Below is a breakdown of what to expect from SBS over the next 12 months
At its 2024 Upfront, SBS has revealed its content line-up, as well as a series of business announcements for the year ahead.
SBS has revealed its 2024 content line-up across drama, documentaries, food, sport, entertainment, news, and current affairs.
“At SBS our goal is to be a contemporary national broadcaster, one which not only reflects contemporary Australia, but which has digital, diversity, and sustainability at its heart,” said James Taylor, managing director of SBS.
“2023 has seen us take great leaps in our digital transformation across television and audio, be it with the success of Alone Australia or the transformation of SBS Radio to SBS Audio. Next year will be no different as we continue to adapt to the consumer expectation of personalisation and improved advertising experience.”
SBS director of television Kathryn Fink said: “At SBS, we tell stories no one else will, in a way that no one else can. We‘re a purpose-led organisation, and home to some of the biggest shows in the country. We’re reaching more Australians than ever across linear and SBS On Demand. Our success is underpinned by our truly distinctive offering. From smash hits like Alone Australia, Rogue Heroes and The Handmaid’s Tale, to our compelling slate of original content. In 2024, demand edge-of-your-seat entertainment you won’t see anywhere else on SBS.”
This year, Alone Australia became the most successful original show in SBS history. It averaged more than one million viewers each episode and outperformed some of the biggest TV franchises in Australia. Alone Australia Season 2 is coming exclusively to SBS in 2024. Another ten Australians will confront the merciless forces of nature, hunger, and isolation, but this time, in the South Island of New Zealand (Te Waipounamu, Aotearoa). Mountainous terrain, snow, freezing winds, and this time, the 10 can take in bows and arrows in their quest to survive for $250k. This time around, Alone Australia S1 winner Gina Chick will present an S2 companion podcast with SBS Audio.
The network also revealed details of two major SBS Original drama series set to premiere in 2024. From the producers of The Twelve, and Colin from Accounts comes Four Years – a romance about a married couple who are separated for four years and try to find their way back to each other. In the vein of Normal People, the series explores love, yearning and miscommunication and will shoot in India and Australia.
Swift Street is a fast, dynamic, and cinematic series from creator and director Tig Terera. Hollywood star Cliff Curtis (Avatar: The Way of Water) and Tanzyn Crawford (Tiny Beautiful Things) lead the cast as a dysfunctional father-daughter duo who become partners in crime.
In 2024, SBS will see the return of some of its biggest hits including the final season of The Handmaid’s Tale, and the second season of Rogue Heroes, which dominated the digital rankings with Alone Australia when it premiered in April. The network has also acquired major international series Paris Has Fallen, based on the Has Fallen action franchise, mystery thriller Sherlock & Daughter and historical thriller The Doll Factory, an adaptation of the bestselling novel.
In 2024, Melissa Leong, Costa Georgiadis and Samuel Johnson explore the challenges facing the Australian public health system in a new three-part series The Hospital: In the Deep End. Shaun Micallef will travel abroad with some of Australia’s leading comedians to explore their cultural roots in Shaun Micallef’s Origin Odyssey. Ray Martin plans his own funeral, uncovering how Australia is choosing to say goodbye to our dead in Ray Martin: The Last Goodbye.
The network welcomes the return of some of its biggest long-running series with another season of Who Do You Think You Are, revealing Pat Rafter, Wayne Blair and Miranda Otto are among the next line-up of iconic Australians.
Great Australian Walks has been renewed for a second season with Susie Youssef and Alone Australia winner Gina Chick joining Julia Zemiro as fellow explorers. Insomniac Dr Michael Mosley is back to help Australia’s worst sleepers using ground-breaking science in Australia’s Sleep Revolution with Dr. Michael Mosley and single documentaries will be celebrated with another season of the acclaimed single documentary strand, Australia Uncovered.
In 2024, SBS and SBS Food will see the return of Stanley Tucci’s critically acclaimed Emmy Award-winning food travel series, Stanley Tucci: Searching for Italy. SBS’s largest commissioned food series The Cook Up with Adam Liaw and Guillaume Brahimi’s bite-sized gastronomical accompaniment to the Tour de France, Plat du Tour also return. Brahimi will also transport audiences to The Atlantic Coast of France to discover history, culture and unforgettable food in his brand-new series Guillaume’s French Atlantic.
Executive Chef Dan Hong hits the streets of Hong Kong to uncover the city’s best-kept food secrets in The Streets Hong Kong and Silvia Colloca blends the cherished tastes of the past with the vibrant stories of Italians in Australia today in Silvia’s Tastes Like Home.
SBS will continue to broadcast the Tour de France Femmes after securing the exclusive broadcast rights until 2030. Other major cycling Tour de France and events include the Giro d’Italia, the Vuelta a Espana, the Paris-Roubaix Femmes, the Women’s and Men’s Australian National Road Series as well as the Women’s and Men’s European Cycling Spring Classics.
From 5 December 2023, NITV will be launching in high definition, as it prepares to bring a line-up of new content to audiences over the year ahead. It includes NITV and Netflix premiering new animated children’s series, Eddie’s Lil’ Homies, inspired by the book series of the same name by former AFL star Eddie Betts.
Feature documentary Journey Home: David Gulpilil will follow the ceremonial path of Yolngu man and renowned actor, David Gulpilil, on his journey back to Country. Logie Award-winning children’s series Little J and Big Cuz returns for a fourth season, Going Places with Ernie Dingo returns for a sixth season, and series two of all-access observational documentary series, Our Law, will expand nationwide, following First Nations police officers as they tackle the justice system from within.
NITV will also continue to curate a collection of locally and globally acquired programs, including in 2024 premiering scripted anthology series, The Green Veil, exploring oppression in America.
NITV on free-to-air channel 34 will be available as an HD channel from 5 December, and SBS will launch channel 36 as NITV available in standard definition.
SBS is set to showcase the steps it is taking to carve a clear leadership position within the Australian media on sustainability and an ambitious pathway towards Net Zero on all its emissions at its 2024 Upfronts event at Sydney Town Hall on Tuesday.
The broadcaster is set to announce it has achieved Net Zero on its direct emissions (covering Scope 1 and 2), and it is the first Australian TV network to confirm it is using Sustainable Screens Australia’s albert Toolkit to measure and reduce production emissions.
James Taylor, SBS managing director, said: “According to Nielsen’s Sustainability Rankings, in 2022 SBS ranked number one among media and telco brands when it came to social and environmental good.”
“This week, we are going even further and using our Upfronts to talk to the market about how SBS is the first Australian broadcaster to have achieved Net Zero on its direct emissions for Scopes 1 and 2.”
In a major step towards decarbonising its direct operations, SBS switched to 100% renewable energy in FY23. This was achieved through the Federal Government’s Large Scale Renewable Energy Target scheme with the purchase of Large-Scale Generation Certificates, which stimulate the renewable energy market. The network is also transitioning its fleet to hybrid and electric vehicles. These changes mean SBS has achieved Net Zero for its direct operations.
SBS has also analysed its supply chain, working with content, technology, and marketing partners to map their decarbonisation plans. Scenario modelling has enabled SBS to project an ambitious target to reach Net Zero by 2045 across all three scopes including its supply chain. SBS will also now begin the process of applying for endorsement of this Net Zero target by the Science Based Targets Initiative, recognised as the global standard for Net Zero commitments backed by science.
Taylor said: “Now that we have tackled our direct emissions, our next focus is our supply chain. I am very pleased that we are setting an ambitious date of 2045 for Net Zero on all emissions, including Scope 3. This is a space where SBS can and should lead the industry.”
“We’ll do this in collaboration with our production partners and I am pleased that SBS has already begun carbon measurement on key TV franchises such as Insight, The Cook Up with Adam Liaw, and Going Places with Ernie Dingo.”
A founding member of Sustainable Screens Australia, SBS has consistently led the sector on sustainability in Australia and was among the first broadcasters (along with the ABC) to begin measuring carbon emissions for its operations and supply chain in 2020-2021. SBS is now in the third year of measuring emissions from this baseline.
Abigail Thomas, SBS head of sustainability, said: “As a responsible purpose-driven public broadcaster, sustainability is at the heart of our strategy. SBS is taking an ambitious but credible approach to decarbonising its operations and supply chain, helping to lead the Australian broadcasting industry to tackle this key global challenge.”
Adam Sadler, SBS director of media sales, said: “Our media agency partners have been talking to us about sustainability for a number of years and indeed Nielsen’s consumer metrics show Australians believe and expect SBS to be a leader in this area.
“Today we are showing the industry and public that perception matches the reality and that SBS is leading the way for public and commercial broadcasters to set an ambitious Net Zero target.”
SBS has used its 2024 Upfronts to highlight its success in digital transformation across both its television and audio businesses, while announcing a number of key initiatives aimed at continuing to improve the audience experience.
Executives from its television and audio businesses spoke at the event, held at Sydney Town Hall, highlighting how 2023 has been a transformational year for SBS with the hybrid national broadcaster executing a new “Audience First” platform agnostic audience strategy.
SBS used the event to signpost milestones such as Alone Australia being named the “breakout hit of the year” after it became SBS’s most successful ever original commission with an average of 1.44 million viewers per episode – half of those coming from SBS On Demand.
SBS also confirmed the success of its rebrand from SBS Radio to SBS Audio with the broadcaster earlier this month going live with a new linear radio schedule which sees programs across 60+ languages move to a more platform agnostic model, where much of its audio content is then published online at 5pm each day. In the past 12 months, SBS was also named Podcaster of the Year at the Australian Podcast Awards.
“SBS is the contemporary national broadcaster, one which authentically reflects Australia and which has digital, belonging and sustainability at its heart,” said James Taylor, SBS managing director.
“2023 has seen us take great leaps in our digital transformation across television and audio, be it with the success of Alone Australia or the transformation of SBS Radio to SBS Audio. Next year will be no different as we continue to adapt to the consumer expectation of personalisation and world-class advertising experience.”
SBS On DemandAmong SBS’s announcements were a range of enhancements to its streaming platform, SBS On Demand.
Central to the offering, alongside the addition of new ad products and FAST channels – beginning with rolling programming from Vietnamese-Australian celebrity chef, Luke Nguyen – is an improved recommendation engine and the launch of SBS Rewind, which will show users a summary of their viewing in the year prior and recommend new programming based on these preferences.
SBS also announced its move towards responsible advertising with confirmation that the broadcaster will introduce a feature which allows SBS On Demand users to opt-out of receiving advertising in the categories of wagering, alcoholic beverages and quick service restaurants (QSR) from 2024.
SBS will launch the beta opt out functionality in Q1 2024, with users able to register their interest via the SBS Help Centre from today.
The move has been endorsed by Endeavour Drinks and Tabcorp.
“SBS already takes significant steps to ensure we are meeting the responsible advertising expectations audiences have of us,” said Taylor. “We have age restrictions on SBS On Demand and we remove certain ad categories from particular programming, especially shows that deal with difficult or sensitive topics, such as Addicted Australia.
“For certain categories, SBS will utilise the benefits that digital provides and put greater control into the audiences’ hands. Audiences have always had complete control over what they watch on SBS On Demand. Now they will benefit further by having greater control over the ads they see as well. The advertiser benefits by not paying to reach people who have no interest in their product. This is responsible advertising at its best.”
