The board of Southern Cross Austereo (SCA) has finally responded to the takeover proposal from ARN and Anchorage Capital. (The two firms are referred to as The Consortium in ASX documentation making them sound like an invading force in a Star Wars saga.)

It’s been nearly five months since the proposal was first tabled. The message from the board today is the offer is not enough and it wants a revised proposal.

The words weren’t as blunt as that, but that was the communication.

In a release to the ASX this morning the board responded to the complicated plan to acquire all the SCA radio and TV assets and break them up into three, or possibly more, separate businesses.

The original offer on October 18, 2023:
ARN and Anchorage Capital wanted to acquire 100% of SCA for 0.753 shares in a new company following re-allocation of SCA and ARN assets (ARN Newco) and 29.6 cents cash per share.

Under terms of the original offer from ARN and Anchorage, ownership of Triple M and the KIIS network would rest with a new-look ARN

In its first real commentary on the merits of a deal like this, the SCA board said:

The SCA Board acknowledges the strategic merit for shareholders of combining complementary and high-performing radio and digital assets of SCA and ARN in ARN Newco and reducing exposure to regional television on appropriate terms.

Last week Mediaweek published this story:
SCA break-up: CEO John Kelly explains why board not yet happy with offer

SCA board says ‘no’

After running a ruler over the financials of the prosed deal, the board said today:

Based on the information provided by the Consortium, the Board has concluded that the current terms of the Indicative Proposal undervalue SCA and, as a result, the Indicative Proposal is not in the best interests of SCA shareholders.

Improve the offer and it might have a chance

The board continued:

Despite the Board’s assessment of the current terms of the Indicative Proposal, SCA remains willing to consider any revised proposal that SCA assesses as being consistent with the Consortium’s original proposal and in the best interests of all shareholders.

SCA Chair Rob Murray said in an ASX release:

“Our board acknowledges the strategic merit underlying the consortium’s proposal but considers that the current terms of the proposal undervalue SCA. We are open to considering proposals from the consortium or other parties that would deliver fair value and be in the best interests of all our shareholders.

“In the meantime, we remain focused on continuing to optimise the audio ecosystem we have created across broadcast radio and digital audio. This is central to our strategy and our value proposition, and we are committed to converting our audience leading positions into sustainable growth and returns to our shareholders.”

Ahead of this weekend’s kick-off to the 2024 AFL season, Seven has doubled down on its lobbying for changes to proposed sports anti-siphoning laws.

Seven’s national sport sales director, Rob Maclean, told Mediaweek that with more media players – such as Stan, Kayo and Optus – all vying for rights to various sports, it’s important that anti-siphoning protections apply, however people watch sport.

“It’s challenging, particularly when there’s broadcast deals with multiple players in the mix. AFL and cricket are both three-way arrangements, Fox, Seven and the sports governing body itself, so it’s not straightforward.

“Then, there’s the additional layer of consideration which is the anti-siphoning laws.

“Accessibility is such a key component when it comes to the growth of sports into the future. How do you grow sport? You grow sport by making it more accessible to more people. That’s why live and free is such a key component, irrespective of how people are watching whether that’s on linear or 7plus.”

Recently, TV bosses, including Seven’s James Warburton, appeared before a Senate committee to discuss proposed prominence and anti-siphoning laws. Currently, the bill protects free sport watched on broadcast TV – TV with an aerial – but not via BVOD services such a 7Plus. Seven wants to change that.

Launching a campaign starring Seven talent to push that message this week, Warburton said: “As the Bill is drafted now, there is nothing 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.”

Maclean said that the plan for this year’s AFL schedule is to maximise audience and fan engagement to deliver the best possible platform for brands – all while ensuring consumption of sport remains free for everyone.

“We are a broadcaster and we lean into our storytelling role, we need to be everything to everyone because that appeals to a mass audience,” Maclean said. 

“As it relates to this year, our focus is on creating more touch points for footy fans and producing engaging content across both 7plus and 7NEWS.com.au.

“This content includes an expanded AFL Match Centre at 7NEWS.com.au and a slew of new content hitting 7plus such as a 7AFL Fast Channel, AFL Armchair Experts, Talking Footy and Roaming Brian.”

Touted as ‘the biggest sports broadcast rights deal in Australian history’, Seven’s renewed AFL broadcast rights kick in next year. And from this year’s Brownlow Medal Awards and Grand Final, Australians will have live and free digital access to the AFL for the first time.

Maclean says Seven’s new digital AFL rights will be a game changer. 

“From a brand point of view, it’s going to create more ways for them to connect with different fan types, optimise reached outcomes and crucially enhance effectiveness with the insights that digital will bring.”

This year Seven is welcoming Toyota, Maccas, AAMI, Harvey Norman and Bunnings as broadcast partners. 

