By James Manning
• Adam Shand surges into Podcast 100 October chart
Mamamia’s award-winning podcast partnership with Westpac has been awarded again, with The Split winning Australia’s only gold for Best Use Of Podcast at the international Native Advertising Awards 2019 in Berlin.
Hosted by comedian Mandy Nolan, a twice-divorced mother of five, The Split is the latest podcast manifestation of Westpac’s commitment to helping people in the moments that matter.
Mia Freedman, co-founder and chief creative officer at Mamamia, said: “The team at Westpac are experts at enabling the right balance between brand messaging that naturally integrates and content that has genuine utility for our listeners.”
Mamamia’s podcast portfolio has expanded to over 30 series, including the commuter dailies of The Quicky (snackable news), and The Spill (snackable entertainment and pop culture).
The Babble is a new bi-weekly series hosted by Natalie Bassingthwaighte (Nat Bass) and Matthew Johnson (Matty J).
Nat Bass said, “I am super excited to join Matty J for my very first podcast The Babble. Having firsthand knowledge of reality TV with So You Think You Can Dance, The X Factor and of course I’m a Celebrity and Matty J being my personal favourite Bachelor, we are ready to get down and dirty with all things reality TV – nothing will be off limits.”
Matty J said, “These days I’ve turned into such a sucker for reality TV – it’s almost disgusting! Being able to turn my guilty pleasure into a job is an absolute dream come true and the icing on the cake is that I get to do it with Nat Bass.”
Andrew Brentnall, managing editor of the Nova Network said, “Nova is dedicated to innovating in the digital space by providing the best audio and video content, tailored specifically to our audience’s needs. As a radio brand at heart, audio has always been hugely important for us, and with the uptake of smart audio devices and the demand for podcasts, we’re seeing an audience that is hungry for more original audio content. That’s why we’ll be developing a range of original Nova podcasts with The Babble as our flagship launch.”
Spotify transformed music discovery with playlists like Discover Weekly and Daily Mix. Now they are aiming to do the same in on-demand audio with Your Daily Podcasts – Spotify’s first daily personalised podcast playlist that gives users a way to discover new shows while also keeping up with old favorites. Users who have listened to at least four podcasts in the past 90 days will find the playlist in the “Your Top Podcasts” shelf on the home screen or in the “Made For You” hub on browse.
Free and Premium users in the US, UK, Germany, Sweden, Mexico, Brazil, Canada, Australia, and New Zealand can check out their Your Daily Podcasts playlist, now available on Spotify.
The second Australian Podcast Ranker chart was released this week for October listening.
The highest new entry on the chart was PodcastOne’s Adam Shand at Large at #53 on the overall 100.
For our original feature see also:
Podcast 100: October chart reveals AFL Trade Radio new #1
Here is the list of the top 10 Original Podcasts as they appear on the October chart.
1.Hamish and Andy
2. Life & Crimes of Andrew Rule
3. The Howie Games
4. The Matty Johns Podcast
5. Fox Footy Podcast
6. Who the Hell is Hamish?
7. Fox Rugby Podcast
8. The Mentor with Mark Bouris
9. Tech News
10. Motley Fool Money Australia
Former Feed co-host Jan Fran (pictured) will be taking over as the new host of award-winning ABC podcast The Pineapple Project.
Fran takes over from comedian Claire Hooper from season four, which will be released in January 2020.
“I’m super excited to be the new host of The Pineapple Project,” Jan Fran says.
“I can’t wait to start organising everyone’s terrible lives – you’re welcome in advance.
Listeners can hear Fran and Hooper negotiating the terms of their hosting handover deal in a recent episode.
Fran is an Australian Walkley-award losing journalist, TV presenter and internet commentator.
She is the creator, writer and presenter of the online opinion segment, The Frant, which has been viewed more than 20 million times and which earned Jan a 2019 Walkley nomination for Best Commentary, Analysis, Opinion and Critique.
She is best known for hosting The Feed on SBS Viceland, Medicine or Myth on SBS, The Project on Network 10 and the podcasts, Sexism and the City and The Few Who Do.
• News Corp launches new advertising products to connect with consumers
News Corp Australia yesterday held its inaugural FMCG Forum bringing together senior marketers and agency directors to explore some of the current and future challenges facing the fast-moving consumer goods (FMCG) category.
Supported by the Australian Association of National Advertisers (AANA) the event was designed to discuss consumer trends, product innovation and explore how FMCG companies can improve marketing effectiveness.
Speakers included the principal of Housten Consulting and former PwC media specialist Megan Brownlow; author and trend forecaster Bernard Salt; and award-winning marketer and industry professor, Ehrenberg-Bass Institute for Marketing Science, Professor Bruce McColl.
The audience also heard from two influential marketing commentators Peter Field and Les Binet.
News Corp Australia’s chief operating officer, publishing Damian Eales opened the forum with an outline of the FMCG industry.
“No other Australian media company has invested in FMCG and food clients as much as we have. By taking a customer-first approach we’ve created specialist industry solutions that are delivering growth for our clients.
“Thought leadership is a big part of our investment and that is the purpose of this forum. Our focus today provides fresh perspectives and encourages different thinking to help our customers better meet the expectations of today’s consumers and find new ways to connect with these customers to grow their brands and businesses.”