Jo Rose, chief marketing officer Endeavour Drinks Group: “As Australia’s leading liquor retailer and operator of hotels, Endeavour Group is committed to maintaining a culture of industry leadership in the responsible service, ranging, sale and marketing of alcohol.”
“We are pleased to be working alongside SBS on the introduction of the audience first opt-out feature for SBS On Demand viewers, to ensure greater control for viewers.”
Vanessa Sanford, general manager marketing and media Tabcorp: “Tabcorp is an industry leader for responsible advertising standards in the wagering industry, so we’re proud to be partnering with SBS in this audience-first approach. This is an innovative initiative that ensures advertising reaches a receptive audience.”
2024 will also see the launch of SBS Measure which, in partnership with Experian, verifies the path to purchase, delivering an even more compelling offering to brands.
“Now, with our partners at Experian and your data, we can measure the success of driving your target audience from SBS on Demand through to purchase. This proves the value of your investment with SBS. We’re excited for this one and believe it will make SBS a partner of choice for many brands,” said SBS media’s national technology manager, Lee Callagher.
In 2024, SBS will introduce audio descriptions for Australians who are blind or have low vision. The feature will be available on key platforms on which SBS On Demand is offered, with users able to select different audio tracks.
SBS Chill was a previously-audio only music station that viewers will now be able to experience with visualisation through the video streaming platform.
After a year that saw NITV launch a 12-market broadcast signal and celebrate a decade of being available free-to-air, Australia’s dedicated Indigenous broadcaster will be launching as a high-definition channel on 5 December 2023.
SBS’s director of Indigenous content, and proud Birri and Guugu Yimidhirr woman, Tanya Denning-Orman, announced the upcoming HD launch at the SBS 2024 Upfront in Sydney, where highlights of NITV’s distinctive First Nations storytelling for the year ahead were also revealed.
“I’m excited that we will be presenting to Australia a beautiful, bold and unapologetically Blak content slate over the year ahead – including our fast-paced community-loving sport – in high definition,” said Denning-Orman.
“It’s just the latest development for NITV as the channel continues to go from strength to strength, delivering more First Nations stories to more Australians, and continuously improving how we serve our growing audience, as well as our partners.
“It comes following what has been a major year – we marked a decade of being available to all Australians as a free-to-air channel and part of the SBS network; we introduced our 12-market broadcast signal; and we continued to elevate First Nations voices for a growing audience of Australians wanting to connect and understand more about 65,000 years of culture, history and knowledge in this country.”
Peter Noble, a proud Bandjin and Girramay man and NITV general manager, added that NITV has a line-up of content still to come.
“We continue to increase our investment in the Indigenous production sector and partnerships across the industry, and are proud to not only be delivering more of our sport, documentaries, drama, entertainment, and award-winning kids, news and current affairs programming to audiences in 2024, we’re also excited to have returning series with Our Law and Little J and Big Cuz. NITV is continuing to cement its place in the Australian media landscape and, following the success of First Inventors this year with Channel 10, we’re excited to partner with Netflix to bring AFL great Eddie Betts’ popular books to life through our new animated children’s series Eddie’s Lil’ Homies.”
The move to HD comes as NITV and SBS Media’s Beyond 3% initiative continues to drive investment in the channel and increase awareness of the benefits of greater investment in First Nations media.
Speaking at the SBS 2024 Upfront, Anna Dancey, a proud Yuwaalaraay woman and NITV national sales manager, shared details of the evolution of Beyond 3% to support brands either getting started, continuing, or growing their investment in First Nations media with new partnership tiers: Kinship, Ally, Supporter and Leader.
“2023 has been our biggest year ever,” said Dancey, “with the likes of Coles, Airbnb, Amazon and Palmolive all increasing their investment with NITV, with bespoke and unique creative work that champions First Nations perspectives and Blak excellence. This year we also saw NRMA go further and become the first Australian brand to commit 3% of its broadcast media spend to First Nations media over the next year.
“We look forward to seeing others follow their lead and our new partnership framework introduces tiers to give brands a clear pathway to go Beyond 3%. This initiative has demanded more of our industry and is helping shift the needle on advertising spend that makes a real difference. Combined with NITV’s growing and powerful content offering, Beyond 3% will continue to support the strength of the First Nations media sector and the vital role it plays in this country and help our commercial partners to see and understand the impact of their investment.”
According to the latest Census data, Aboriginal and Torres Strait Islander peoples represent 3.8 per cent of the Australian population, but it’s estimated that less than 0.3 per cent of advertising in Australia invested in media is dedicated to reaching these audiences.
Beyond 3% was launched in early 2021 seeking to engage media agencies and marketers to begin to address this gap by learning more about the role and value of First Nations media in Australia today, doing more to contribute to inclusion in the sector, and re-thinking media spend by committing to increasing investment in Indigenous media platforms to at least a 3 per cent target.
SBS Audio will continue its digital evolution in 2024 with the linguistically diverse audio network outlining a number of major announcements made at the SBS 2024 Upfront.
The network has confirmed that SBS PopDesi will rebrand to transform the channel into a more holistic offering catering to the more than 1.5 million Australians who speak a South Asian language.
“This new destination channel will be home to all of our South Asian language programs, including Bangla, Hindi, Nepali, Punjabi, Sinhala, and Urdu and will have a whole new digital presence and podcast aimed at speaking to new generations of audiences,” said David Hua, SBS director of audio and language content.
“In one place you will be able to get SBS language programs, news, current affairs, and also our wonderful entertainment and music offerings. We’re excited to consolidate our offerings for our South Asian audiences in this destination channel.”
SBS also confirmed that SBS Chill – an audio music station famous for its laid-back listening experience with chillout, downtempo, and ambient tunes from around the world – would become a video FAST channel on SBS On Demand.
“This move reflects changing consumer habits and the centrality of the smart TV in today’s homes. Already one third of SBS Chill’s consumption comes from televisions and the move to SBS On Demand will only grow it further,” said Hua.
“The SBS Chill experience on SBS On Demand includes beautiful, calming scenery that matches the mood of the music and the time of day, bringing some serenity to your living rooms. It will be Australia’s smoothest, calmest “FAST” channel.”
In early 2023 SBS Radio went live with a rebrand to SBS Audio that also saw it introduce one unified digital experience for the first time. Improvements included better showcasing of podcasts, individual station pages, and music search features.
Building on these digital changes, SBS confirmed that it had gone live with dynamic ad insertion on digital (livestreams) across all of the SBS Audio product suite.
“This move has major audience benefits with listeners now able to hear the ads most suited to them,” said Adam Sadler, SBS director of media sales. “There is more than $159 billion spent each year by multilingual Australians and SBS Audio is a unique gateway to the more than 5.6 million Australians who speak a language other than English.
“Through measurable digital audio and award winning podcasts you get a clear sense of the audience and the powerful incremental reach that can be achieved by having SBS Audio as part of a marketer’s media schedule.”
2024 will see SBS’s award-winning podcasting reach new audiences with the announcement that the multicultural and First Nations broadcaster will launch a new Insight podcast, with a twist on the television format.
This has been a momentous year for SBS podcasts with the broadcaster being named the 2022 Australian Podcast Publisher of the Year at the Australian Podcast Awards and launching a range of new and distinctive podcasts.
SBS Audio announced the Insight podcast at the SBS 2024 Upfront in Sydney and also used the event to unveil an agenda for more podcasts to meet the growing demand for diverse audio content in Australia. The broadcaster also confirmed it will now offer pre, mid, and post-roll advertising and sponsorship on its slate of audio content.
SBS director of audio and language content, David Hua, said the network was proud of its distinctive audio offering: “Our podcast network is unlike anything else in the Australian landscape, and we believe there will be strong audiences for the Insight podcast along with the rest of our slate.”
“This year we also were proud to launch podcasts like the bilingual series The Ugly Ducklings of Italian Cuisine, Bad English with Ivan Aristeguieta, Should You Really Eat That? by food writer Lee Tran Lam, and Signal award-winning series The Idiom.
“We’re incredibly proud of the work we have done expanding in the podcast space, particularly our inclusion of pitches received from the public for three years running which has allowed us to create rich and nuanced stories of culture and language that no other network can offer.”
SBS’s podcast offering reaches both English-speaking and multilingual audiences, including hard-to-reach listeners in more than 60 languages, with more than 5.6 million Australians using a language other than English at home.
In 2024, SBS Audio listeners can look forward to the new Insight podcast with Kumi Taguchi – diving deeper into the honest and bold conversations loved by audiences.
Call outs for podcast pitches are continuing to attract new talent and ideas to reach Australians from all backgrounds. Upcoming series Deadly Doctors interviews health professionals finding cures to deadly diseases; Everything We Need explores rural communities dealing with climate change; and Australia Fair looks at the dark history of the White Australia Policy.
A new season of Seen with Yumi Stynes is in production, as well as a new Auslan vodcast series with Deaf Australia, and Say Kimchi, a light exploration of the experiences of young Korean Australians.
SBS Audio generates 5.9 million monthly audio plays and is nominated for four Australian Podcast Awards this November including the 2023 Podcast Publisher of the Year. Last year, SBS Audio podcasts won seven Australian Podcast Awards, and two inaugural Signal Awards, and were nominated for two Radio Today Podcast Awards and recognised as a Webby Award honoree.
SBS will remain the home of the FIFA World Cup with the national broadcaster confirming it has secured the exclusive rights to the FIFA World Cup 2026.
The deal will see SBS, SBS Viceland and SBS On Demand be the home of the world’s biggest sporting event which will be held in June and July of 2026 and feature 104 matches after FIFA confirmed it will expand the competition to have 48 different national teams compete in the FIFA World Cup 26.
“Football is in the DNA of SBS,” said James Taylor, managing director of SBS. “SBS has been the home of football on Australian television for almost 40 years and we could not be more thrilled to announce that we will broadcast the 2026 tournament from North America, which will have more teams, more matches and draw more eyeballs than ever before.”
The announcement comes following SBS’s successful broadcast of the FIFA World Cup 2022 from Qatar which captured the attention of most Australians.
Driven in part by a stellar run by Australia’s Socceroos in 2022 the SBS broadcast of the FIFA World CupTM saw the broadcaster’s formula of providing full matches along with “mini-match” recaps in 25-minute, 10-minute and 3-minute clips on SBS On Demand drive more than 80 million hours of consumption with around one-third of that coming from digital.
“We are so proud to be the spiritual home of football and this deal cements a remarkable 40 years of partnership between FIFA and SBS”, said Ken Shipp, SBS director of sport. “In 2026 we will once again bring the best of the World Game to life through our exclusive coverage. The tournament in North America will be the biggest FIFA World CupTM ever and SBS will broadcast all 104 matches live and free to all Australians.”
By Alisha Buaya
Media buyers revealed what impressed them and if the broadcaster delivered on the “demand different” theme
SBS welcomed media buyers, brands and clients to the Sydney Town Hall on Tuesday to showcase its offerings, innovations and initiatives for 2024.
The hybrid-funded public service broadcaster revealed its content programming, the digital transformation across television and audio businesses, retaining the exclusive rights to the FIFA World Cup 2026 and SBS’ pathway to sustainability.