In September 2023, the AFL and Toyota Australia renewed their partnership for another four years, taking the length of the partnership to 24 years. Part of the partnership is Toyota’s focus on community clubs through its Toyota Good for Footy program, which encompasses initiatives such as the Good for Footy Raffle. 

Telstra, Coles, Sportsbet, Industry Super Funds, Hostplus, CBUS, Chemist Warehouse, NAB, Asahi Beverages, Uber, OMO Ultimate, Cash Converters, Bundaberg Brewed Drinks, Colgate-Palmolive and Virgin Australia will also join Seven as broadcast sponsors. 

Kayo is relying heavily on data to convert sports fans, retain subscribers, and maximise its sports rights properties as Hubbl opens the sports streamer to new customers. 

The platform, which reported 1.2 million subscribers for Q2 – a 4% increase year-on-year, is using data profiling to target and convert sports fans to different sports in a bid to capture their attention and keep their subscriptions.

“Our growth profile has always been: grow in winter, hold in summer,” said Cate Hefele, executive director of Kayo Sports.

“We are looking at how we leverage the sports that we have and tap into each of the audiences that are fans of those sports. And if we have someone who is an AFL fan, it’s about making sure that they know there’s NRL or F1 on Kayo that they can watch as well. The data works hard on that and we are continuing to focus on that for retention.”

Hefele told Mediaweek that rights remain crucial elements in its strategy, particularly the AFL, which kicked off with its first game last night, with the Sydney Swans versus the Melbourne Demons. Kayo continues to share rights for the AFL with the Seven Network and last year signed the biggest sports broadcast rights deal in Australian history, a $4.5bn deal.

“It’s not just buy the rights, set and forget,” said Hefele. We are constantly asking ourselves, OK, we have these rights. How do we maximise them?”

Following an 11% increase in streaming last year, Kayo has rolled out a revamped AFL content line-up with new talent, timeslots and programs, with three-time Premiership player Jack Riewoldt joining its marquee AFL 360 program, which has moved to an earlier 6.30 pm time slot on Mondays, Tuesday and Wednesday. On The Couch, which is hosted by Garry Lyon and features Jonathan Brown and Nathan Buckley, has moved to 7.30pm on Mondays, and Midweek Tackle, a new panel show with a rotating group of football journalists, airs at 7.30pm on Tuesdays and Wednesdays.

She points to the Kayo Mini, which is a short-form highlights package, as a great way to drive greater engagement across fans.  “A great example was over the cricket season, Glenn Maxwell had an incredible season, with a double century and the fastest-ever century. We rebranded our Kayo Mini and created a ‘Kayo Maxy’ with content of Maxwell getting the double century and the fastest-ever century. It was the best-performing mini we’ve ever had.”

Kayo launched the Get On Board marketing campaign this year

Hefele also points to the platform’s work to maximise cultural sporting moments, such as the Super Bowl. “This year was our biggest ever Super Bowl, biggest in sign-ups and viewerships. We had a big viewing party in the office to watch Taylor … and the game,” she jokes.

“We continue to ask ourselves how we can look at what our fans want and keep delivering that for them, and that’s where the data works really hard.”

Hefele said the arrival of Hubbl presented huge opportunities for the platform to attract different types of customers.  

“Kayo will always live as a standalone product, and we’ll be able to drive that, but living on Hubbl as well gives us access to a new customer who might be looking to bundle a bunch of different offerings and that hasn’t been open to us in the past.

“We’re working hand in hand with Hubble in a way that we haven’t been able to before with Foxtel. With Foxtel, it was more about how we keep the two brands separate. With Hubbl, there will be a shift in our tone and our campaign, which will be about having Kayo and Hubbl,” she said. 

Representatives from ARIA, PPCA, Mushroom Group, Sony Music Entertainment, Warner Music Group, and Universal Music Group will meet in Canberra to back the Fair Pay for Radio Play bill at hearings held on Thursday.

The Copyright Legislation Amendment (Fair Pay for Radio Play) Bill 2023 was introduced by Senator David Pocock, and amends the Copyright Act to remove caps on the amount of money payable to rights holders when music is played on commercial and ABC radio.

Currently, recording royalties are capped at 1% of commercial radio revenue and 0.005c per head of population for ABC Radio – these caps do not exist for any other type of copyright in Australia. 

Currently, commercial radio earns around $1 billion in advertising revenue and pays $4.4 million in copyright fees for the use of sound recordings. 

The industry bodies argue that the caps prevent the recording industry from negotiating a fair market rate for sound recording royalties paid by radio, and that radio has built a successful business model around the use of recordings, yet it pays very little for their use.