Every month, almost 15 million Australian grocery buyers turn to News Corp Australia for inspiration and advice. The company’s ecosystem creates efficiency across channels to influence consumers as they move through their grocery planning and buying journeys.
Every day, the company’s food media generates 80 million behavioural data points.
News Corp Australia has launched new advertising products that help partners find new ways to connect with consumers, including:
News Corp Australia’s managing director, national sales Lou Barrett said: “We are really proud today to present some of the smartest thinking about marketing trends, what is happening in the FMCG world, and how News Corp Australia is here to help our customers achieve real growth for their business.
“Through our industry specialisation, working with us to deliver marketing outcomes for clients has never been more seamless, whether that’s reaching and influencing audiences or developing and marketing new products.”
News Corp Australia’s director of Food Corp Fiona Nilsson said: “We set out to put this forum on to provide value to the industry. We collaborated with CMOs and multiple high-level FMCG marketers, conducting a deep dive into the challenges they are facing. Today we are coming back with a content series with some of the biggest thinkers in the industry, some marketers themselves, to help address some of those challenges and move forward.
“We’re also announcing a series of advertising products that we’ve created in conjunction with these same FMCG marketers to help them deliver through the funnel and get really effective outcomes.”
Photo: News Corp’s Damian Eales, Fiona Nilsson and Lou Barrett at the FMCG Forum
Nine Entertainment Co’s national director of news & current affairs Darren Wick has announced that Brent Williams will be the new director of sport. This follows a newly aligned management structure where Nine Sport and News will collaborate closely on major projects, with Williams reporting directly to Wick.
Before this appointment, Williams has worked as the executive producer of the TV Week Logie Awards, Carols by Candlelight, the London Summer Olympics, the Vancouver Winter Games, and as the head of Tennis for Nine and the head of Cricket.
On the appointment, Wick commented in a letter to staff on Wednesday, “Brent is one of the most experienced producers in Australian television and has been steering major coverage of sport and national events with Nine for 25 years.
“This experience and passion for live sport will enable Brent to add another dimension to the extensive coverage and prominence in our schedule of the NRL, with the biggest moments of State of Origin and Rugby League’s Grand Final annually among the most watched events on TV.
“Beyond his list of impressive achievements, Brent is highly respected and very popular with his colleagues. His style of management favours close collaboration, innovation and motivation.”
On his appointment, Williams expressed excitement for the new role, “Wide World of Sports is an iconic brand in broadcasting, thanks to the incredibly talented and dedicated WWOS family over many years. I’m lucky to already be a member of that family and know first-hand the pride, passion and responsibility that comes with any product branded with the famous WWOS logo.
“It’s an honour to be leading the team and I look forward to driving the evolution of Nine’s sports broadcasting and broader sports strategy into the future.”
Williams will be replacing Tom Malone in the role who has moved to the role of managing director of radio for Nine.
Top Photo: Tom Malone and Brent Williams
By Claudia Siron
Who magazine has delivered premium celebrity news and entertainment to Australian women since 1992. The weekly magazine is edited by Stacey Hicks, who has been at Pacific Magazines for over eight years working across a number of titles; currently editor of Who and Girlfriend.
Hicks told Mediaweek about the brand’s readership, recent editorial highlights, and how they pick and choose celebrity stories for their avid readers.
Hicks said she has grown up with Who and has loved the magazine her whole life. “It’s a privilege to be able to edit the title,” said Hicks. “Who has a unique credibility because of our strong relationship with celebrities. It means we can deliver trusted, exclusive content across our platforms. The Who reader is an affluent and intelligent woman. She’s between 25 – 54 years old, she’s very educated and discerning. She’s interested in current affairs, travel, and the latest beauty and fashion news, and she also wants to know what happens in the celebrity world. She gets the best of both.”
“Something interesting we found is that 96% of our audience is the main household decision-maker and we have the same amount of AB consumers as Vogue, Harper’s BAZAAR and Elle combined. It’s a huge audience.
Who’s readers are coming to the brand for entertainment but also for style and substance. “Who is essentially a glossy monthly mag in a weekly format, that’s what really sets us apart. We like to say Who is the most trusted celebrity news and entertainment brand with a total footprint of 2.1 million Aussie women (across all platforms).”
The title is also known for the premium photoshoots and exclusives they have like “Who’s sexiest people’ which came out recently. Hicks said that’s definitely a big highlight for their audience. This year, the brand really mixed up for the format for that issue, and decided to feature ‘sexiest duos’. “We had couples like Guy and Jules Sebastian, we had siblings like Cody Simpson and his sister Alli, we did co-hosts like Larry Emdur and Kylie Gillies and we also had the first debut of Samantha Armytage and Richard Lavender. We really doubled up on the sexiness!
“We produced two covers as a part of that too – one of them had Guy and Jules Sebastian and the other had Megan Gale and Shaun Hampson. We had a really wonderful reception to that.”
Doing premium shoots does come at a cost, but that content is a part of its DNA and it’s what they’ve always been known for. “It’s important for us to maintain that because it’s what sets us apart in the market and really does place us as a weekly version of a glossy monthly, particularly given we’ve got that affluent audience.”