Mediaweek caught up with media buyers from holding companies and independent agencies to get their thoughts on what impressed them, what the announcements mean for advertising spend and if it delivered on the “demand different” theme.
See also: SBS Upfront 2024: Every Announcement
SBS invited the Australian media buying community to “demand different” from them in 2024 at their upfronts. In a punchy presentation, SBS focused on the things that make their offering so appealing to Australian advertisers, including their audience-first approach to content, UX and ad experience.
While factually not a niche offering, reaching 13.9M unique Australians each month, SBS’ content reaches into the niche interests of Australians. As the makeup of Australia’s population becomes more and more diverse, SBS is well positioned to continue attracting audiences across those interests. Planners not thinking about these high-value audience niches, often incremental to their standard buys, are missing a trick.
From a content perspective, we see new and recurring programming across their key content pillars – food, travel, sport and drama. Highlights include the return of Alone for season two, the final season of The Handmaid’s Tale, and retention of the FIFA World Cup for 2026 and the Tour de France and Tour de France Femmes until 2030.
After the result in our most recent referendum, I hope to see advertisers putting their money where their mouths are in supporting the NITV platform, which continues to see YoY audience growth.
Across UX, improvements to content recommendations on the on-demand platform were spruiked along with a continued commitment to low ad-loads across video content.
And in a very interesting move, SBS will give more control to their viewers in relation to ad-experience, allowing users of their platforms to opt out of wagering, alcohol and QSR advertising, a likely welcomed innovation for users and advertisers-alike. As an advertiser, I’m not about to opt-out but I expect families with young kids at home will be jumping at the chance to avoid all three categories.
SBS demanded agencies & clients to be different in 2024, and the assertiveness continued throughout the event with some bold announcements.
The Sydney Town Hall provided a grandiose setting for SBS to announce a major achievement, that they are the first Australian Broadcaster to reach NetZero on direct emissions (Scope 1 & 2).
“It is fantastic to see SBS accomplish something that other Australian broadcasters are still talking about, and that they now lead the sustainability benchmark in Australia by bringing forward their transition to 100% renewables. Setting public targets for emissions reduction was one of 5 industry recommendations in the release of IPG’s Media Responsibility Index, and for SBS to meet this ahead of target is cause for celebration across the industry.”
SBS remaining home to the FIFA Mens World Cup in 2026 is a great win given the current trajectory of soccer in Australia and was the icing on the cake to the rest of a very full content library commissioned for 2024.
NITV launching in HD featured strongly in the presentation with a plethora of new & engaging content, which should see the Beyond 3% Initiative maintain the momentum of 2023.
Alone Australia was a defining moment in the Total TV landscape in 2023, and it will be interesting to see if Gina Chick’s podcast accompanying the return of Alone Australia 2 from the harsher destination of the South Island of NZ can attract an even bigger audience in 2024.
Edgy thriller ‘The Doll Factory’ and gritty crime drama ‘Swift Street’ were the standouts in the new programming slate, along with new international drama Paris Has Fallen.
There are plenty of returning favourites – the final series of The Handmaids Tale & Rogue Heroes, The Cook Up with Adam Liaw, Who Do You Think You are and Great Australian Walks with Julia Zemiro should see SBS at least maintain their linear share next year.
SBS’s On Demand platform continues its unique offering through a new & market-leading opt-out ability on advertising categories. Endorsed by clients in the wagering, alcoholic beverages and QSR categories, this is a win for viewers who will now have control of not only the content they view on the platform, but also their personal ad experience.
Additional curation enhancements and destinations included an audio description feature for people who are blind or have low vision, and promotes accessibility to all Australians.
All in all, SBS have Demanded Different in 2024 and with a final nod to their focus on sustainability, the biodegradable menu’s were embedded with Australian seeds to replant – right on point SBS!
The SBS Upfront is an annual gathering that celebrates fantastic food, limitless powerful, entertaining and captivating content, all amongst media friends. It’s almost overwhelming, but somehow, we leave with an exhaustive list of programmes to add to the ‘watch’ list.
Excited by the launch of two initiatives; ‘SBS Ad Control’ which will provide SBS On-Demand subscribers the ability to opt-out of ad messages from Wagering, QSR & alcohol categories, and SBS Solus Impact, which will allow advertisers exclusivity target individuals with greater SOV.
Unlike the other FTA networks, SBS proudly promote BVOD first, linear second. And rightly so! Their On Demand product is a leader in Australian VOD UX & has bragging rights to 25% commercial share (vs its 10% linear share).
2024 will include new series of hit programmes including A Handmaid’s Tale (final season), Fargo, and Alone Australia. Plus, there is a host of new talent-laden programming to hit the screens with Swift Street, Sherlock’s Daughter and The Doll Factory to name a few.
The sporting content continues to focus upon the many cycling competitions, incl. Tour de France, plus many of the lesser telecast sports, such as Volleyball, Badminton. BUT, the big sporting announcement, which was mentioned excitedly and numerous times, revolved around SBS securing of the exclusive broadcast rights of the 2026 FIFA World Cup.
But, in true SBS form, that was not all.
We had updates across NITV, which continues to drive awareness of our industry’s under-investment across our only national network that speaks for and to Indigenous & First Nations people. NITV’s ‘Stories from the Great Southern Land’ promised more content, HD (from December 2023) and even more indigenous language’s represented.
Programming is to include Eddie’s little Hero’s, Little J & Big Cuz, Going Places with Ernie Dingo, Our Law, Her Name is Nanny Nellie, The Green Veil (a story of a stolen generation) as well as the highly anticipated: Journey Home: David Gulpilil.
SBS Food, now records up to 4 million viewers per month, will continue to do what it does best PLUS SBS Audio will continue to be a true National, multi-platform & multi-lingual hub, and will launch Insight Podcast across the new year.
SBS are leading the way in diversity, inclusion, sustainability, and has challenged the industry to “demand different” and they will deliver.
SBS, Australia’s iconic multicultural broadcaster, has concluded the final broadcast upfronts for 2023, delivering a thrilling showcase of new content and celebrating diversity and inclusion. This year’s upfronts were held at the historic Centennial Hall, featuring a fresh and vibrant setting that perfectly complemented the channel’s commitment to innovation and originality.
The hall was transformed with long tables, adorned with striking tablescapes that reflected the bright and colourful spirit of SBS’s content. It set the stage for an event that was not only visually captivating but also symbolically representative of the broadcaster’s vision.
One of the highlights of the 2023 upfronts was the unveiling of SBS’s new programming lineup. From news to entertainment, the channel is gearing up to provide a rich and varied array of content that will cater to the diverse tastes and interests of its audience, with a monumental announcement. SBS proudly revealed that it had secured the exclusive rights to broadcast the entire FIFA World Cup 2026, solidifying its position as the “home of football” in Australia.
But it wasn’t just the world of sports that took centre stage at the upfronts; sustainability emerged as a burning topic, signalling a shift in the industry’s values and priorities. SBS proudly announced that it had become the first broadcaster to achieve net-zero direct emissions. This remarkable milestone demonstrated SBS’s leadership in reducing its environmental impact, and it set the stage for an even more ambitious goal.
SBS’s vision extends far beyond its own operations, as the channel set an audacious Scope 3 goal for 2045. Furthermore, the broadcaster revealed its dedication to carbon measurement on various shows, including popular programs like Insight, The Cook Up with Adam Liaw, and Going Places with Ernie Dingo.
The evolution of Beyond 3%, NITV’s celebrated initiative, continues to make strides, with the launch of a high-definition channel that promises to redefine the viewing experience. But that’s not all; SBS has also unveiled innovative brand partnerships aimed at driving further investment into First Nations Media, offering brands an exciting new way to engage with the channel, this is something that resonates with Initiative and our clients with NRMA leading the way in the market for the first brand to commit 3% of media spend to First Nations media.
The remarkable success in broadcast, video, and audio for SBS in 2023 was centre stage. The new Audience First platform was revealed, shining a spotlight on their incredibly successful original commission, Alone Australia. The show made waves by attracting an impressive average audience of 1.44 million viewers for its first episode, a truly monumental achievement. What’s even more noteworthy is that half of this audience came from SBS on Demand, underlining the broadcaster’s prowess in the digital space.
SBS is also set to revolutionise the viewing experience with advancements in SBS On-Demand. In 2024, users will have the option to opt-out of specific advertising categories, including wagering, alcoholic beverages, and quick-service restaurants. This move highlights SBS’s commitment to delivering tailored and user-friendly content, respecting viewers’ preferences, and choices.
SBS Rewind, another exciting development, is poised to enhance the streaming experience for users. It will offer a summary of viewing habits and personalised recommendations based on individual preferences. This user-centric approach ensures that SBS remains at the forefront of innovation in the digital space.
Measurement of screens is indeed an important aspect in the media industry, especially with the various devices and platforms. Accurate measurement allows organisations to understand audience behaviour across different screens and make informed decisions regarding content distribution and advertising strategies, the one thing that I felt was missing was indeed the measurement piece.
As the curtains draw on the final upfronts of 2023, it’s clear that SBS is not just about creating content; it’s about making a difference. The channel’s steadfast commitment to diversity and inclusion ensures that the stories of all Australians are heard and celebrated.
SBS’s message is clear: it’s time to “Demand Different,” and with the promise of exciting and thought-provoking content in 2023, it’s evident that SBS is leading the way in delivering diversity, inclusion, and innovation to the Australian media landscape.
SBS quietly impressed this afternoon’s audience with a diversity and substance of announcement that reflects its wide-ranging community and audience. The theme was ‘Demand Different’ and the consistency of this challenger position was palpable throughout the event.
SBS lived up to its brand when it came to its upcoming content slate – it was diverse in topic and style and inclusive in talent and language.
From the return of the FIFA World Cup broadcast rights and the backbone of the Tour de France, to everyone’s surprise favourite Alone Australia returning for S2 and the final season of Handmaid’s Tale, to a patchwork quilt of local drama, food and documentaries that cater to all tastes and moods. It is hard to sum it all up due to its diversity in nature. Especially when you include the call for NITV to deliver a “new era of truth telling’ post referendum.
It was a bold, yet smart, move to wrangle back control from the algorithms and introduce Australia’s first personalised ad experience. Even better was the buy-in from launch partners Tabcorp and Endeavour Group. This adds credibility to this initiative. For all the talk about attention, this move signals positive action that will benefit the humans at the other end of the screen.
One of my personal highlights was when Anna Dancey from NITV provided a clever angle on how to get more brands closer to committing to ‘Beyond 3%’- accessing Reconciliation Action Plan budgets to essentially increase brand’s media budgets. Backing this up with 7.7% prime time metro audience growth means it should be an even easier conversation with clients.
Perhaps I am biased as a Strategist but my other highlight was Cultural Connect offering ‘SBS Sprints’. These are guided working sessions to help brands and agencies understand how to better connect with their diverse audiences including First Nations and the 5.6 million Aussies who speak a language other than English. This point was made clear throughout and reminded those listening that this is not an ‘or’ choice to include SBS but an ‘and’ incremental extension of a brand’s presence.