These arguments are denied by the MEAA and CRA, who have both made submissions to say that a proposed change to the Copyright Act could harm local radio in regional and remote communities, making their operation unsustainable. They also predict that the proposed changes will lead to a further reduction of local media content.

See Also: MEAA and CRA: Proposed Bill would “harm” radio in regional and remote communities

ARIA and PPCA CEO, Annabelle Herd, said: “Today we make our case for a level playing field, for the very simple and reasonable right to have a conversation with radio about the fair market value of a sound recording. This is not a bid to hurt radio, but a simple request to be able to negotiate without legislated limits on what artists’ sound recordings are worth. 

“Seventy per cent of Australians say ‘without music I wouldn’t listen to the radio’. Music and radio should be natural partners, but at the moment it is not an equal partnership. Without sound recordings, artists, and record labels, the music radio business model does not work. It’s been a long time since radio needed help establishing itself and the burden of subsidising a profitable and successful industry should not fall on artists and labels.

“Legislated price caps are very rare in any sector or product in the economy and must be justified by strong public policy objectives. That is clearly not the case here. There is no public policy reason to justify this heavy-handed regulatory intervention which limits what one party can charge for its product. In FY2023, 83.5% of PPCA royalties were paid to individuals or entities in Australia. Without a cap these recipients – and Australian music – stand to see a real benefit. This is why over 500 Australian artists have signed a letter in support of this Bill.”

Leah Purcell – the Goa-Gunggari-Wakka Wakka Murri actor at the heart of the new BINGE Original series, High Country – believes that First Nations and multicultural stories need more funding to achieve the international success experienced by the likes of Wentworth and Deadloch.

“We’ve made a start in the last five years. I’ve been a part of shows now from different cultural backgrounds, so I see the change, I’ve been part of it,” Purcell told Mediaweek at the world premiere of High Country in Melbourne last night.

“Put the money into our stories, so we can compete. I think our stories are absolutely international, it’s whether we’ve got the money to put the time and effort into production that’s the standard out there in the rest of the world. That’s where we need to put our money.”

The eight-part thriller sees Purcell play Andie, a police sergeant tasked with solving the mystery of five missing people. In the process, she also discovers her deep connection to Country. It’s a local story, filmed in rural Victoria, but its cast and executives believes it will have global appeal.

Wentworth – in which Purcell also starred – gained traction internationally. So did a more recent series that bears resemblance to High Country: Deadloch. Both take place in regional Australian areas from which the shows take their titles. Both are crime mysteries. And both feature blonde, curly-haired police officers in same sex relationships. Purcell is happy to benefit from Deadloch’s momentum.

“Any support from other shows that have gone before that are turning the light on Australian stories is helpful for all of us. And we need more of it … So if the girls [Deadloch creators Kate McCartney and Kate McLennan, and lead actors Kate Box and Madeleine Sami] have done that prior, mate, I’ll hang on their coat tails.”

BINGE, Curio Productions, and Rage Media are equally hopeful High Country will resonate with audiences around the world, teasing yet-to-be-announced deals in markets like the US and UK.

“We’ve been really proud to see some of our more recent shows travel around the world,” said BINGE’s Executive Director of Commissioning and Content, Alison Hurbert-Burns.

“We can’t announce the details yet, but Sony and the Curio guys have done an amazing job of getting us out there to the world and we’ve already got some really cool sales away. So this will be in some big territories really soon as well.”

The twisty and turny series plays an important role on BINGE’s slate this year, Hurburt-Burns added: “Australian stories, both scripted and unscripted, they punctuate our slate, they are designed to stand out and complement all the great things that we buy in from around the world.”

The project saw Purcell reunite with Wentworth writers John Ridley and Marcia Gardner, who wrote what Purcell described as “an intriguing, personal whodunit” just for her. “We really sat down with the aim of creating something for Leah, that was aim number one,” Ridley said.

The production crew took over the small Victorian town of Jamieson, which has a population of under 400 people, for over a month. “I think we took every spare bed in the area,” quipped Hurburt-Burns. It’s a special place for writer Ridley; half of his family lives there. “I’ve been going up there for 35 years. I’ve always wanted to make something up there.”

Most of the town was involved in the production in some way, his mother and sisters were extras, his sister delivered Purcell fresh firewood every second day. Jamieson is hosting its own premiere at the town hall, which served as the set’s production office (the post office became the police station).

The town is a character. And so is the landscape: Big flocks of yellow and white cockatoos, tangled bush, red autumn trees, snow-capped mountains.

“It is very much about her connection to this Country … so things like soundscape and all that plays a big part,” Ridley added.

Hurburt-Burns noted that High Country was the last project Foxtel co-founder and TV legend Brian Walsh worked on before his death last year. It was also Curio’s first project after the production agency rebranded from Playmaker. “High Country was the first project we brought onto our slate as a new company,” High Country executive producer and Curio creative director Rachel Gardner confirmed.