Hicks said they’re always expanding their commercial properties; they have their podcast ‘CelebriTEA’, as well as events. “We started a Books & Bubbles event earlier this year – a ticketed event with Hachette – where the audience can come and meet their favourite authors and share a glass of bubbles. It was kind of like our very own book club for the Who audience.
“We’ve already got five more events planned for next year because these ones have been selling out. It’s been a great highlight for us.”
Since there is so much celebrity news already out there, Hicks told Mediaweek that for Who it’s really about curating the content for their readers. “We have an amazing editorial team and they’ve constantly got their finger on the pulse for what our audience will want. We also have incredible access to celebrities, which does help us really make sure that we’re giving our readers the best of everything.
“In every issue we like to make sure that we’ve got a fantastic mix of exclusive celebrity interviews, true crime investigations and current affairs, beauty news, fashion spreads, information on new travel destinations; just making sure there is that mix so that our audience is getting everything they want and need in one spot. It’s important to us that we are as up-to-date as possible on everything we cover.”
Hicks said the combination of both domestic and international stars in Who’s stories are equally popular. “Australian talent really resonates with our audience and that’s why it’s really important we do exclusives with much-loved Australian celebrities. However, we’re also constantly securing interviews with Hollywood’s biggest names, like Reese Witherspoon, so we can give our audience the best of both worlds.”
triple j has announced a series of shake-ups to its regular line up following the departures of Linda Marigliano, Gen Fricker and Tom Tilley.
The mornings will be hosted by Lucy Smith who has been a regular fill on over the last year for the morning and lunch shifts and is currently filling in on triple j breakfast.
Smith says, “I’m so unbelievably excited to spend each weekday flexing my music muscle and diving a little deeper into the tunes you’re hearing on triple j, plus the stories from the artists behind them. Mornings is a music lover’s haven, and it’s an honour to follow in the footsteps of two of my broadcast heroes Linda Marigliano and Zan Rowe.”
Comedian Dave Woodhead is taking over triple j Lunch next year. The 21-year-old Darwin-bred Torres Strait Islander had a stint earlier this year on triple j Breakfast during NAIDOC Week.
Woodhead said: “I’m looking forward to joining the triple j fam, spinning the best tunes and playing ‘Treaty’ by Yothu Yindi at every possible opportunity.”
The new host of triple j’s youth issues and current affairs program, Hack, is South West Sydney’s Avani Dias. She has filled in as the presenter of triple j Hack during portions of 2019 and currently hosts Hack’s The Friday Shakeup.
Dias was previously a reporter for ABC Darwin for three years and was named a 2019 Walkley Finalist for Young Journalist of the Year.
Dias said: ‘When I was a teenager, I’d write cheesy lines in my diary about how obsessed I was with triple j and wanting to be on the station. I’ve grown up with Hack. It’s guided me through life, taught me what I should know about the world, and in many ways made me the person I am today. So, you can imagine how proud and excited I am to be taking over the only show in Australia which always puts young people at the front and centre of every conversation’.
They will join the previously announced new breakfast duo of Sally & Erica in 2020. Taking over their slot on Weekend afternoons is Bryce Mills, who has filled in on triple j Mornings and Lunch while also appearing on Channel 10’s ‘The Bachelor Unpacked’ and his podcast ‘God Is Dead’.
On Wednesday Val Morgan held their 2020 Upfronts the company unveiled four new announcements for 2020:
• New programmatic out-of-home advertising (with the largest inventory of digital outdoor in Australia)
• The release of the most advance Cinema Audience Data platform – CineTAM Live
• A new group positioning – Australia’s Attention Destinations
• The launch of a publishing platform – The Latch
Below is a more in-depth look at these announcements:
VMO launches 12,000 screen programmatic platform
Val Morgan Outdoor (VMO) has announced it will formally introduce programmatic out-of-home advertising to Australia in early 2020. The launch will be underpinned by the largest inventory of digital outdoor in Australia.
“VMO is 100% digital with over 12,000 screens across Australia, making the business uniquely placed to pivot to a programmatic marketplace,” Paul Butler, Managing Director of VMO, said.
“Following 6 months of in-market beta-testing with selected clients, VMO has developed a robust platform designed specifically for programmatic trading, at scale, across all our outdoor assets.
“The market is at a tipping point and we expect programmatic trading to account for 5% of VMO revenue within 12 months and to grow rapidly from there.”
Additionally, VMO is working with independent verification partners to ensure every client campaign is 100% delivered. VMO believes this further strengthens its position as the most trusted and transparent out-of-home network in Australia.
“We will have a dedicated team in place to push the boundaries on programmatic campaign solutions in early 2020.
“Whilst the ability to better plan, buy and measure is a significant step forward for our industry, what is more exciting is the opportunity it opens for brands to deliver fresh, innovative creative campaigns.
“Digital out-of-home will become a genuinely dynamic creative opportunity. Take, for example, weather conditions, interest rate announcements or sports results that could trigger relevant brand messages or offers to specific audiences in targeted geographies, all in real time. This represents a quantum leap forward for the outdoor industry,” Mr Butler said.