The other big newsworthy moment was a clear commitment to measuring and reducing carbon emissions. SBS announced it is the first Australian broadcaster to have achieved Net Zero on its direct emissions for Scopes 1 and 2. The most ambitious of any broadcaster. As they pointed out, SBS is already demonstrating this leadership position as measured by Nielsen so this proclamation feels believable… time will tell. This announcement also felt necessary if they wanted to maintain their leadership position based on the range of sustainability claims made recently.
SBS declared one of the most refreshing announcements of the entire 2024 Upfront Season – from Q1 2024, SBS On-Demand audiences will have the option to opt out of ads pertaining to wagering, alcoholic beverages or quick service restaurants. This will ultimately benefit both the advertiser and the consumer; it will minimise wastage by not serving ads to people who do not want to see them and is morally a very strong decision by SBS. We are interested to see how many people opt out of these categories and how this will impact advertising on the platform for our clients, such as Lion.
They also unveiled a robust lineup of programming, encompassing a range of original dramas, documentaries, and fresh global offerings that are poised to attract a wide spectrum of viewers. Among the upcoming releases are compelling titles such as Swift Street, Four Years, The Jewish Nazi, and Ray Martin: The Last Goodbye. These new additions should play a pivotal role in the network’s success in 2024, reaffirming their commitment to delivering influential narratives.
In light of recent events, it was heartwarming to hear of NITV’s success in 2023 – the increase of advertising dollars spent with NITV has meant the channel will now be able to launch in high definition in 2024. Incredibly, First Nations content consumed on-demand has increased by +143% YOY, and their ever-growing line-up of programming including Our Law, Little J and Big Cuz and Eddie’s Lil Homies will make advertising opportunities targeted towards First Nations audiences even more accessible.
As SBS pointed out, according to the latest Census data, First Nations peoples represent 3.8% of the Australian population, but it’s estimated that less than 0.3% of advertising in Australia invested in media is dedicated to reaching these audiences. The Beyond 3% Initiative is incredibly important, and I hope in next year’s upfronts SBS can announce that as an industry, we are getting closer to achieving this goal.
SBS continues to prove that their true point of differentiation is their dedication to the underrepresented. Their CALD offering has continued to diversify, with SBS PopDesi set to rebrand to a more holistic channel catered towards the more than 1.5million Aussies who speak a South Asian language.
They have also introduced an additional five languages to their schedule, now reaching an impressive 60+ languages nationally across their full network. SBS continue to play a pivotal role in advancing audience-driven inclusivity on behalf of our clients, most notably for the Australian Government, where their content and initiatives are invaluable in helping us to reach all communities.
As expected of SBS, sustainability and contemporary Australian programs and audiences were recognised as key differentiators to competitors. SBS originals, new seasons and Australia first premier programs were presented along with their pièce de resistance, exclusive broadcasting rights to the 2026 FIFA World Cup, live and free.
In highlighting their 10% Linear TV Share and 25% Commercial BVOD share, Jane Palfreyman identified a priority to grow ‘active watchers’ across their on-demand platform. To achieve this, SBS bet on their new content pipeline (4,000 new hours of premium content for 2024) and updated user experience to hold a more captive audience and one that wants to return more regularly.
Content is considered a proven strategy given the growth in audiences experienced across shows such as Alone Australia (delivering 1.4million viewers per episode, half of which streamed via SBS On Demand). Whilst the evolved user experience came to life through updated ad controls. In partnership with Tabcorp and Endeavour Group, users can select their ad category exclusions, which will allow brands to appear in front of an ‘opted-in’ user, one that is arguably more attentive.
Alongside ad control, SBS mentioned two more pillars to build an effective and non-invasive ad ecosystem; solus impact (one sponsored ad per show) and SBS Measure in partnership with Experian. By providing the path to purchase through SBS Measure, proving the value of investment will be possible, especially for brands with mid to lower funnels. This addresses measurement challenges that exist industry wide.
For advertisers, emphasis was put on the availability of their diverse and inclusive audience. Andrew Mudgway spoke proudly of their multicultural audience offering (through multi-lingual logins and targeting), claiming ‘next to no wastage when trying to connect with contemporary Australia’, further clarifying their unique selling point compared to competitors.
Overall, another upfront that SBS should be proud of, showcasing their ambitions and programs for 2024 and beyond, especially in stepping up to the plate to address industry challenges on sustainability, measurement, and experience.
SBS had the unenviable task of going last in what has been a very news-worthy upfronts season. We’ve had some that have been massive, some owning the total tv package, and others completely disrupting the status quo. With this, SBS acknowledged they not only had to be different, they had to Demand Different.
This was perfectly demonstrated by putting sustainability front and centre, with their announcement of being the first broadcaster to reach net zero on direct emissions. In addition, they set further targets for scope 3 emissions and introduced carbon measurement of content production. As a Group M agency, we were thrilled to see SBS also putting sustainability at the core of their business, which very much aligns with our Alpha strategy and our Responsible Investment Framework.
Responsible advertising also shone through with the announcement of SBS Demand Control, which allows viewers to opt-out of Alcohol, Wagering, or QSR ads. It’s a brave move for the broadcaster given the potential short-term revenue hit. I would however expect to see others soon follow, given the sea change of attitudes in the industry and wider society. As SBS were quick to point out, this could in fact deliver greater results for these advertisers by eliminating wastage on consumers unlikely to spend.
Digital Video First
Although not as explicit as Foxtel was last Thursday, SBS are clearly positioning themselves as a digital video first broadcaster with their key priority being to grow usage of SBS On Demand. With SBS accounting for 25% of Commercial BVOD minutes, they over-index in this space and are well positioned to lead from the front. Interestingly, there was no mention of the video alliance with Foxtel to create an alternative measurement currency to OzTam, which has captured the industry’s attention, but no doubt we’ll hear more about this in the coming months.
With AI having been a major point in virtually every other broadcaster’s upfront, it was refreshing to see SBS resist this and talk about the importance of curation within their recommendation engine. While AI has great potential in the industry, getting the balance between being led by algorithms, versus being a cultural destination based on relevance, was the message.
Diverse Content Slate
The least surprising (but much welcomed) news of the day was the announcement of Alone Australia Season 2, given the massive success of season 1 which provided a case study of how overnight ratings can no longer be the sole indicator of the success of a show.
The Men’s FIFA World Cup rights being locked in for 2026 is also massive news, and is about as safe a bet for ratings success as you can get, particularly given the favourable time zone differences with North America.
Broadcasters often talk about having access to global content when what they actually mean is content from the US and UK. SBS, however, mean global in the truest sense of the word, allowing them to attract a diverse range of audiences. The news of 7% growth in prime-time metro audiences for NITV is a rare good news story for linear TV which should be celebrated, especially in an era of misinformation around First Nations issues.
While SBS clearly walk the walk around diversity of content and audience, I would have liked them to be more explicit in sharing some data around the uniqueness of their audience, as there is a huge commercial opportunity for both SBS and advertisers to reach these audiences.
SBS did a great job of staying true to their core values while being progressive and setting themselves up for success in the new communications economy.
By Darren Woolley
What type of art and science is relevant to marketing? And are they being applied in the appropriate way?
Yes, that age old question, made even more confusing in the age of technology, data and now AI. On one side you have the science brigade led by Professor Byron Sharp from the Ehrenberg-Bass Institute for Marketing Science. On the other side, you have every person who went into marketing because they didn’t like maths, only to discover that statistics 101 was a mandatory in their course.
During one of the sessions at SXSW Sydney last month, the question was raised again in a discussion on marketing effectiveness, with the inevitable answer that, of course, it is both. But how is it both? And more importantly, what type of science is it? And for that matter, what kind of art?
As a trained scientist, who has worked in marketing and advertising for many years, I find it is worth going beyond the usual answer of it being both, and trying to define what parts are magic and what parts are science, and the types of art and science they are.
Because let’s be honest, there can be an inherent benefit in mixing and confusing the two. After all, if something is science it can appear more credible to some, while art will appear more magical to others.
I remember a marketer telling me that their agency was complaining that if I were to benchmark the agency’s productivity the magic would disappear. But when asked, the agency could not provide either a description of what that magic was or why exactly it would disappear as a by-product of assessing agency resources against the work volume being produced.
But likewise, I recall a qualitative researcher presenting results to one decimal point from a handful of groups judging creative concepts, only to be confused when asked what the statistical significance of the result was. It appeared that a sample of thirty consumers was taken as being representative of the total population of grocery buyers.
There is an argument that beyond the creativity and imagination of developing consumer insights and creative ideas and concepts, everything else is science. After all, science comes in a variety of flavours. There are the natural sciences, considered to be the physical sciences (such as chemistry and physics), and the life sciences (being the study of organisms from viruses to mighty redwood trees).
Then there are the social sciences (the study of how people interact with one another and includes anthropology, economics, political science, sociology, and social psychology). Pretty much the complete tool bag of science for anyone working in marketing, as this is the commercial study of human beings.
There is much interest today in many of the products of social science endeavours, including behavioural economics and consumer psychology, better to understand and predict human buying behaviour.
There is even a field of science looking at understanding complexity – and what could be more complex than consumers and markets? Complexity theory originated in the physical and life sciences, and was applied to social science in an effort to understand dynamic human processes which were difficult to explain with prevailing equilibrium models.
Then there is mathematics. Or math. It can be argued that this is either a formal science or not a science at all. But in the marketing world of data it is the language of data insights. No wonder most robust commercial courses at renowned tertiary institutions insist that statistics is a mandatory study unit.
But what is the point of defining and distinguishing the types of science and art? Well, social science is neither rocket science, astrophysics nor pure chemistry. It is a social science that provides insights and observations into human behaviours. And mathematics, including statistics, is the qualitative and quantitative language that supports it.
So, next time someone is saying what they do is an art or science, instead of nodding in agreement, perhaps you should be asking if it is indeed science, then what type of science? And does it conform to the definition and vagaries of the discipline? And is it being applied in an appropriate manner?
Just accepting that something is an art or science is at the least confusing and at its worst, misleading.
Darren Woolley is Global CEO of TrinityP3, Australia’s largest and most influential independent marketing / pitch consultancy and is well known to the advertising industry. Founded more than 20 years ago TrinityP3 has a significant presence in Australia where it leads the pitch process for many of the country’s leading advertising accounts as well as having offices in London, New York and Zurich.
Dennis Flad is responsible for Trinity P3 EMEA and founder of t’charta, a management consultancy boutique for strategic product management, pricing and go-to-market based in Zurich, Switzerland. Dennis worked his entire life in marketing and advertising, which allows him to infuse his whimsical drawings with a realistic understanding of management practices and behaviours.
By Alisha Buaya and Darren Woolley
This month’s winner is the partnership between Initiative, MBCS, and You Know Media for the launch of The Boys Gen V
Mediaweek’s Ad Placement of the Month examines submissions of creative and clever placements over the past few weeks.
As judge of the monthly series, Darren Woolley, global CEO of TrinityP3 and Mediaweek’s marketing/agency editor-at-large, is looking to see how media ideas enhance creative.
This month featured a great selection of contenders in some really interesting and innovative channels, from gaming to a popular app and good old-fashioned newspapers. All with strong consumer insights and as examples of where content and channel go hand in hand to make that magic happen.