Purcell said she feels honoured to lead the new show – “you dream about being a number one on the call sheet” – but it is complex when that lead role is a police officer and she is an Aboriginal woman.

“My family always have a dig. I’ve been playing coppers since I first came into this industry.

“We didn’t shy away from that tension within Aboriginal communities and police relations … but I hope that I can bring another side, I guess, and hope that people can see both sides. You gotta understand what they have to do. And yes, there is race relations within communities of the blue and the black. But we do a lot of police shows, so if you don’t take the jobs, you don’t have a job. But you hope to make a difference, hope to make a change.”

The first two episodes of High Country will premiere on BINGE on 19 March, with the remaining six episodes to drop weekly after that.

Thinkerbell has produced its first for Australian Avocados, since Mediaweek revealed the independent creative agency won the Hort Innovation account.

Hort Innovation is a grower-owned, non-profit organisation that oversees research and development for Australia’s horticulture industry, valued at over $16 billion. In addition to Australian Avocados, its portfolio includes Australian Apples, Australian Cherries, Australian Mangoes, and Australian Mushrooms.

See also: Thinkerbell picks up Hort Innovation’s integrated account

Thinkerbell’s campaign, ‘Av you seen this man?’, leveraged the media attention around an enigmatic figure dubbed the “Avo King” prompting a search for the man who gained notoriety for his unconventional avocado-eating habits. 

The Avo King made his debut on the public stage during a Carlton football match, where he was spotted indulging in an avocado with a spoon, drawing astonishment from onlookers accustomed to more traditional stadium fare.

One commentator remarked, “times have changed here in Carlton, that used to be a bowl of pasta, once upon a time.”

With the nation joining the quest to unravel the mystery, the Avo King was identified as Joe Rumoro of Victoria.

Following the identity reveal, Rumoro made an appearance on the Today Show where he shared his preference for his avocado eating habits, citing their health benefits, easiness to eat and versatility. During the broadcast, Sarah Abo confessed she previously believed herself to be the sole enthusiast of eating avocado with a spoon.

As a result of the campaign’s impact, Rumoro garnered further attention from local media platforms like 3AW and the Herald Sun.

Mediaweek uncovered Thinkerbell had won the full-service Hort Innovation account pitch, spanning creative, media, public relations, and social, following a competitive in February.

TBWA previously held the creative, PR, and social accounts. Atomic 212 was the brand’s media agency, appointed in early 2020. 

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

Credits
Client: Australian Avocados (Hort Innovation)
Creative & Earned: Thinkerbell

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Top Image: Joe Rumoro (aka Avo King)

Compiled by Tess Connery

Flying high with Craig McRae on The Howie Games

Taking Collingwood to AFL grand final victory last yer, coach Craig McRae sat down with Mark Howard to speak all about perseverance and a positive mindset on The Howie Games.

Notoriously private, McRae opens up about all aspects of both life and footy, from his early life in South Australia to his playing career as a member of Brisbane Lions three-peat, through to winning the flag for Collingwood Football Club.

“He’s the coach of the most famous football club in the country,” Howard told Podcast Week’s Tess Connery.

“We see so much about the players, but often you don’t hear about the coach. It’s always great to have a successful person in charge of a successful programme on board – and exactly as I expected, there was so much I didn’t know about him. I didn’t know a lot about his playing career, how close he was to losing his job numerous times and how that shaped him as a coach, and how emotionally connected he is with his players. I came away thinking he would be a fantastic person to coach your kids, and that’s about as high praise as I can offer.”

Delving into McRae’s life, Howard said there were some surprising details that the pair discussed – even more so than the fact that McRae “barracked for Carlton as a young lad!”

“I knew he’d won three premierships in a row with the Brisbane Lions, I didn’t realise that he’d been told his entire career that he was too small to play football, and how he managed to get to that position,” Howard said.

“We think of Voss, Akermanis, Lappin, Lynch, Power, and Black – these guys that are superstars of that side. I just presumed Craig McRae was part of that.

“He certainly shocked me when he said that after both the first premiership and the second premiership, Leigh [Matthews] came to him and said, there’s probably not a spot for you on the list. The way he backed himself in to stay on that list and gave up other opportunities to try and continue to play for the team, and the fact he was able to, that really blew me away.”

No matter who he is speaking with, Howard said that the key to getting the most out of guests is to make them feel comfortable and confident in telling their story.

“It’s all about making the person feel comfortable, really listening to their answers and just being a good listener – to provide them with a situation where they feel comfortable. There are certain ways you can make people feel comfortable. By listening and responding to their answers, rather than having a set format, once someone feels comfortable in your presence, then they’re often a lot more comfortable to share their story.”