More blockbusters to draw cinema audiences in 2020
• Blockbuster content will continue to grow audiences in 2020.
• New research proves Cinema is the most memorable AV format.
• Launch of the most advanced Cinema Audience Data platform – CineTAM Live.
• Move to transparent campaign delivery verification via Seedooh’s independent platform.
New releases of Fast & Furious 9, Top Gun: Maverick, Trolls World Tour, Wonder Woman 1984 and Minions: The Rise of Gru are just some of the blockbuster films set to attract more audiences to cinemas in 2020.
Val Morgan Managing Director, Guy Burbidge, said with cinemas delivering greater recall and resonance for audiences than any other AV channel, now is a better time than ever for marketers to invest in cinema advertising to build their brands.
“Cinema is known for attracting highly receptive and attentive audiences and recent findings from data and insights consultancy, Kantar, backs this up. In data aggregated from over 100 campaigns, cinema delivered greater top of mind awareness, or saliency, per dollar invested, than all 3 lead AV mediums; 2.6 times more than TV, 2.2 times more than video and 1.6 times more than social,” Mr Burbidge said.
“In 2019 we’ve seen significant box office audience growth, in particular the notoriously hard-to-reach under 30 demographic has grown at an impressive 10% YOY.
“With an incredible slate of content coming to the big screen in 2020, cinema is set to once again appeal to a wide range of demos. With Val Morgan’s audience-led solutions, brands will be well positioned to connect with the right audience, at the right time, whilst leveraging the greatest and most highly anticipated content in the world.”
In a further move into data, Val Morgan announced the expansion of its CineTAM audience measurement platform. When CineTAM launched in 2013, it broke new global ground and is still to this day, the most advanced cinema advertising measurement platform in the world.
Next year it will evolve into CineTAM Live, which will combine exhibitor ticket sales and de-personalised transactional data from a leading cinema loyalty programme, with insights from Roy Morgan’s Single Source database, to further enhance the platform.
“The update to CineTAM Live will provide our agency partners with easily accessible cinema audience data, including detailed demographic, product, attitudinal, helix and segmentation data in near real time. The benefits for campaign planning and optimisation will be significant.
“We will also be aligning ourselves closer to TV around audience delivery and TARP equivalents to enable easier cross-media comparisons and analysis, something brand owners have been crying out for,” Mr Burbidge said.
CineTAM Live will be made available for agency partners in 2020 through a variety of formats including a dashboard, an API feed, or a standalone Asteroid dataset.
Val Morgan will also make a move toward transparent campaign delivery reporting and third-party verification via Seedooh’s independent platform, from Q1 2020.
Val Morgan reveals new group positioning: Australia’s Attention Destinations
Val Morgan has launched its new positioning – Australia’s Attention Destinations.
“For 125 years, Val Morgan has delivered advertising messages, content and experiences into destinations where consumers actively choose to spend their time. Whether it be a cinematic experience, being entertained as they burn a few calories, while they shop and refuel, or binge on the latest fan inspired news, the Val Morgan network is uniquely placed to make advertising more engaging and more impactful – giving brands the attention, they deserve,” Paul MacGregor, Director of Strategy and Marketing of Val Morgan Group, said.
“With a network of over 2,000 cinema screens across metro and regional areas, Val Morgan offers advertisers unrivalled access to audiences who are primed to pay attention, with cinema proven to deliver greater top of mind awareness than all 3 lead AV mediums. Our new brand positioning is testament to Val Morgan’s ability to deliver campaigns that deliver strong memorability and drive brand growth,” Guy Burbidge, Managing Director of Val Morgan Cinema, said.
“The VMO network spans 12,000 screens across major shopping centres, health clubs and petro-convenience locations and is capable of reaching over half of the Australian population every week. The VMO network is 100% digital and is designed to maximise audience attention and minimise wastage for brands,” Paul Butler, Managing Director of Val Morgan Outdoor, said.
“I’m very excited to announce that Val Morgan will be launching a digital publishing network, ‘The Latch’, for older millennials, with a focus on entertainment, wellness and lifestyle content that’s gender-neutral, smart, expansive and informative. The Latch will give audiences an in-depth understanding of the topics they care about and will connect advertisers to high value audiences across the entire Val Morgan network,” Brian Florido, Managing Director of Val Morgan Digital, said.
Val Morgan launches publishing platform
• The Latch will be aimed at affluent over-thirties.
• Amanda Bardas will lead a team of writers and editors creating thought-provoking entertainment, lifestyle and wellness content for older millennials.
• Editorial and commercial content will be amplified across Val Morgan’s cinema and outdoor networks.
Val Morgan has announced that it will launch a new digital publishing platform, The Latch, in early 2020.
The Latch is set to provide entertainment, wellness and lifestyle content with a focus on audiences aged over 30.
“I’m very excited to announce Val Morgan will be launching The Latch next year. Val Morgan identified a gap for audiences over 30 and The Latch will allow us to speak directly to this increasingly important demographic,” Managing Director of Val Morgan Digital, Brian Florido, said.
Curating entertainment, lifestyle and wellness content, The Latch will give audiences an in-depth understanding of the topics they care about and will connect advertisers to high value audiences across the entire Val Morgan network.