After careful consideration and deliberation of all entries, this month’s Mediaweek Ad Placement of the Month winner is:
Gaming platforms are often overlooked as media opportunities, either because they are not considered or because of the false belief it is the wrong audience or that it is simply too hard.
So this month’s Ad Placement of the Month is for the launch of Prime Video’s newest series from The Boys universe, Gen V, aimed at a totally new audience to the traditionally masculine franchise… young adult women.
To do so Initiative and partners tapped into the beloved and nostalgic online role-playing gaming, The Sims. The Sims 4 has has over 70 million players worldwide across all platforms as of April 2023 according to EA.
In a competition tournament titled ‘Supe My Sim’, eight key gaming talent ran a series of streams playing as characters inspired by the soon-tobe-supes from the Gen V series. Each streamer got a taste of college life at Godolkin University (where Gen V is set) by completing challenges related to the themes of the show.
A terrific use of a gaming platform to not just reach an audience but engage them in the content to change perceptions of the new series of The Boys Gen V – but this time for women.
Client: Prime Video
Media Agency: Rufus, powered by Initiative
Media Partner: You Know Media
Creative Agency: Media brands Content Studio (MBCS)
Following were regarded as commended:
Whoever said newspapers were dead was totally wrong. This can only be done in newspapers. For the first time in history, and to the shock of whole country, the Wallabies were knocked out in the pool stages of the Rugby World Cup.
To capitalise on this and get people to rally behind another country who were still in it – Fiji – they ran a double-sided print ad combined a message with an immediate action, not just offering a solution but literally putting that solution into the hands of Australian rugby fans.
Appearing in the sports section of the Sydney Morning Herald the day after the Wallabies were knocked out by Fiji getting a bonus point for losing by less than seven points. Great use of the medium and great use of full page colour.
Justin Ruben – Executive Creative Director
Adam Smith – Senior Copywriter
Rua Perston – Senior Art Director
Nic Adamovich – Head of Design
Ant Moore – Managing Director
Maisie La Costa – Account Director
Stuart Hood – Executive Director, Social & Content
Georgina Thompson – Client Services Director
Abbey Farlow – Account Director
Drew Groves – Group Business Director
Marek Stutika – Account Director
Srishti Narayan – Chief Marketing Officer, Tourism Fiji
Uber is a standout partnership opportunity to remind people on the correct use of seatbelts, a action that has become a mindless action for drivers and passengers.
Partnering with Uber means the creative message can be delivered to the audience when they have just booked their ride, when the ride had been despatched, and when the trip was underway.
This is a great example of delivering the creative message at the right time in the right place. With 18.7 million Uber trips completed each day globally, in Queensland this should deliver a reasonable audience at scale.
Department of Transport & Main Roads – Queensland Government
Three different audiences for the same product? In a challenging market for mortgage owners, Lendi launched a campaign to help both refinancers, prospective buyers and investors.
Whilst the ad can’t be a one-size fits all approach, through 10Play technology with KERV & Innovid, viewers could choose to find out more information, via their remote and brought them to tailored portal designed for either “First Time Buyers”, “Refinancers” or “Investors” with a unique TVC for each.
It is a media first for the ad format, especially when combined with the data attribution of Innovid to measure website performance & qualified leads. Paramount are now taking the technology and rolling out to other markets internationally.
Karen Shin & Daniel Cutrone from Avenue C
Nick Robertson, Phil Hammound, Shani Kugenthiran & Di Ho from Paramount
Emer Hogan, Bonnie Ross & Sharon Sarinas from Lendi Group
Linda Truong & Stanislav Vainstein from Innovid
If you or your agency have an entry of next month’s Ad Placement of the Month, please submit here.
By Alisha Buaya
Griffiths and Mazza share their perspectives, thoughts and opinions
Meeting of the Minds brings together two different points of view from an industry rookie and an experienced expert.
The Mediaweek series aims to showcase their diverse perspectives, thoughts and opinions.
This week’s Meeting of the Minds sees Sev Griffiths and Alana Mazza from Bohemia reveal their leadership heroes, current streaming binge and career goals.
Best career advice – Always be open to evolve, learn, change and trust your gut. It is never wrong.
My favourite podcast/read – I am halfway through reading Atomic Habits by James Clear recommended by my boss. I always thought I was an organised person until I started reading this and realised my habits are pretty slack. This will be a big focus for me going into 2024!
Current streaming binge – I just finished Beckhams on Netflix. and I have a new-found admiration and love for them both. What a career and what resilience and depth of character David Beckham displayed throughout his career. Victoria, amazing strong female in both career and family.
Leadership hero – Hero places too much pressure on our leaders. I learn from each and everyone and they all have different hero qualities. I think you tend to forget our leaders are human.
I wish someone had told me – I will change this to I wished I had listened…to when people told me to be more confident, buy a house in your 20s, don’t spend your money on clothes and holidays 😉
Guilty content pleasure – Too much time on Tik Tok. How do I ween off it?
Best training course/session – I recently did a couple of days at a health retreat and they had a lot of mind and body well being sessions that you can apply to your day to day work. I am going to bring these exercises into work.
Your mentor – my sister, Sev Celik, Commercial Director at Tonic Health has been and will always be my biggest and best mentor. Us having the same first name
Hot medium or show – Sex Education is such a great series. Gillian Anderson is incredible.
Favourite media event – It would be SBS Tour De France. What an experience, cycling alongside the south of France, past fields of sunflowers and lavenders. Eating amazing food and drinking gorgeous wine. Riding down Mount Ventoux!
Wish I’d done that – I never had the gap year and went straight from Uni to Work. I never had the Aussie backpack travel experience.
Career goal for the new year – Do some amazing work for our clients and develop our talent at Bohemia to be the best in the industry.
Best career advice – Always say “yes” (within reason of course). I’ve found that where I’ve grown and learnt the most is when I’ve said yes to any and all opportunities that pop up. These opportunities can be big or small and can vary from joining the social committee at work to putting your hand up for a pitch, so it’s important to seize all opportunities no matter the size.
My favourite podcast/read – I love the podcast ‘Sounds Like A Cult’. The hosts break down modern-day phenomena we all follow and discuss whether they can be considered a cult or not. In terms of my favourite read, I’m a bit late to the trend but I just finished listening to the audiobook version ‘I’m Glad My Mom Died’ by Jennette McCurdy (aka Sam from iCarly) – it was unexpectedly incredible!
Current streaming binge – I have been loving sporting documentaries at the moment. I just finished Break Point on Netflix which delves into the highs and lows of upcoming tennis stars and I’m also binging the Beckham documentary on Netflix as I’m sure everyone else is!
Leadership hero – I’m going to be cliché and say my mum. I think she is the smartest person I know and the way she carries herself is how I aspire to be.
I wish someone had told me – When presenting, focus on exactly that; how you’re presenting yourself and how you’re communicating your points. Communication is 55% nonverbal and 38% vocal with the remaining 7% being the actual words you say. So basically, don’t write out your notes word for word!
Guilty content pleasure – Not that I ever feel guilty about watching reality TV but Jersey Shore and The Real Housewives franchise have got to be some of my favourite shows ever. The Real Housewives of Beverly Hills and New Jersey are my favourite franchises and I also just started watching the new Sydney season which is good so far but then again I am only one episode in.
Best training course/session – This may be biased since I am an NGEN Committee member but any NGEN training session. From communication to networking to organisational skills, the NGEN training program seriously covers it all.
Your mentor – Both my manager and director are my main mentors at the moment as I admire them both a lot in terms of their knowledge, leadership skills and work ethic.
Hot medium or show – I’ve been loving street posters lately. There’s something about them that’s a little edgy and different to your traditional OOH formats. They’ve got character.
Favourite media event – NGEN Halloween and VMO’s Indie Melbourne Cup were both cracker events last year and I’m sure they will be again this year.
Wish I’d done that – No regrets but I do always look back on my uni years and wish I had done an exchange experience overseas.
Career goal for the new year – I’d love to start writing more industry articles and also help out with more pitches within my agency.
To take part in future editions of Meeting of the Minds please email: [email protected]
Top image: Meeting of the Minds – Sev Griffiths and Alana Mazza
By Anita Anabel and Jasper Baumann
My Mum Your Dad premieres October 31 at 7:30 pm on Nine and 9Now
The match-making reality show My Mum Your Dad is returning for a second season this week and host Kate Langbroek has promised the new season will be filled with laughs, tears and heartwarming love.
Langbroek returns to the show ready to help a new group of single parents find love. While the parents will take up residence in a new retreat, their adult children will be watching their every move in the Bunker, where they will act as a Big Brother of their parents’ dating life.
Throughout the program, Langbroek will feed intel to the kids to help them in making informed decisions for their parents.
Mediaweek sat down with Langbroek to discuss all things My Mum Your Dad’s second season and why she thinks the show appeals to such a broad audience.
“I think a lot of reality TV is a bit cynical, entertaining, definitely, but a bit cynical in its genesis. By that I mean people are going on there because they want to lift a profile or they want to boost their business,” she said.
“How this show differs is that we are dealing with a different demographic. I feel like audiences genuinely understand the intentions of the people on the show, and the parents that are featured are quite sincere.
“I think people respond to the idea that everyone knows how it is to have loved and lost. It hurts but people also know how it is to feel that thrill of falling in love again, even when you think it’s not going to happen. In these times, it’s like an antidote where people can tune in and see people experiencing what you’ve experienced.”
Langbroek explained that she hopes the show also breaks the negative messages around getting older.
“We all know that the reward in life is ostensibly getting old, and there’s a lot of messages about getting older that are kind of negative. However, finding love is very uplifting because it can happen at any point, but you have to open yourself up to the possibility.
“The show features people who are ultimately lonely and they are saying ‘You know what, I’m going to take the biggest risk I’ve ever taken and see what happens.’ I think that’s why young people also really respond to the show.”
Sacrifices are arguably in the same boat as death and taxes in life but Langbroek expresses that single parents have to make many sacrifices, including sometimes their romantic life and that’s why she thinks the show works so well.
“If you look at the participants in the show and imagine what their lives are normally like, you know these parents automatically have had to make sacrifices to look after their children. It’s like saying goodbye to a certain part of yourself because you can’t do everything you can’t work, look after a kid, have a romantic life etc.
“But then, you take this person out of their normal life and put them in this stunning resort and say to them, you’re not going to have any responsibilities for anything. You don’t have to work, you don’t have to cook, you can just be yourself with great music, great food and alcohol.
“It’s such a gift to see these people become who they essentially are and make them feel like they would have 30 years ago.”
My Mum Your Dad premieres October 31 at 7:30 pm on Nine and 9Now.
Brennan will begin in the role from 8 January 2024
Screen Australia has announced the appointment of Deirdre Brennan as chief executive officer, starting 8 January 2024.
Brennan has experience as an executive in the domestic and international screen sector, most recently as chief operating officer of WildBrain, a global independent media entertainment company spanning content production, distribution, brands and licensing.
Previously, Brennan worked at BBC Worldwide Australia as the director of television, general manager and director of content. Her former roles include head of children’s television at the ABC TV and general manager of Universal Kids at NBC Universal.