With the 2024 AFL season kicking off this week, Howard laughs that “You have what your heart tells you, and you have what your head tells you” when it comes to predictions for the year ahead.

“I don’t generally have a lot of AFL people on the podcast, but I find myself following those people. We get Craig McRae on the podcast, and I immediately want Collingwood to do well. Nat Fyfe has been on the podcast and has been through a rough time with injury, so immediately I want Fremantle to do really well. I go for Hawthorn, but you become connected through the podcast.

“My head tells me nothing revolutionary, the usual suspects will be up there from last year. I think the one team that could really have an unbelievable year, and if I had to pick a premier right now, I’d go the GWS Giants. Now that could be proven to be horribly wrong, but if I had to pick someone now that’s who I’d back.”

[Listen to The Howie Games with Craig McRae here]

Kidspot creates judgement-free parenting zone with Mum Club podcast

News Corp’s parenting site Kidspot.com.au has launched a new podcast called Mum Club.

Hosted by Kidspot editor and mum-of-three Emily Blatchford and Kidspot lifestyle editor and mum-of-two Leah Goulis, the podcast is a judgement-free parenting zone featuring regular segments including ask an expert, health check and budget buys, as well as life hacks and what’s trending.

Released Wednesdays and Fridays, Mum Club will be supported by editorial across Kidspot.com.au and amplified through newsletters, videos, social posts and other podcasts in NewsCast’s slate.

Blatchford said millions of Australian parents rely on Kidspot for advice and support and this podcast was a natural next step. “One of the things I love most about my job is being involved in such a strong online community of mums, so I am beyond excited to take that to the next level with the launch of Mum Club.”

[Listen to Mum Club here]

Canva dives into the podcast world, releasing its first series

Canva has launched its first podcast: Design Surfaces. Covering all areas of design, from brand campaigns to UX flows, the podcast digs deep into the intricate parts of designers’ brains to unearth valuable insights, unique perspectives, and what makes them tick.

Hosted by Canva’s head of design, Andrew Green, it explores the work happening across the different design surface areas at Canva. Each episode features a conversation with a designer, delving into their journeys, what inspires them, and the stories behind their craft.

In the podcast’s first episode, Canva co-founder and chief product officer Cameron Adams sits down with Andrew to dive into the evolving landscape of design, the critical role of taste, and the transformative impact of AI on creativity.

[Listen to Design Surfaces here]

Don’t Shoot The Messenger celebrates two major milestones 

SEN podcast Don’t Shoot the Messenger, hosted by journalists and best friends Caroline Wilson and Corrie Perkin, reached two achievements last week – airing its 300th episode on February 29 and surpassing 3 million total downloads since its premiere in 2017.

Known for its dialogue on topics ranging from news, sport, cooking, and reading, Don’t Shoot The Messenger has garnered an audience who tune in for the hosts’ points of view on life, typically exchanged over a casual glass of wine.

Acknowledging the 300th, Corrie Perkin said, “Caro and I have been sharing conversations for 45 years. It is a joy to share these via the podcast – and a joy to be her friend. We still have so much to discuss!”

Caro added, “Corrie has been an absolute joy to work with for the past seven years, and I hope we do it for many, many more years”.

[Listen to Don’t Shoot the Messenger here]

Nine gears up for the NRL with new seasons of footy podcasts

Fresh off the back of the double-header in Las Vegas’ Allegiant Stadium, Sydney’s 2GB and Brisbane’s 4BC have announced full details of their 2024 season coverage.

9Podcasts’ original NRL podcasts, The Billy Slater Podcast (released each Monday) and Six Tackles with Gus (released each Wednesday) will return in 2024, with both programs available on 9Now or wherever you get your podcasts.

The Stories of Origin (new season launching in April) podcast will also return for a third season in the lead-up to this year’s State of Origin series, reliving some of the greatest rivalries in Origin history.

[Listen to NRL podcast on 9Podcasts here]

Explore the afterlife with SBS’ Grave Matters podcast

Explore some of the biggest taboos and questions we all face around death, grief and mourning, guided by hosts Nadine J. Cohen and Anthony Levin. Over 10 episodes, the duo chat to a forensic scientist, Muslim death doula, First Nations grief counsellor, trauma therapist, climate researcher, tech innovator and more.

Long-time friends, Cohen is a writer and refugee advocate, and Levin is a human rights lawyer and writer.

“Grave Matters looks at death and dying from all angles. We meet incredible people doing work they’re very passionate about, and some have real character. It’s not a morbid or depressing podcast. It’s a fascinating look into a world we could all know more about,” said Cohen.

[Listen to Grave Matters here]

Entries for the 2024 MFA Awards have opened to member media agencies, clients and media owners, as the organisation celebrates 25 years of change-making and effective media thinking.