“Whilst The Latch is primarily a digital publishing platform, our editorial and commercial partner content will be shared across Val Morgan’s cinema and outdoor networks, connecting brands to high value audiences where they watch, shop, train and refuel,” Mr Florido said.
Recently appointed Executive Editor of Val Morgan Digital, Amanda Bardas, will lead the team of writers and editors for The Latch, who will aim to build a following through witty, colourful and engaging content.
“The Latch will deliver thought-provoking content designed to unlock interesting conversations and educate without any fluff, click-bait or hyperbole,” Ms Bardas said.
In 2018, Val Morgan formed a cross-platform partnership with Fandom – the world’s largest pure entertainment platform* dedicated to fans of TV, movies and video games – which now reaches more than 1.4 million** 13-29 year old’s each month in Australia, with average online dwell times of over 12 minutes**.
“This new platform will extend the incredible campaign work we’ve been delivering with Fandom, enabling brands to have richer conversations with their consumers via relevant partnerships, branded content and more immersive experiences,” Mr Florido said.
The Latch will launch in January 2020 at: TheLatch.com.au
Just the days after it was revealed Tom Malone was bringing back recently departed 3AW GM Stephen Beers to the business, Malone has had to inform staff about another departure.
This time it is a longtime 2GB executive and close colleague of Ray Hadley’s that is out.
“I’m sorry to let you know that Michael Thompson is leaving the business after more than 11 years,” Malone, Macquarie Media managing director – radio, told staff today.
“Michael started with 2GB on Ray Hadley’s program, before climbing the ranks to become Ray’s executive producer. In the past three years he’s been in a national role overseeing the content across the news talk and sports talk formats. In the past 12 months, under Michael’s leadership, the company’s total cumulative audience has grown almost 10%.”
Malone then noted the successful career Thompson had with Hadley, winning awards together. Malone also noted he got to know them both well during his years executive producing Nine’s Today show.
Malone finished: “I want to thank Michael for all of his hard work, professionalism and loyalty to Macquarie Media and wish him well as he explores opportunities beyond our business. He goes with all of our goodwill, and as it is in this business I look forward to seeing him back in some capacity in the future.”
Thompson will finish at Macquarie Media this Friday.
The winners for outstanding achievements in music for feature films, documentaries, short films, children’s television, advertising, film and television soundtrack albums have been announced at the 2019 Screen Music Awards at the Forum, Melbourne.
The Feature Film Score of the Year has been awarded to co-composers Dan Luscombe and Antony Partos for their work on the science fiction thriller I Am Mother.
Antony Partos has also received the honour of Best Television Theme for his work on Bloom, a Stan original drama series about life in an idyllic country town a year after a devastating flood kills five locals. Partos’ third Screen Music award for 2019 is shared with co-composer Jackson Milas in the category of Best Music for a Television Series or Serial for Bloom.
Every Day My Mother’s Voice, Paul Kelly’s tribute to the strong relationship between Adam Goodes and his mother, has been named the Best Original Song Composed for the Screen.
First time nominee Piers Burbrook de Vere has now become a first time Screen Music Awards winner. His work on the zombie comedy feature film Little Monsters has taken out the Best Soundtrack Album category for 2019.
Staking a claim as one of Australia’s most prolific and respected screen composers is David Bridie, who takes out Best Music for a Documentary for Australia’s Lost Impressionist, the story behind the only Australian artist at the centre of the Impressionist movement in France.
Genre breaking composer Michael Yezerski has received the award for Best Music for a Mini-Series or Telemovie for his work on the SBS crime drama Dead Lucky.
Canberra based jazz pianist, producer and composer Michael Dooley has won the award for Best Music for Children’s Television for The Pilgrims Progress, a children’s animated movie based on a 1678 Christian allegory.
Longtime creative collaborators Adam Gock and Dinesh Wicks have been jointly named the Most Performed Screen Composer – Australia and for the 12th consecutive year, Neil Sutherland remains the Most Performed Screen Composer – Overseas. His significant body of work, which includes MythBusters, Dancing with the Stars and Border Security, is heard around the globe. This award takes his overall tally of Screen Music Awards to 14, making him the most awarded Australian Screen Music composer.
The 2019 Screen Music Awards were held at Forum Melbourne and hosted by the ever-delightful Justine Clarke. Special guest presenters on the night were actors Susan Prior, Amali Golden, Mark Coles Smith and Damon Herriman along with screen composer Burkhard Dallwitz.
Performing Paul Kelly’s award-winning song Every Day My Mother’s Voice was Ashley Naylor (from Paul Kelly’s band) and Jessica Hitchcock, the Melbourne-based singer-songwriter who has recently released her highly-anticipated LP, Bloodline.
Musical director Jessica Wells led an orchestra that performed each of the nominated Feature Film Score of the Year compositions.