Screen Australia’s chair Nicholas Moore said, “We are delighted to welcome Deirdre to Screen Australia at this pivotal time for the Australian screen industry. The Board was extremely impressed by Deirdre’s wealth of experience and we look forward to the positive impact she will make during her time in the role. This appointment represents a remarkable opportunity to expand our capacity to tell Australian stories and connect with international audiences in new ways.”
Deirdre Brennan said, “I am excited to return to Australia to lead such an important organisation, focusing on building a sustainable future for the creative industry amidst evolving technologies, competitive pressures and expanding platforms. Screen Australia’s mission is very clear and I will strive to be a passionate advocate and partner for our creators, storytellers and emerging talent.”
Brennan will formally commence as CEO from 8 January 2024, taking over the reins from Graeme Mason, who is departing in early November after a decade in the role.
On outgoing CEO Graeme Mason’s departure, Nicholas Moore said, “As we welcome Deirdre, we bid farewell to Graeme after his remarkable 10-year tenure as CEO of Screen Australia. Since 2013, Graeme has led the agency through a period of rapid change and the sector has been strengthened by his dedication, passion and leadership. On behalf of the Board and the Screen Australia team, I would like to express my profound gratitude to Graeme, and I congratulate him on all that he has achieved.”
“Jessica and Batoul bring a wealth of experience and a fresh perspective to their new roles”
The Brag Media has announced the expansion of its commercial team with Jessica Hunter promoted to general manager and Batoul Peters, who joins the business from WeAre8, appointed head of national client partnerships.
Hunter’s promotion to general manager reflects her track record of success within the company, having most recently served as general manager of partnerships. In this role, she drove the company’s success in 2023. Previously, Hunter had a near three-year stint as head of brand and agency Partnerships with Woolworths Group’s media business Cartology.
On her promotion, Jessica Hunter said: “Taking on the role of general manager, after leading partnerships for six months, I remain deeply committed to innovation and our unique service excellence. We’ve celebrated notable growth, always staying true to The Brag Media’s core values. In our efforts to hire experienced and value-driven team members aligned with The Brag Media’s principles, Batoul stands out, poised to steer our partnerships forward. Stay tuned for more exciting talent updates.”
As part of the expanded commercial team, Peters, who has over 18 years experience, has taken the role of head of national client partnerships. Prior to joining The Brag Media from WeAre8, Peters worked at Amazon (Twitch), Seven West Media and Mamamia Women’s Network.
Batoul Peters said: “I am a big fan of The Brag Media’s iconic entertainment and culture-rich environments! I look forward to working with Jess and the impressive commercial team to bring outstanding brand experiences and partnerships to our agency and client partners.”
The Brag Media’s chief operating officer, Joel King said: “These appointments are a testament to the immense talent we have within The Brag Media. Jessica and Batoul bring a wealth of experience and a fresh perspective to their new roles. Their contributions will undoubtedly help us reach new heights in delivering top-tier media solutions. We are excited about the future and the value we will continue to provide to our clients and partners.”
Top Image: Jessica Hunter and Batoul Peters
Hurley joins the publication from Sydney Dance Company
Man of Many (manofmany.com), has announced Marcus Hurley as its newly appointed sales and partnerships manager. Coming to the publication from his former role as corporate partnerships manager at Sydney Dance Company, Hurley is set to lead the brand’s partnership initiatives.
At the Sydney Dance Company, Hurley grew the corporate partnerships portfolio, securing partnerships with industry luminaries like LG SIGNATURE and Cartier. Beyond introducing new relationships, Hurley also demonstrated how to cultivate and maintain them through a events, social activity, performances and content creation.
The beginning of Marcus Hurley’s sales journey was at the Capital Radio Network, in the role of account executive. His relocation to Sydney in 2016 brought him to Australian Traveller Media, working his way up from sales executive to sales manager of Australian Traveller Magazine, fostering collaborations with clients including Tourism & Events Queensland and Accor properties.
Speaking of his new role, Marcus Hurley said, “I greatly admire Man of Many for its innovative approach and its unwavering commitment to delivering extraordinary value to both brands and readers. It’s a privilege to join this dynamic team, and I’m keen to apply my skills and experience to Man of Many’s exploration of new avenues and create successful and lasting partnerships.”
Frank Arthur, co-founder of Man of Many, commented, “Having Marcus Hurley onboard marks a promising new chapter for us. His demonstrated expertise in forging strong partnerships with top-tier brands perfectly aligns with our values. As we embrace 2023, Marcus will be a key player in our journey to expand and innovate.”
Man of Many is Australia’s first 100% Carbon Neutral Certified digital publisher, and heading into the future, it remains committed to its innovative pursuits, from widening its video production studio, revamping its high-impact and programmatic display offering, hosting live events, launching podcasts, and more.
Founded in 2012 by Scott Purcell and Frank Arthur, Man of Many attracts over 2 million global visitors each month.
Ezechiel Ritchie: “I’m very optimistic about the future growth of the company”
Avid Collective has announced the appointment of Ezechiel Ritchie as its new commercial director.
In the new role, Ritchie will be responsible for driving revenue and growth for the business across a broad remit, including sales and partnerships, solutions and strategy, and client success. He will report to Avid Collective managing director, Luke Spano.
Ritchie comes to Avid Collective with more than 15 years of experience in digital, ad tech and fast-growing start-ups. He was appointed the APAC general manager for the creator video tech platform Jellysmack, launching the business in ANZ and Southeast Asia and managing all parts of the organisation, including partnerships, sales, marketing, and operations in APAC. His role included managing more than 25 staff across Australia, Singapore, Korea, India, Japan, and Taiwan.
Ritchie has also held senior roles at native ads platform Taboola, launching the business in 2017 across Australia and New Zealand, and he also worked at Google for six years in roles in Australia and Europe.
Spano welcomed Ritchie’s appointment and called it a significant hire for the business. He said: “Hiring Ezechiel is a massive step for the business. He brings a wealth of industry experience, particularly in growing and scaling businesses that are disrupting their category, and his expert leadership skills will be essential in managing and mentoring our commercial team to drive further growth.”
“Ezechiel is well-known for his ability to bring out the best in his team and we’re confident he will be able to further enhance the client experience across each stage of the lifecycle, ultimately strengthening our advertiser partnerships, and adding further growth for our business.”
Ritchie said of his new appointment: “I am thrilled to be joining the Avid Collective team and its leadership. The business has seen tremendous growth over the past couple of years and I am looking forward to assisting the business and its brand partners to unlock the true potential of native content. Avid has a very unique offering in delivering high-quality native content at scale for agencies and brands, by making it simple, strategic and scalable. We’re just scratching the surface and I’m very optimistic about the future growth of the company.”
Avid Collective’s incumbent commercial director Tom Gunter remains with the business, shifting to product director, focused on developing the commercial offering and leading the enhancement of the capabilities of the Avid platform.
Ritchie’s appointment is effective immediately.
Avid Collective works with more than 100 brands across Australia in every category from QSR, Retail, Finance, B2B, FMCG and Automotive. Its publisher network now reaches most of the Australian population across publishers including: Time Out Australia, Junkee and Punkee, Mouths of Mums, Forbes Australia, frankie, and We Are Explorers.
Top image: Ezechiel Ritchie
It follows ARN’s recent takeover bid for media business Southern Cross Media
ARN’s podcast publisher iHeart has signed a strategic deal to become sales representative for the Seven Network.
The multi-year revenue sharing deal will see Seven podcasts such as The Lady Vanishes, Shot in the Dark, Pendulum, Sunrise and 7NEWS Headlines join iHeart’s stable of podcasts adding an additional 700,000 monthly downloads to the existing listener base, which last month achieved over 19 million downloads and four million listeners.
Corey Layton, head of digital Audio, ARN said, “This partnership perfectly aligns with our mission to deliver the best, most diverse content to listeners and brands alike. Together with 7NEWS, we aim to set new benchmarks in news and public affairs podcasting.”
Craig McPherson, director of News and Public Affairs, Seven Network said, “We look forward to producing more high-quality, engaging content as we expand our offering in line with this new partnership.”
It follows ARN’s recent takeover bid for media business Southern Cross Media.
Jasmine Dawson: “We’re excited to be joining forces with WeAre8 on this unique publishing deal for BBC Earth content”
BBC Studios has announced it has partnered with B-Corp social media app WeAre8 on a distribution deal for BBC Earth content.
The partnership paves the way for new commercial opportunities by bringing together social media with the premium digital inventory of BBC Studios.
Launching early 2024, the three-year commitment will see BBC Studios release over one hundred clips per year on the WeAre8 social app, of which at least one-third will be newly packaged BBC Earth content.
The deal supercharges WeAre8 as the go-to destination for a more impactful social media experience and opens up opportunities for brands across the UK, USA, and Australia to both capitalise on WeAre8’s unique opt-in advertising model and explore new avenues for content marketing. Most importantly, this partnership will enable entertainment and positive collective action to co-exist in support of the planet.
BBC Earth will be providing a broad mixture of content covering nature, adventure, science and space. This will be taken from both its award-winning linear TV programming from the BBC Natural History Unit including landmark series Planet Earth, Seven Worlds One Planet and Frozen Planet, as well as its world class digital-first original series and impact campaigns such as Coexistence, Planet Fix and Our Frozen Planet.
The relationship with WeAre8 signifies a reimagining of the way social tech can work alongside a premium content provider and allows BBC Studios to commercialise their digital catalogue with other brands across WeAre8 and amplify this across BBC Studios digital platforms more widely. Content has never existed in social technology that enables collective action, and this partnership will empower audiences to become inspired changemakers at scale.
Jasmine Dawson, SVP, Digital from BBC Studios, said of the deal: “We’re excited to be joining forces with WeAre8 on this unique publishing deal for BBC Earth content. Our two brands are aligned in our values and offer wide-ranging views of the world often through the lens of climate change, conservation and sustainability. We hope the content we provide will educate as well as entertain the community as well as encourage new partners into our digital business.”
Billed as a sustainable social media app, WeAre8 has set about reimagining the role social media can play in the community, in a way that is transformational for people, charity and the planet.
WeAre8 is built around two content feeds, the 8Stage and a private friends feed. The 8Stage is an open feed of content from verified creators and publishers from around the world that is free-from-hate, ads and algorithms and is dedicated to positive uplifting content. WeAre8’s transformational ad model shares 60% of every advertising dollar with people, charities and the planet, enabling collective micro donations at a level the world has never seen.
Unique to WeAre8, people using the app can choose to watch opt-in brand videos and receive payments into their 8Wallet on the app. When you watch brand videos, a share of the advertising money is given to you in appreciation for your time. These micropayments can be transferred out of WeAre8 via PayPal or citizens can pay it forward to charity directly in the app – which 54% of its citizens choose to do.
Sue Fennessy, founder and global CEO of WeAre8, said: “When it comes to aligning with the values of WeAre8 and our commitment to protecting the natural world, I couldn’t envision a better content provider than the BBC Studios team. This partnership not only brings an exceptional library of content for our community to be inspired by, but also marks a groundbreaking commercial collaboration that will set a new benchmark for the way broadcasters and social technology deliver impactful solutions for brands in a way that is better for people, the community and the planet.