Submissions will showcase and reflect work that lives up to the industry’s We Are The Changers purpose and demonstrate best-practice media thinking and long-term business growth for clients.

The MFA Awards is one of the industry’s most credible awards programs thanks to the rigorous judging process, which includes independent auditing, blind voting and proof of media contribution, with diverse judges from the whole spectrum of our industry: marketers, media agencies, media owners and tech companies.

The Seven Network also returns as the Grand Prix Sponsor, making its 15th year of sponsoring the category.

With the Seven Network back on board as the Grand Prix Sponsor, marking the 15th consecutive year of sponsoring the category, this year’s MFA Awards will be celebrated with a black-tie gala dinner at White Bay Cruise Terminal in Sydney on 19 September.

Complementing the awards, the MFA’s industry-wide conference MFA EX will be held in Melbourne on 5 September and in Sydney on 19 September, leading into the awards. MFA EX aims to inspire and educate the media industry by highlighting global best-practice work, media innovation and cutting edge thinking.

Sophie Price and Chris Colter, MFA Awards co-chairs, said the 25th anniversary of the awards is an important reminder of the value of the awards program, adding that it was the only awards in the industry with a “focus on the craft of media and media effectiveness in the work we do for clients.”
 
“With categories ranging from Business Impact to Long-term Results, as well as media innovation and an ESG Award, our purpose it to recognise and champion thinking that achieves positive change and long-lasting business results for clients,” they added.
 
The MFA Awards are open for entry until 3 May. Meanwhile, the NGEN Award, designed to develop the skills and recognise the talent of young media executives with less than five years’ experience, will issue a separate call for entries in June.
 
Nominations for judges are also being accepted from industry professionals with a minimum of 10 years of experience.
 
Sponsors so far confirmed for the 2024 MFA Awards and MFA EX are:
 
• Grand Prix: Seven
• Platinum Sponsors: Meta, OMA, SBS
• Gold Sponsors: Ad Standards, OzTAM, Foxtel Media

BBC Studios has appointed independent marketing consultancy Mindbox to support the growth of its branded services and content across Asia.

The Sydney-based independent marketing consultancy will be tasked with analysing and leveraging key behavioural insights to drive customer acquisition, diversified viewership and retention across its Pay TV and OTT services starting next month.

Nic Halley, founder and CEO of Mindbox, said it was an exciting time to be working with a brand like BBC Studios Asia, which is both a global leader and a challenger brand across different segments.

“Our people-as-a-service model is a great fit given the very specific technology, data management and activation expertise required to operate in a highly effective and efficient manner across very diverse markets.”

“There’s an exciting opportunity for further growth across content, distribution and licensing services and we’re thrilled to be able to work in tandem with the team to help them open new channels and better understand consumers preferences and behaviours.

“We’re really looking forward to growing our partnership with the BBC Studios Asia team,” Halley added.

Last month, BBC Studios held its 48th annual Showcase event, highlighting a range of international sales for drama series, Beyond Paradise, Blue Lights, Boiling Point and The Famous Five.

Nick Percy, president of global media & streaming at BBC Studios, said: “From exploring the intricacies of running a new kitchen amid personal struggles in Boiling Point, to the gripping drama of rookie police officers in Northern Ireland in Blue Lights, these sales are a testament to the appeal of thought-provoking storytelling that transcends borders and brings people together.

“Beyond Paradise, Blue Lights, Boiling Point, and The Famous Five have all resonated with international audiences, capturing sales in multiple countries. It’s great to see the global reach of these compelling drama series.”

See also: BBC Studios Showcase highlights global sales of scripted drama

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Top image: Jacqueline Tang, Ellen Rafferty and Nic Halley

PubMatic has partnered with Internews, an international non-profit that supports independent media in over 100 countries.

The partnership makes advertising across responsible content accessible on a global scale, allowing brands to embrace news-encompassing marketing strategies that produce social impact and economic returns and enable them to reach and gain affinity with more customers.

It is underpinned by Internews’ Ads for News Initiative, which employs in-country media experts to vet local news websites, ensuring the quality of supply. The non-profit work is conducted globally, using extensive evaluation criteria, including the Global Alliance for Responsible Media (GARM) brand safety and suitability standards.

Through PubMatic, the quality news sites and domains vetted by Ads for News can be accessed directly through a local market inclusion list, private marketplaces (PMPs) or a package of inventory against a biddable price.

The collaboration leverages technology from both companies and will include integration with the upcoming Internews-led Media Viability Accelerator initiative. This will enable PubMatic to access insights and pull curated lists of trusted media into its own systems according to specific content thematics, such as gender, environment, and health news and information.