2019 Screen Music Awards Winners
Feature Film Score of the Year
I Am Mother
Composed by Dan Luscombe and Antony Partos
Best Original Song Composed for the Screen
Every Day My Mother’s Voice from The Final Quarter Paul Kelly
Sony/ATV Music Publishing
Best Soundtrack Album
Composed by Piers Burbrook de Vere
Best Music for a Documentary
Australia’s Lost Impressionist by David Bridie
Best Television Theme
Composed by Published by Antony Partos/Sonar Music
Best Music for a Television Series or Serial
Composed by Published by Jackson Milas and Antony Partos Sonar Music
Best Music for a Mini-Series or Telemovie
Composed by Michael Yezerski
Best Music for a Short Film
For the Girl in the Coffee Shop
Composed by Angela Little
Best Music for Children’s Television
The Pilgrims Progress
Composed by Michael Dooley
Best Music for an Advertisement
Composed by Published by Adrian Sergovich/Song Zu Publishing
Most Performed Screen Composer – Australia
Composers Adam Gock and Dinesh Wicks
Most Performed Screen Composer – Overseas
Composer Neil Sutherland
With the Domain Test launching today, Domain is paying homage to Australia’s obsession with property and cricket with the launch of its brand campaign Proudly property tragics.
The campaign, in partnership with Cricket Australia, builds on Domain’s recent spring campaign, Property obsessed, and continues to celebrate the nation’s two obsessions: cricket and property.
Launching today, Proudly Property Tragics showcases key features from Domain that helps give Australians the confidence to make informed decisions. This includes the recently launched Domain for Owners, property alerts, listings, Search by School Zone and more.
The TVCs, airing across Seven, feature Aussie cricket legends, Pat Cummins, Steve Smith and Usman Khwaja, who share different aspects of their property life like where they grew up, where they live and where they go for vacations.
The broader campaign will also run across Domain’s social and digital channels, and include an interactive Snapchat filter aimed at playing up the rivalry between Australia and New Zealand. The filter is geo-located to the stadiums allowing fans at the games and in the surrounding areas to share that they are at the Domain Test match.
Emily Murren, Domain’s director of consumer marketing said:
“Building on the success of our first year together with Cricket Australia, we’re excited for the summer of cricket ahead and our Platinum Partnership to help Australians celebrate in their two favourite obsessions: cricket and property. As the cricket pitch heats up, so is the property market. We’re seeing increased demand for listings and higher clearance rates, so it’s prime time for us to remind Australians how Domain can help them along every step of their property journey by highlighting our new listings, market data and property tools.
“Our latest campaign aims to showcase our expert knowledge of property and our market-leading products in a fun way to delight cricket and property tragics alike.”
The campaign will also see premium in-stadium grass, perimeter and scoreboard branding along with integrated broadcast placements across Seven featuring Nathan Lyon, Josh Hazlewood and Matt Wade. Domain will also paint the stadium pink for the Domain Pink Test in Sydney from January 3-7 2020.
Cricket fans can still participate in Domain’s Test Stadium ‘open for inspection’ competition, which kicked off earlier this month. Fans can explore their favourite cricket stadium as a listing on Domain and take a look behind the scenes to learn about their unique property features, as well as go into the running to win a box at an upcoming Domain Test series.
The campaign is supported by creative agency Special Group.
By James Manning
• Nine is four from four with Seven Worlds One Planet a winner
• Gruen on streaming TV plus Sampson and Howcroft on the ABC
• Seven News 932,000/882,000
• Nine News775,000/750,000
• A Current Affair651,000
• ABC News600,000
• The Project250,000/442,000
• 10 News First365,000
• The Drum166,000
• SBS World News121,000
Home and Away was again close to 550,000 after 566,000 and 608,000 previously this week.
Zumbo’s Just Desserts reversed its trend last night with an audience of 385,000 after the first three nights of the week saw the numbers go from 446,000, to 393,000 and then 359,000.
The only episode of The Good Doctor that will screen this week did 450,000 after audiences of 462,000 and 407,000 last week.
The Front Bar cricket edition fills the slot tonight.
After a jumbo edition on Tuesday night, A Current Affair returned to its usual format with 651,000. Reporter Pippa Bradshaw managed to find some residents moaning their neighbours Christmas lights were too bright.
David Attenborough Seven Worlds One Planet then did 772,000 which is a big 7.30pm number in the penultimate week of the survey year.
Nine then went with the movie Red Dog – True Blue which did 316,000.
The Project recovered a little from close to 400,000 on Tuesday to 442,000 after 7pm. It was a comedy special evening with both Pete Helliar and Tommy Little at the desk plus a visit from Jimeoin.
The channel then premiered its new US comedy The Unicorn which has been given a 7.30pm slot. The series debuted with two episodes recording 324,000 and 276,000.
Playing for Keeps then did 186,000 after a not-so-hot lead-in. It was on 298,000 last week.
On the eve of the First Test, Julia Zemiro’s Home Delivery spent time with Ian Chappell. The episode did 486,000 after 461,000 last week.
Gruen then did 640,000 after 670,000 a week earlier. The show spent much of the evening discussing streaming platforms Netflix and Disney+ and even featured Todd Sampson and RusselHowcroft with strategies how the ABC could attract bigger audiences.
The final episode of the short season of Frayeddid 319,000 after 343,000 a week ago.
Tony Robinson’s World by Rail did 195,000 as he travelled around Europe.