“When people are reconnected with our beautiful planet in a way that enables them to immediately make tangible positive impact through micro-donations, we fundamentally shift the power of media. We move from a world of passive social entertainment to a new level of immersive entertainment with actionable impact that leaves people feeling valued and connected. This is how we unite to solve the world’s biggest problems.”
BBC Earth Content will be available on WeAre8 from January 2024.
Nearly two-thirds (63%) of recipients say mail attracts their undivided attention
WARC, the global authority on marketing effectiveness, unveiled the results of an in-depth study conducted in partnership with Marketreach, the marketing authority on commercial mail, on the relationship between attention and mail to reflect the true power of the mail’s engagement as a marketing channel.
For the first time, following ground-breaking research, ‘The Attention Advantage: Exploring the impact of mail in an attention-scarce world’ report reveals how much attention people are giving their mail across different mail types, the value of this attention, and the role of mail in comparison to other media and within the media mix.
Patrick Malone, senior media planner, Marketreach, commented: “As we stand on the cusp of a new era in advertising, one marked by evolving technologies, shifting consumer behaviours and heightened privacy concerns, this research paper offers strategic guidance and actionable recommendations to navigate the intricate terrain of advertising in the context of Attention and Mail.”
Paul Stringer, managing editor, research & advisory, WARC, said: “In a world where the battle for attention is becoming ever harder to win, we’ve found that not only is mail highly effective at generating attention, it’s also one of the most cost-efficient channels at delivering against this objective. This is a good time for marketers to reconsider the role of mail in the media mix.”
Mail is one of the most effective and efficient channels for capturing consumer attention. It commands very high dwell-times as consumer needs and behaviours evolve: people’s lives are more centred on the home; there is a demand for more personally relevant messaging; and there’s a shift towards well-trusted brands that communicate in ways that feel honest and authentic.
New research by Marketreach and Blue Yonder outlined in the study revealed that people are highly focused when looking at a piece of mail. Nearly two-thirds (63%) of respondents claimed it attracted their undivided attention.
In ‘Attention Study’, recent analysis by JICMAIL (Joint Industry Committee for Mail) showed that, over four weeks, the highest levels of attention recorded by a 1,000-strong panel was for Business Mail (150 seconds), followed by Direct Mail (108 seconds), and Partially Addressed Mail (65 seconds).
Additionally, JICMAIL’s research shows that mail is one of the most cost-efficient channels for capturing consumer attention.
Mail has an attention advantage and is a powerful addition to the media mix: Over 80% of mail delivered in an envelope is opened
Mail stimulates a physical as well as a mental interaction, creating higher levels of engagement. Over 80% of items that have an envelope are opened. The average piece of mail is viewed just over twice in the week of receipt, and 58% is retained for future reference.
Lucy Halley, executive head of strategy, Havas CX Helia, said: “Mail’s power to feel valuable physically in our hands is not something to underestimate. It’s interesting that this perspective is true even for younger audiences… They live more of their lives online than older people do, so physical experiences become super important to them.”
Mail’s high level of personalisation, its extended dwell times, and the fact that “the ad is the medium” mean that added to the media mix, mail is also highly complementary to other marketing channels and can act as an amplifier.
Halley added: “By deploying mail strategically at key moments, we can witness moments of magic throughout the customer experience. Considering mail in these moments can be really powerful.”
Mail can deliver significant uplifts across every level of the marketing funnel: Mail persuaded 16% of recipients to consider the brand, leading 5% to a transaction.
As customer journeys become increasingly less linear, stimulating intent and providing a drive-to-purchase enables brands to increase their share of current demand.
The research revealed that the average piece of mail persuaded 16% of recipients to consider the brand, with 9% saying it stimulated an intent-rich action such as visiting a website or shop. Mail can also ‘seal the deal’. On average, 5% of items led to a transaction.
‘The Attention Advantage: Exploring the impact of mail in an attention-scarce world’ study is based on research by Marketreach and Blue Yonder involving 1,475 pieces of mail. The findings, as well as JICMAIL data, were rigorously analysed by WARC to offer valuable insights that have the potential to reshape the strategies and practices of advertisers, marketers, media and communication professionals alike.
A complimentary copy of the report, which includes detailed analysis of media and mail’s attention, case studies, expert commentary and actionable takeaways, is available to download here.
The Devil and mean girls, guinea pigs & more!
From the most popular songs, hashtags and creators – TikTok is sharing an insight into what’s trending in Australia with their latest TikTok trends in Australia.
• CocoDevile | @cocodevile | 1.7M followers | VIC
Our favourite Kardashian, Coco is not only an incredible hairdresser, he is also a TikTok megastar! After an epic Halloween content series where he recreated Kourtney’s Dolce wedding, we can’t wait to see what he will be serving next.
• Cid | @cid_dwyer | 321.9K followers | NSW
Cid, a loving guinea pig dad, found himself caring for 10 abandoned guinea pigs. His furry family has since multiplied to over 80, and Cid has devoted his life to their care and companionship, making sure they are fed the best homegrown barley grass. His TikTok videos often reach millions of fans, with his top video gaining 53.3M views.
• Leo Zarucky | @zeo_choons | 16.5K followers | VIC
Leo, aka Zēo, is a music producer and composer whose remix of the Harry Potter chess scene has accrued more than 2.6M views, and is now available on to stream due to popular demand. The song has now taken a life of its own, with a fellow TikTok creator reimagining what it was like reading the scene as a kid set to the remix (4.3M views).
• #meandthedevil – 311M views
No, we’re not talking about the little red demon that sits on our shoulder, we’re talking about the real stuff that haunts us – whether it be omphalophobia (fear of belly buttons), or hangxiety.
• #meangirls – 13B views
Mean girls is back and (debatably) better than ever. Set to release in January 2024, expect to see a LOT more of your favourite Plastics on your feeds as we gear up for the hotly anticipated reboot. So fetch.
• #christmaswishlist – 4B views
It’s that time of year again, and we are writing our lists and checking them twice. Our bank accounts might not appreciate all the inspo but it’s basic #girlmath to take advantage of all these holiday sales.
• Sweet Messages | Set to the beat of Aloe Blacc’s ‘The Man’, post your ‘sweet messages’ – the more outrageous the better.
• “I Do Not Take Pictures of My Meals” | Millie Bobby Brown may draw the line at taking photos before she eats, but that doesn’t mean you have to! Share your fave foodie snaps with this sound.
• So Popular | If you’re just vibing and feel like “sticking out your tongue for the picture,” then this song is the one for you.
It was first in, best dressed!
Mix 102.3’s The Ali Clarke Breakfast Show gave away 102.3 pumpkins live on air, ahead of Halloween.
Breakfast show co-host, Max Burford, and friend of the show, Cosi Costello were based at Baymore Reserve in Modbury, and gave away pumpkins to passerbyers who stopped and collected them.
Max was also dressed in a pumpkin suit to get into the Halloween spirit.
You can give the audio from the show a listen here.
Not the first of 102.3’s antics this year, earlier in March Mix102.3 revealed they were behind the mysterious Man in the White Suit, who had been spotted all over Adelaide giving away gifts in the lead up to Valentines Day.
The story read: “For the last few weeks, a man dressed head to toe in white, with his recognisable white top hat and white stretched Hummer in tow, has been sparking conversation amongst Adelaideans.
The man approaches members of the public and gives away everything from flowers to cash. The gestures began with free white roses on Valentine’s Day, icy poles during Adelaide’s recent heatwave and last week, it was money.
People have been asking questions about the man’s origin, taking to Reddit and sending in images to online publications like Glam Adelaide, hoping to find some answers.
While much of the mystery around the Man in the White Suit remains, it has been revealed that Adelaide radio station Mix102.3 is responsible for the gift-giving fella.”
Head of KIIS Network, Derek Bargwanna, said at the time, “We thought it’d be a fun idea to spread kindness and love around Adelaide, with a little mysterious twist.”
Top Image: Max Burford & Cosi Costello
Stephanie Schiccitano: “We are excited to embark on this journey”
Born Bred Talent is unveiling its rebrand set for launch on November 1st.
This transformative initiative, a collaboration between the creative, content and talent agency and leading strategic branding agency Nectar & Co, reflects the agency’s commitment to innovation, creativity and fostering authentic connections in the ever-evolving digital landscape.
Under the leadership of general manager, Stephanie Schiccitano, the agency has embraced a new brand mission: “Reach for the Bold.” This mantra encapsulates the agency’s dedication to pushing boundaries, championing creativity and delivering culturally relevant content for global brands.
Working with Nectar & Co, a renowned Sydney-based branding agency, this rebrand and strategic positioning marks a significant milestone in BBT’s journey to date. The collaboration has culminated in a rebrand that not only reflects the values of the business but also sets new standards in the industry. With a focus on innovation, the agency is poised to revolutionise the way brands connect with their audiences.
Schiccitano said of the rebrand: “Our rebrand signifies a new era for Born Bred Talent. We are not just redefining our image; we are redefining the way brands communicate with the world. ‘Reach for the Bold’ embodies our commitment to creativity, authenticity, impactful storytelling, and excellence.”
“We are excited to embark on this journey and invite everyone to join us as we push the boundaries of what’s possible,” she added.
The rebrand by Nectar & Co has already yielded significant accomplishments for Born Bred Talent, including successfully securing the Amazon Shopfront campaign brief across Australia and New Zealand, following fruitful campaigns with Optus and Google creative campaigns.
This initiative follows a period of remarkable growth for Born Bred Talent, highlighted by the addition of prominent talents to their roster. Olan Tekkers, Josh Mansour and Jax Weatherby are among the latest influencers and creators who have joined Born Bred Talent, further enriching the agency’s diverse pool of talent.
John Paul Wager; managing director, Nectar & Co, said: “Working with Born Bred Talent has been a creative journey like no other. Our shared vision for storytelling and design-forward thinking has led to the development of an identity that not unites their team and services, but captures the true essence of Born Bred Talent as an innovator and industry leader.”
Born Bred Talent and its respective creative agency, Born Bred Creative today are proud to unveil their bold new identity for brands, creators and industry, encouraging all to embrace the spirit of creativity, authenticity and innovation for a future where brands dare to be bold.
The new national streaming station will be available online via the Nova Player from Friday, November 3
NOVA Entertainment has announced the return of Nova Nation, Australia’s home of dance hits and club classics from the world’s biggest DJs, launching Friday, November 3.
Nova Nation – a new national streaming station available online, through smart speakers or via the Nova Player – Player, is curated to fine-tune your focus, level up your workout and energise you for the day or night ahead. It will also be available to listeners in Brisbane on DAB+.
Having been a mainstay on the digital radio dial from 2009 to 2013, the Nova Nation brand returned to the airwaves in recent months, broadcasting on the Nova Network every Friday from 10 pm to 12 am and Saturdays from 6 pm to 12 am, reclaiming its status as the ultimate weekend party starter. As the streaming station launches, Nova Network listeners will continue to hear the Friday and Saturday night mixes simulcast across both streaming and FM stations.