This partnership aims to provide confidence in buying responsible news from over 14,000 vetted, quality online news publishers, in 54 international markets, making it easier for advertisers to buy media against content quality criteria and credible news sources to support quality journalism.

Eric Bozinny, senior director, marketplace quality at PubMatic, the tech company is committed to both responsible operations and supporting responsible media.

“Quality journalism is vital to the health and wellbeing of our society – more so today than ever. Top tier brands have made a strong commitment towards supporting credible news sources via their advertising activities, but they must be able to do so with the utmost confidence that their budgets are going toward quality, brand-safe outlets and coverage.”

Chris Hajecki, director ads for news at Internews, said brands and their agency partners are evolving from their old ways of working and investing more responsibly. One such evolution is the inclusion of quality journalism in media planning, particularly as more brand safety assurances are now on offer, he said.

“Supporting quality journalism is a pillar of responsible ad investing and results in more sustainable and transparent supply chains, higher economic returns for advertisers, and positive impacts on society,” Hajecki added.

Fan favourite Valeria Sizova was sent packing on Tuesday night’s episode of Australian Survivor after contestant Raymond Chaney put an advantage into action which saw him cast the only valid vote. 

After finding an advantage in a bucket of popcorn he bought at a Survivor auction, Raymond was left with the power play that meant if he had unanimous votes placed on him, he would be able to cast the sole valid vote and decide who was leaving.

After faking mental health issues and begging all of his fellow contestants to place their votes on him to leave, he used his advantage on Valeria, who ended up being eliminated.

In a post-elimination interview with Chattr, Valeria said that the twist wasn’t fair, and believes that Raymond’s strategy was morally wrong. Referring to her former tribe mate Scott Butler, who self-eliminated straight after Merge when he felt his mental health declining, Valeria commented that it could be considered as a mockery of what he went through.

“You do this to people and you make them believe in something that is not right.

“This happened because I felt genuinely sorry for the guy. Is it fair? No, but is Survivor a fair game? No.” 

Raymond’s blindsiding play also has Valeria questioning if she will be able to vote for him at the final Tribal, should he make it to the end, and says she thinks her tribe mates will feel a similar way.

“People felt a little bit of discomfort in terms of being led to feel like they have to do it for the sake of saving someone else’s mental health and struggles,” she said.

“It’s definitely splitting the group into, and if it would be me sitting on the bench and making that decision for someone, I would definitely think about that morality point of view, whether it was the right way of leading us into it.”

While contestant TJ Zimba was eliminated from Australian Idol on Tuesday, March 5 alongside Tyler Hammill, the 24-year-old has a lot more cards left up his sleeve. 

Speaking to Chattr the morning after his elimination, TJ revealed he was orchestrating a completely different game plan during his time on the show.

“That’s where I feel like I played this real smart, right?,” he said.

“Because I was producing my own tracks for the whole show, I felt like I built myself into all of the tracks.

“So when I do release my own music you’re not like ‘oh, this sounds nothing like when he was on Idol because no matter what song I got, I made it sound like I wrote it.

“I felt like that was my upper hand. I was never thinking about leaving Idol. I was always thinking about, as an artist, how can I use this platform to launch myself?”

During the episode, Judges Marcia Hines and Amy Shark commended TJ on his own personal style and his ability to create a masterpiece without relying on vocals; however, Kyle Sandilands, even though acknowledging he was “great”, said he wasn’t “superstar great”.

“I’ll tell you one thing you need to know. If your dream doesn’t offend anybody, you’re not dreaming big enough,” Zimba said. 

“I feel like I tied everything I learned and turned it into positive energy.

“Any negative energy that comes my way, I can turn that into positive matter and use that as fuel. You’re telling me I can’t? I want to show you why I can.”

After being eliminated from Australian Idol, Zimba admitted that there was more to his “end goal” than just the music.

“My end goal is to build hospitals and build clothing brands and clothe people who can’t afford clothes and help people who can’t afford health care,” he said. “I feel like music is a gateway for me to be able to help people and make people feel something. Make those without voices yell and make those who have been told to be silent to speak up.

“So many times people are told they can’t and I’m standing here today to show people that you can.”

Adtech platform Big Ads has integrated Oracle Contextual Intelligence into its Buddy Decarbonise platform to deliver contextual targeting solutions for digital advertising campaigns, leveraging advanced technology for content analysis and precise targeting.

This comes as Australian advertisers are looking for innovative approaches to personalised and targeted advertising privacy concerns escalate with the impending cookie deprecation later this year.
 
Buddy Decarbonise is an intuitive cloud-based platform that allows you to reduce the carbon footprint of your campaign, whilst producing engaging creative, giving you access to premium media, and optimisation methods to drive performance.