The first episode of Child Genius Australia this season debuted with 164,000.
|ABC KIDS/ ABC COMEDY||2.5%||7TWO||3.7%||GO!||3.2%||10 Bold||5.0%||VICELAND||1.5%|
|ABC ME||0.6%||7mate||2.8%||GEM||2.2%||10 Peach||2.7%||Food Net||0.9%|
|7Food||0.7%||SBS World Movies||0.7%|
|ABC||Seven Affiliates||Nine Affiliates||10 Affiliates||SBS|
|ABC KIDS/ ABC COMEDY||2.7%||7TWO||3.8%||GO!||3.9%||WIN Bold||4.8%||VICELAND||1.7%|
|ABC ME||1.0%||7mate||3.1%||GEM||4.7%||WIN Peach||2.2%||Food Net||1.1%|
|ABC NEWS||1.3%||7flix (Excl. Tas/WA)||2.7%||9Life||2.6%||Sky News on WIN||1.6%||NITV||0.1%|
|7food (QLD only)||0.6%|
|WEDNESDAY METRO ALL TV|
16 – 39
18 – 49
25 – 54
Shares all people, 6pm-midnight, Overnight (Live and AsLive), Audience numbers FTA metro, Sub TV national
Source: OzTAM and Regional TAM 2018. The Data may not be reproduced, published or communicated (electronically or in hard copy) without the prior written consent of OzTAM
Havas this week appointed Matt Houltham, currently group managing director of Havas Melbourne, as CEO of Havas Media Group across Australia and New Zealand, effective January 2020.
Houltham joined Havas in January 2016, after five years as managing director at Naked Communications, initially in Melbourne and latterly in New York. Prior to this, he spent five years as digital partner across Publicis agencies, Zenith Optimedia and Mojo.
Houltham will lead a team of more than 100 people across Sydney, Melbourne and Auckland, as well as Havas Sport and Entertainment, overseeing its breadth of services across strategy, media planning and investment, performance marketing, content development, data consultancy and brand partnerships. He will also have a continuing role overseeing Havas Melbourne.
Mike Wilson, who was the founding CEO of Havas Media from November 2013, will assume the newly-created role of chairman, Havas Media Group. In this capacity, he will maintain an involvement with key clients, explore targeted M&A opportunities, maintain and develop key partnerships and explore further integration opportunities with Vivendi group companies including Universal Music Group, Studio Canal, Gameloft and Daily Motion.
On Wednesday, legendary former Nine chief David Gyngell made an exceedingly brief appearance in Melbourne’s Federal Court, having been called by the Australian Securities and Investments Commission as a witness in its case against Harold Mitchell and Stephen Healy, reports The AFR’sMyriam Robin.
After being sworn in, he was asked to confirm the particulars of his tenure at Nine, and whether he’d ever expressed an interest in the tennis rights. He had, though no dollar figure for them was suggested. And that concluded ASIC’s examination.
Regional media proprietor Antony Catalano has described Seven West Media’s $63m merger play for Prime Media as not “far off the mark”, but has called on Seven to slightly increase its bid to make it “both fair and reasonable”, reports The Australian’s John Stensholt.
Catalano and his billionaire business partner Alex Waislitz have increased their stake in Prime, which hosts its annual meeting in Sydney today, to more than 13 per cent and have been agitating for Prime shareholders to reject the Seven bid, which values the regional television business at slightly less than 18c per share.
The duo say they hope their Australian Community Media can potentially share resources or strike business partnerships with Prime or Seven across regional centres, with Catalano calling on Seven to consider at least a slight sweetening of the transaction.
“I don’t think (the Seven bid) is far off the mark, but it would very fair and reasonable of Seven to come back with a fair and reasonable offer.
“The reality is their bid is not far off that. It is unusual for there to be a change of control and someone to not pay a premium.”
Billionaire investor Alex Waislitz has warned of job losses and newsroom closures at regional newspaper business Australian Community Media if the government doesn’t relax media ownership laws, reports The Age’s Charlotte Grieve.
Waislitz’s Thorney Investment group and former Domain boss Antony Catalano bought The Canberra Times publisher from Nine Entertainment Co for $115 million in July.
“A lot of people will lose their jobs, and a lot of facilities will be shut down,” Waislitz said during a Thorney investor day in Melbourne on Wednesday. “Media companies will continue to struggle as they have in the last few years.”
ACM has already begun “aggressively paying down debt”, Catalano said in a presentation to investors, by selling four of the company’s 25 acquired properties. The company has also taken the knife to the sales executive teams and managing editor ranks. Media industry sources have regularly said there is little doubt the publisher, which owns about 135 websites and 9 print centres across the country, would be under pressure in a tight advertising market.
His business partner Antony Catalano argued it was “critically important” for the government to allow media mergers in regional areas, which were currently governed by rules that were “20 years behind technology”.
AAP Photos, Australia’s largest provider of editorial photography, will be made available on the Reuters Connect platform boosting access to its Award-winning photographic content.
Australian Associated Press (AAP) has announced that it is joining some of the world’s leading national and international news agencies in making its photographic material available on the Reuters Connect digital platform.
The partnership means that AAP’s images will be searchable on the Reuters Connect website, expanding the reach of its content to even more editorial customers around the globe.
