brand management
Jess Hughes: Manager, brand campaign delivery
Johannes Samson: Senior consultant, brand campaign delivery
Nicole Bishop: Consultant, brand campaign delivery
Mitch Anderson: Consultant, brand campaign delivery
Lizzie Barclay: Consultant, brand campaign delivery
Susanna Hondrokostas: Manager brand identity, group brand
Minh Tang: Senior consultant, brand identity
NAB – Business bank marketing 
Elly Bloom: Executive marketing, business & private bank
Simon O’Connor: Head of Marketing Metro & specialised, regional & agri
Katherine Venus: Head of Small Business & digital marketing
Keegan Nash: Consultant, Creative & content 
Donna Reynolds: Senior consultant, marketing campaigns
Amy Papamarkou: Analyst, creative & content
Amy Vo: Senior consultant, media personalisation

AV
Production house: Good Oil
Direction: Dave Wood
VFX: Alt
Sound: Rumble
Photography: Billy Plumber

Media
Mindshare

Yahoo Academy has opened nominations for its 2024 immersive talent-building program to 30 rising media agency and marketing professionals across Australia and Singapore.

The program, which will be held in Sydney on May 14 and 15, aims to help professionals with 1-7 years of experience develop the skills needed to lead and thrive in the workplace of the future. 

Over two days in Sydney, the academy will engage participants with in-depth workshops led by industry-leading experts. These sessions will delve into critical areas such as the practical implementation of AI, strategic and critical thinking, business problem solving and other areas crucial to the future of work in an era of unprecedented skills disruption. 

The sessions will lead to participants solving a real business problem for Australian charity MMAD in the famous Pitch Off, where they will apply their learning from the days in a practical, team-based challenge.

The stakes are high this year, with the winning team receiving a trip to a top destination marketing conference in June, including flights, 4-nights accommodation and conference tickets. 

John McNerney, managing director of Yahoo AUSEA, was looking forward to this year’s program and helping launch the next generation of media leaders.

“With the whole world of work evolving at breakneck speed it’s more vital than ever to ensure we’re equipping the next generation of leaders with the tools they will need to make a real difference in their careers. I’m excited to see how this experience will help to elevate this year’s group with an incredible program locked in,” he added.

The trainers for the workshops will be revealed soon. Last year’s Yahoo Academy trainers were world-renowned creative strategists and a husband and wife team Rosie and Faris Yakob of Genius Steals.

Past speakers have included Cindy Gallop, Rishad Tabacowalla, Greg ‘Sparrow’ Graham, Dominic Price and Briony Benjamin lead hugely impactful workshop sessions for delegates.

See also: AI, insights and dad jokes: Yahoo Academy Class of 2023 inspire in pitch off

TV Report March 4, 2024:

Nine

Married at First Sight

Nine’s evening began with the shockwaves from the Commitment Ceremony on Married at First Sight. 

Jack’s revealing comments about his relationship create doubts about his true feelings towards Tori. This left everyone questioning Jack’s intentions and Tori is feeling uncertain about where she stands.

After their heartfelt conversation on the couch, Sara and Tim have renewed hope in their relationship. Tim commits to showing Sara his assertive side in order to unlock the softer side of her that he desires. 

Couples then made their way to Byron Bay for the annual Couple’s Retreat. No one was more excited about the trip than Byron Bay local, Lucinda. But when a seemingly innocent game triggers a significant moment of vulnerability from Timothy, he experiences an emotional breakthrough that promises to transform his relationship with Lucinda. 

As pressure mounts, Sara found herself under even greater strain when Tim’s lack of response to a heated altercation between Sara and Micheal places their marriage on unstable ground.

A Current Affair

Over on A Current Affair, a talent agent assaulted a reporter as she denies lying to clients about fake jobs and a Queensland family say they feel “abused, bullied and unheard” by their local council after rooms in their house were inundated by raw sewage following nearby council works.

Seven

Australian Idol

Over on Seven, Australian Idol saw the top 10 pushed out of their comfort zone as they performed songs selected by the judges.

Five more Idols took to the stage to sing for audience votes. Amy from Broome WA, Sunshine Coast Surfie Tyler, and Isaac from the south coast of New South Wales. Plus, Camel farmer Trent and Bribie Island Teen, Kiani. The episode featured special appearances from famous artists including Jessica Mauboy and Matchbox 20 who appeared due to Amy and Trent singing their respective songs. After Trent’s performance of 3 AM, Kyle said his voice sounded like Kermit the Frog, to which he received booes from the crowd.

The judge’s save of the night went to Amy and she is now straight to the Top 8. 

Home & Away

Before Australian Idol was Home & Away as Mackenzie feared she had been exposed. Remi was caught in a lie and Justin and Leah set a date.

10

The Project

The Project on 10 looked into the idea of King Charles coming to Australia, met with a hero kangaroo rescuer and chatted with Hollywood superstars John Cena & Zac Efron. 

Australian Survivor

On 10’s Australian Survivor, Tasi Tribe woke to the aftereffects of Kirby’s blindside of Aileen. Kirby is back on top of the tribe and has her sights set on a new alliance with Feras. This powerful new relationship between former enemies sends shockwaves through the camp. 

In a feisty Tribal Council, both Kirby and Feras noticed the whispered conversations and tried to communicate a new game plan from opposite ends of the tribal bench. In the final moments, they changed their vote to Alex and attempted to communicate it to their alliance. Wanting to win the trust of his new alliance, Alex plays his hidden immunity Idol for Valeria. As the votes were read, it was revealed Kitty held true to her commitment to Kirby, while Raymond flipped, Rianna did not get the message to vote for Alex and Jaden was sent home. 

ABC

7:30

On 7:30, Sarah Ferguson interviewed Philippines President Ferdinand Maecos Jr, and the program looked into the search for missing Ballarat woman Samantha Murphy. 

Four Corners

Amid the push for private boys’ schools in Australia to go co-educational, Four Corners investigated if these institutions are safe places for girls.

SBS

Finding Your Roots

Henry Louis Gates helped comedians Carol Burnett and Niecy Nash decode scandals hidden within their roots, exposing secrets that their ancestors concealed and celebrating the virtue of accepting one’s relatives whoever they may be.