Oracle Contextual Intelligence works without the use of cookies, it also addresses personal privacy concerns and is compilant with legislation.

The platform provides advertisers with enhanced granularity, transparency, and control over targeting tactics. The Predicts targeting solutions utilise AI technology to broaden the reach of content.

The Buddy integration with Oracle extends to include flagship ad technology, including Moat/Oracle brand safety, ensuring advertisements are shielded from appearing on sites or content that could jeopardise the advertiser’s brand.

David Green, CEO of Big Ads, said Oracle’s brand safety solutions align ad placements with brand values in digital environments.

Oracle’s commitment to eradicating threats, combating fraud, and ensuring high-quality ad inventory is pivotal for maintaining a safe and suitable context.

“Advertisers are increasingly concerned about protecting their brands in digital advertising environments,” he said.

“Oracle’s brand safety solutions, such as Oracle Contextual Intelligence, play a crucial role in ensuring ad placements align with brand values and remain in safe and suitable contexts”, Green added.

Big Ads has been providing digital ad-tech solutions for since 2020 following the release of Buddy, an ad-tech platform that produces media creative tags to run across premium publisher sites.

The ad-tech platform aims to make digital advertising easier, faster, and more effective for agencies and brands.

TV Report March 6, 2024:

Nine TV Report

Married at First Sight

Nine’s evening began with the couples returning from an explosive retreat on Married at First Sight. 

As couples got ready for the next Dinner Party, Jade and Ridge celebrated a milestone when Ridge was introduced to Jade’s daughter for the first time. 

Timothy was still upset for Tristan after Jack made a whale reference around the pool at the retreat while he and Tristan were in proximity – he wants Jack to answer for it. Meanwhile, Tristan explains that he’s struggling thinking he’s the “fat dude in the group”.

Jack chatted with Tori explaining it’s been hard for him to get past the whale comment but that it was just a joke. He thinks people are getting annoyed by them and that they’re just jealous of their relationship. 

Sara and Tim have returned closer than ever after the retreat. But unbeknownst to Tim, Eden is holding onto information that Sara met up with her ex-boyfriend behind Tim’s back and plans to tell him at the Dinner Party. 

Eden tells Sara that Jayden saw a message on her phone from her and is giving her the opportunity to tell Tim what she did, otherwise, they will tell him. Sara tells Tim she ran into her ex, before Eden tells her to be honest. Sara admits that she met up with her ex but that it wasn’t for a date. Tim physically recoils from her and moves away before asking for details. 

Sara re-joins the table and admits she lied to Tim but denies anything happening with her ex. The group and Tim don’t buy her story and Tim tells Sara and the group that she’s a liar. 

Sara admits that while her ex had a partner, she did sleep with him, but that she didn’t cheat on Tim. Jayden explains that cheating is not just physical before Sara begins yelling that she’s never ever cheated on a partner. Sara walks off from the table alone, demanding that she wants to leave. Tim tells Eden he’s defeated and doesn’t know how he will trust Sara again. 

A Current Affair

Over on A Current Affair, the program investigated how contractors remain out-of-pocket while a builder, who is $3 million in debt returns to construction sites under a new business name.

Seven TV Report

The Front Bar

The Front Bar featuring Sam Pang, Mick Molloy and Andy Maher was next on Seven as they shared a laugh about the world AFL and caught up with stars of yesteryear and today, ahead of the AFL 2024 season beginning this weekend.

Home & Away

Earlier in the night was Home & Away as Tane’s troubles escalated, Valerie tried to hide her suffering and Dana’s apology was unwelcome. 

10 TV Report

The Project

The Project on 10 reported on the Green’s proposing a radical housing proposal, met with an Aussie fashion designer taking on Kylie Jenner and chatted with comedian Celeste Barber. 

Ambulance Australia

On 10’s Ambulance Australia, the program followed NSW paramedics on the longest night of the year, the end of daylight saving. They deal with a diabetic coma, a rescue from a burning car, an anaphylactic child and an explosion in Chinatown. 

ABC

7:30

On 7:30, the program highlighted a woman’s disappearance that went unnoticed for 13 years, revealing she’d been dead all along. Plus, Australia’s economy grew by a sluggish 0.2 per cent from October to December and 1.5 per cent over the whole year, according to new data. 

Hard Quiz

Hard Quiz saw Tom Gleeson quiz contestants on women in Greek Mythology, pop queen Shania Twain, the 7-up documentary series and the world of spices. 

SBS

Australia’s Sleep Revolution

On Australia’s Sleep Revolution, insomniac Dr Michael Mosley travels to Australia to enlist in a world-first, two-month sleep treatment program at the Flinders University Sleep Institute.

See also: TV Report March 5, 2024: Tensions escalate as drama erupts in Byron Bay on MAFS