AAP editor in chief Tony Gillies said: “Expanding the reach of AAP Photos through Reuters Connect will mean that more clients will have access to Australia’s National Newswire’s editorial images. The evolution of the AAP Photos business has taken us to the point where our content is in demand from a diverse range of clients around the world. By ensuring our content is available to those on the Reuters Connect platform we are providing a new and innovative way for customers to source our visual output.”
AAP’s head of photography, Neil Bennett, said: “Every day our award-winning photographic team is covering the best of Australian news, sport and entertainment events. I’m delighted that we will increase the audience for this material through the Reuters Connect partnership.”
Michael Friedenberg, president, Reuters, said: “Reuters Connect powers the news ecosystem and these partnerships will help us create the most comprehensive collection of real-time, multimedia news content anywhere in the world. I’m delighted to welcome our new partners to Reuters Connect. By bringing together content from leading news agencies with the vast output from our own world-class newsroom, we can offer our customers an unrivalled breadth and depth of content.”
Attorney-General Christian Porter declared online publishers like Facebook and Twitter should be held to essentially the same standards as traditional media as he flagged a national overhaul of defamation laws, reports The Australian’s Chris Merritt.
Addressing the National Press Club in Canberra, Porter said this was a “very necessary” change and required a “sensible measured approach”.
His call for change comes ahead of next week’s meeting at which the nation’s Attorneys-General will be presented with a reform plan for defamation that aims to wind back record payouts, introduce a new “public interest” defence for the media and place more emphasis on freedom of expression.
Those familiar with the plan say it would change the balance in defamation to reduce the legal risk confronting the media while introducing a new mechanism to protect responsible journalism.
Forcing Facebook to be liable for defamatory posts on social media could undermine the business models of the tech titans, threaten grassroots activism and fail to fix the issues that news organisations face, comments The Sydney Morning Herald’s Jennifer Duke.
Attorney-General Christian Porter has added his voice to a growing chorus that social media websites need to be treated with a firmer hand by suggesting digital giants be more accountable for online posts.
But making Facebook, Google, Twitter and the other online giants liable for posts in this way is unworkable because what is actually “defamatory” is not always clear and negative comments can at the same time be offensive, important and true. There is not yet a way to manage this level of nuance through artificial intelligence at scale.
It’s not just the volume of content that is so different. For most people a comment on Facebook does not hold the same weight as an article in a trusted news title. It’s right to treat the two differently.
The Right to Know coalition of media organisations has called for legal change after The Australian was ordered to provide the Family Court of Western Australia with a copy of a draft article before it will consider whether the newspaper should be allowed to name a psychologist found guilty of professional misconduct, reports The Australian’s Nicola Berkovic.
A spokeswoman for the Right to Know coalition said the group held “serious concerns about laws that require journalists or news organisations to submit their stories to the courts for approval before publication”.
The coalition’s comments came as Law Council of Australia president Arthur Moses SC said it was “not the usual case” for a court to be provided with a draft article before it decided whether the media should be allowed to name a particular person.
The Australian has been unable to name the Perth-based psychologist, who accepted a finding of professional misconduct more than a month ago, as section 121 of the Family Law Act prevents the identification of witnesses in family law proceedings.
To binge or not to binge? To devour The Crown (Netflix) in a 10-hour marathon or relish the pleasure of anticipation before enjoying a new episode of The Mandalorian (Disney+) each week? What’s the best way to watch and what might be lost when we opt for a wholesale gorge? asks The Age’s Debi Enker.
With its unprecedented 2013 launch offering of the first season of House of Cards, Netflix changed television. Yes, the potential to gobble down an entire series had existed before that with DVD boxed sets. But the Netflix revolution was a different beast. Here were new shows, with whole seasons available, and viewers could pick the pace at which they wanted to watch them. The heady sense of liberation from the often-infuriating practices of TV programmers was intoxicating. No wonder people rushed to sign up.
If your viewing priority is galloping through and running episodes together as though a series is one big sausage, subtleties can be lost. It all becomes a blur. So why rush? It might be understandable with productions in which plot is a key factor and the driving force for a viewer is a compulsion to find out what happens next. But much of the detail that contributes to what can be a rich tapestry – a striking image, a riveting exchange, a killer line of dialogue – risks being overlooked in the race.
It’s still a thrill to have the power to choose how much to watch, blissfully ad-free, with the SVOD services and iview. But the quantity becomes a question of priorities: what’s more important, the pleasure or the pace? For me, it’s the former every time.
Up until now, Silent No More has been attracting attention for all the wrong reasons.
Tracey Spicer’s three-part documentary on sexual harassment and assault in the workplace made news a couple of weeks ago when it was reported that some of the women involved, who had come forward with their stories on the understanding they’d remain anonymous, discovered a preview of the series had been made available to a limited number of journalists with identities unobscured, reports The Age’s Melinda Houston.
It’s a bad mistake at any time. In the context of traumatised women who had, in some cases, sat on their stories for years out of fear and shame and who had finally gathered the courage to come forward, it was devastating.
Now here’s the show itself and let’s just hope people are able to watch it untainted by the controversy, because the story it tells is a vital one. There is no question mark over the veracity of these stories. So what we actually have – any potential issues of rushed or sloppy post-production aside – is a compelling examination of the issues around #MeToo in Australia that everyone should watch.