To celebrate the new launch, a special Nova’s Red Room will bring the Nova Nation vibes to a live audience on November 9 at The Venue Alexandria, Sydney’s leading major event venue. Nova Nation Presents Joel Corry Live In Nova’s Red Room will see both Joel Corry and TOPIC returning to Nova’s Red Room for their second set each, with Jolyon Petch debuting on the Nova’s Red Room stage for a much-anticipated welcome set.
Joel Corry has become one of the world’s most prolific dance hit-makers since the release of his 2019 break-through single Sorry. The multi-award-winning producer was one of three producers, along with TOPIC and SGT Slick, who took part in 12-week residencies as part of the Nova Nation main network launch. The DJ’s alliance with Nova Nation will continue on the streaming station with a monthly hour-long mix for Friday listeners.
Brendan Taylor, group program director of the Nova Network said: “Nova Nation is set to become a destination for dance music fans in Australia looking to hear the best dance hits & club classic as well as stacked list of local and international guest DJs. To have Joel Corry join us on the station, but also in Nova’s Red Room for this launch, is a testament to what Nova Nation will bring to dance music fans across the country.”
As well as Friday and Saturday night residencies, listeners can tune in 6am to 7am Mon to Fri (AEDT) for the High NRG Throwback Workout hour to get the perfect playlist for their morning exercise. Every day, 12pm to 1pm (AEDT) listeners can also hear the world’s biggest DJs in the mix, dropping in to share their latest curations.
By Anita Anabel
The Masked Singer Reveal tops prime time entertainment
• A surprise VW on SAS Australia
• 1.29 million tune in to The Block in Total TV
1,299,000 watched Nine’s The Block and it was a flurry of chaos for almost all of the contestants, up 40%.
870,000 viewed Seven’s Home and Away as Irene pushed Harper and Dana away, up 27%.
843,000 also saw Seven’s SAS Australia as seven recruits remained and actress Zima Anderson was medically withdrawn after a fall on the course, up 33%.
692,000 tuned into 10’s The Masked Singer Australia Reveal as Orca flipped her last fin. Sheppard band member Amy Sheppard was unmasked, up 17%.
Seven News 824,000 (6:00pm) / 828,000 (6:30pm)
Nine News 680,000 (6:00pm) / 713,000 (6:30pm)
ABC News 524,000
10 News First 188,000 (5:00pm)/ 125,000 (6:00pm)
SBS World News 123,000 (6:30pm)/ 113,000 (7:00pm)
Daily Current Affairs
A Current Affair 625,000
The Project 149,000 6:30pm / 280,000 7pm
News Breakfast 137,000
Seven won Monday night with a primary share of 19.2% and a network share of 29.3%. 7Two has won multi channels with a 4.2% share.
Meanwhile, Nine received a primary share of 16.9% and a network share of 25.2% while Ten took a 13.2% primary share and a network share of 19.3%.
446,000 began their evening in Summer Bay with Seven’s Home and Away as Tane broke Felicity’s heart all over again and Remi extended an invitation to Bree.
384,000 then stayed on for SAS Australia. Only five recruits remained on the ruthless SAS selection course and in a surprise move, international rugby star Mahalia Murphy voluntarily withdrew from the course after a sickening grunt task. Meanwhile, a savage storm flooded the camp.
Another performance of HMP: Behind Bars followed as 123,000 tuned in.
Nine’s A Current Affair (625,000) revealed how four doctors will be investigated for their role in the death of 20-year-old Adam Fitzpatrick at a major Sydney trauma hospital, following a series of catastrophic mistakes after his breathing tube became dislodged.
Then, 290,000 watched the season premiere of My Mum, Your Dad. Hosted by Kate Langbroek, nine single parents were given a second chance at love. During the episode, there were shock confessions and steamy first dates as the kids took full control of their parents’ dating life. In a secret video, dad Masi reveals: “Women like bad boys because nice guys finish fast,” which is equal parts cringe and equal parts gross! Upon hearing the confession, son Jesse chose to pass on the message to his mum Michelle who both had a “No d—head policy”. Last year, the series premiered with 396,000 viewers.
Following its Monday premiere in front of 168,000, 107,000 Love Island Australia fans sat down for the second episode of the season. Tia and Trent shared their first kiss while UK Bombshell Lucinda went speed dating. When tasked with choosing who she would couple up with at the firepit, Lucinda chose Nate.
On 10, The Project (149,000 6:30pm / 280,000 7pm) explored how new research has revealed that a staggering number of Aussie teens have experienced a form of intimate partner violence in the last year, and now experts are calling for more education around consent and respect. The Masked Singer Australia Wild Card, Brendan Fevola, also joined the desk to talk about his reveal.
Following this, 368,000 tuned in to The Masked Singer while 478,000 chose to watch the Reveal. Cowgirl was put out to pasture as Courtney Act was unveiled as the singer behind the mask. “I feel like I could read to children dressed as Cowgirl, but there might be some people who argue that I shouldn’t read to children dressed like this,” she said.
The Cheap Seats followed for 350,000 as hosts Melanie Bracewell and Tim McDonald were joined by Mel Tracina, Merrick Watts and comedian Cameron James.
420,000 watched ABC’s 7.30 looked back at the Voice Yes campaign. The program also looked at Queensland’s devastating fire crisis which continues to wreak havoc. Plus Virgin Australia is sitting on hundreds of millions of dollars of unused flight credits due to expire this year.
Take 5 with Zan Rowe was up next for 318,000 as Gold Logie nominee Mark Coles Smith shared his journey from rural Australia to fame, all told through five incredible song choices.
Then, it was time for Old People’s Home for Teenagers as Community was the theme of the week. The teens and seniors took part in a range of activities to celebrate the community they’ve created and help those most in need. 328,000 tuned in.
140,000 also watched a repeat of Dementia and Us which followed four people with dementia over the course of two years.
The highest rating non-news show on SBS was Great British Railway Journeys with 117,000 tuning in to see Michael Portillo continue his rail exploration of the east of England from London’s Tilbury docks to Cambridge.
|ABC KIDS/ ABC TV PLUS||1.8%||7TWO||4.2%||GO!||2%||10 Bold||2.9%||VICELAND||1.5%|
|ABC ME||0.5%||7mate||3.9%||GEM||2.5%||10 Peach||2.7%||Food Net||1.2%|
|7Bravo||0.9%||9Rush||1.4%||SBS World Movies||1.1%|
|ABC||Seven Affiliates||Nine Affiliates||10 Affiliates||SBS||Sky Regional|
|ABC||10.7%||7||18.8%||9||12.5%||10||10.5%||SBS||4.1%||Sky News Regional||5.1%|
|ABC KIDS/ ABC TV PLUS||2.4%||7TWO||4.9%||GO!||1.7%||10Bold||3.9%||VICELAND||1.9%|
|ABC ME||0.5%||7mate||5.9%||GEM||4%||10Peach||3%||Food Net||0.6%|
|ABC NEWS||2.7%||7flix (Excl. Tas/WA)||1%||9Life||2.8%||Nickelodeon||1%||SBS World Movies||1.1%|
|TUESDAY METRO ALL TV|
16-39 Top Five
18-49 Top Five
25-54 Top Five
Shares all people, 6pm-midnight, Overnight (Live and AsLive), Audience numbers FTA metro, Sub TV national
Source: OzTAM and Regional TAM 2023. The Data may not be reproduced, published or communicated (electronically or in hard copy) without the prior written consent of OzTAM
Analysts at Macquarie Group believe that a rival offer from Antony Catalano for Southern Cross Media Group would likely be more attractive to shareholders than what’s currently on the table from ARN Media if it was all cash, reports The Australian’s Bridget Carter.
As reported by DataRoom on October 23, speculation is mounting that Catalano, who controls Australian Community Media with Alex Waislitz, is keen to disrupt ARN Media’s buyout plans of the business, although some believe that if he does bid, it’s unlikely a full cash offer would be on the table.
The Guardian has accused Microsoft of damaging its journalistic reputation by publishing an AI-generated poll speculating on the cause of a woman’s death next to an article by the news publisher, reports The Guardian’s Dan Milmo.
Microsoft’s news aggregation service published the automated poll next to a Guardian story about the death of Lilie James, a 21-year-old water polo coach who was found dead with serious head injuries at a school in Sydney last week.
The poll, created by an AI program, asked: “What do you think is the reason behind the woman’s death?” Readers were then asked to choose from three options: murder, accident or suicide.
Shares of Pinterest surged 17% on Tuesday after a strong quarterly performance indicated that the image-sharing platform was riding a rebound in the advertising market and making inroads among the lucrative Gen Z, reports Reuters’ Samrhitha A.
Monthly active user growth surpassed the pandemic surge to hit a record high of 482 million, with the company saying that a lot of that was driven by the younger Gen Z population, seen as a top target for mobile advertisers.
Embattled former television presented Andrew O’Keefe will return to court where he is fighting allegations he spat in the face of a woman before kicking her and leaving her with scratches all over her arms and chest, reports News Corp’s Lauren Ferri.
The 51-year-old is facing the second part of his hearing in Sydney’s Downing Centre Local Court over charges of common assault, contravening an AVO, resisting a police officer and assault occasioning actual bodily harm.
O’Keefe has already faced two days of hearing in February over the matters, which relate to an incident in September 2021 at a Sydney apartment.
The five surviving co-stars of the hit 1990s television sitcom “Friends” paid tribute on Monday to their fallen cast mate, Matthew Perry, in a joint message lamenting his death two days earlier as an “unfathomable loss”, reports Reuters’ Steven Gorman.
In a brief statement published by People magazine, actors Jennifer Aniston, Courteney Cox, Lisa Kudrow, Matt LeBlanc and David Schwimmer spoke out publicly for the first time since news broke that Perry was found lifeless in the jacuzzi of his Los Angeles home on Saturday. He was 54.
Fox never explained that abrupt firing of cable news’ biggest star, allowing conspiracy theories to fester. Now, in his new book, Network of Lies, [Vanity Fair’s] Brian Stelter explores the myriad factors contributing to Carlson’s cancellation.
Carlson wasn’t given a path to sign off and pretend that it was on his terms, but Scott did offer him one thing—the chance to include his own comment in the press release.
Neil Mitchell has called out the “obscene” anti-Semitism in the country as the Israel-Hamas war rages on in the Middle East, reports 3AW.
The 3AW Mornings host has implored the public not to “bring the hate” occurring in the Middle East into Australia, listing some examples of the “surging” acts of anti-Semitism in the country and abroad.
Charley Gilleran’s rigging-equipment warehouse on the outskirts of Los Angeles is a lot quieter than it used to be, reports The Wall Street Journal’s Suryatapa Bhattacharya and Sarah Krouse.
A Hollywood production freeze caused by months of writer and actor strikes has meant the chain hoists, trusses and ramps used in movies like “Oppenheimer” and Zack Snyder’s coming “Rebel Moon” now sit largely unused. Gilleran and his partner have borrowed against their homes to keep their company afloat and are pursuing work on live events and commercials instead of film and TV.
Rugby league clubs are bracing for a multimillion-dollar hit as the government pushes ahead with plans to crack down on gambling advertising, including banning front-of-jersey sponsorships.
This masthead revealed on Monday Communications Minister Michelle Rowland was about to announce curbs on TV, online and outdoor betting promotions after talks with gambling, TV and sporting code executives.